All Traps on Earth - A Drop of Light. 2018 Sweden

In 2017 when Wobbler released From Silence to Somewhere, it had all the earmarks of an album-of-the-year type recording. As I noted in my review there, that's exactly what it ended up being. And not likely to be surpassed either.

For 2018, All Traps on Earth had all the earmarks of an album-of-the-year type recording. This designation has been trumpeted by many, including by those whose opinions matter to me. And... that's what it ended up being. However, I could see this one being overtaken. But for now, it is in fact the best thing I've heard from 2018.

And why is that? Well... albums such as Drop of Light are so in-the-pocket prog, it makes one wonder why more bands don't do it. The critics of these types of albums - and you see this ALL the time - just throw out that tired trope of "it's been done before". Folks, I have bad news to break to you: everything has been done before. It's just a convenient phrase for saying "I don't like it". That's OK, you don't have to, but don't bother rationalizing it in that way. But for fans of the genre, All Traps on Earth, Wobbler, and Änglagård will always find themselves in the top spot, or close to it. The real reason you don't hear bands do this style much is because it isn't easy to accomplish at all. It's about the substance more than the style. And all us grizzled prog veterans will know instantly when someone is trying to pull the wool over our eyes (or ears). Paul Stanley of Kiss liked to recount that they received the same criticism in their line of work. He would always respond: "Yea, if it's so easy, why don't you do it then?" Well said.

Which gets us back to All Traps on Earth. No matter how hard one is going to try, it's pretty difficult not to think of this as the 4th Änglagård album. And of course that's because it has their direct lineage. Honestly I think if you paired up Johan Brand and Thomas Johnson and they started a new disco funk band named Studio 54, the end result would sound like Änglagård - in 4/4. It's like the Scorpion and the Frog parable. It's the essence of who they are. Joining Brand and Johnson is current Änglagård drummer Erik Hammarström and Brand's daughter Miranda on (wordless) vocals. Plus a host of guests, most notably Matthias Bååth and Magnus Irving Båge on flutes/recorders, with Fredrik Lindborg on various reeds. Also present is guitarist Phil Mercy, leader of the English group Thieves Kitchen, yet another band that Johnson turned into Änglagård.

The opening title track is the most dense and difficult. As a whole, All Traps on Earth are more "rehearsal intensive" than the more swinging Änglagård (who are by no means a jamming groove band either). Miranda's non-lyrical vocals are operatic, offering a dark atmosphere. It's somewhat like Shub Niggurarth in this way. On this point, there are Zeuhl references throughout the album, but in no way is this a Zeuhl album. Johan Brand is no Bernard Paganotti, two bassists performing completely different styles, each defining their niche in the progressive rock world. 'Magmatic Warning' further advertises their love for Zeuhl, and there's some cyclical grooving Fender Rhodes here that is the closest All Traps on Earth get to Magma. Toward the latter half of the song we are introduced to charted tuned percussion and flute - and this is prevalent throughout the third track 'Omen'. And what does that read like? Exactly - Dun's Eros. Wow! Almost no one these days emulating that sound (or even in those days...). So Dun mixed with Anglagard! I know, get a paramedic out here and quick... And finally that gets us to 'Bortglömda Gårdar', where they take off their mask and say "ahh let's give it up - we're Änglagård after all aren't we?"

Full hardbound books have already been written about this album, so if you need a bar by bar detail, it's probably out there. Suffice to say, if you're a fan of retro prog (i.e. 70s complex prog), then it's hard to imagine All Traps on Earth not registering in the red zone. Buy it.

Ownership: CD: 2018 AMS (Italy). A new band could do worse than signing up with BTF/AMS. Their packaging is second to none outside of Japan. The CD is housed in a delightful gatefold mini-LP with a full booklet of details and liner notes.

2/28/19 (new entry)

Node - Node Live. 2018 England

Node Live is the 3rd album from the English Berlin School masters. Interesting that the CD itself gives no indication of when and where the concert was. I don't think I've seen that oversight before. In any case the label themselves has the information, and it turns out the concert was held at the prestigious Royal College of Music in London back in 2015. Hardly Benny's Bar & Grill. Node almost never play live, and the reason is obvious - they have a massive amount of old analog electronic equipment, which happens to weigh a ton. The photos contained within the CD show Node working with about as much electronic equipment as you would see in an old 70s news clip of NASA.

This particular live engagement features the same quartet as found on Node 2. For those who have read my review there, one can clearly see I was losing my mind at just how magical a recording it is. One of the high water marks of the entire Berlin School genre. So is Node Live at that same level? No. Is  it still an excellent album? Heck yea! Like any true Berlin school artist, Node play 100% improvised. They start with an idea and roll with it. For the studio efforts they can edit and replace. Here - what you hear is what you get. In addition, the style relies heavily on the sound texture itself. And while certainly this is a professional recording in a renowned venue, one can still hear some of the hollowness within the instruments. But all the trademarks of Node are intact: Fat Moog sequences, electric guitar, early 70s synthesizer textures, mellotron, and melodic solos. For fans of the style, an easy recommendation. For those looking for further progress on Node 2, it didn't happen here. Not sure that's possible anyway.

Ownership: CD: 2018 DiN. Tri-fold digipak. Tons of photos and some other details. Just not when and where....

2/28/19 (new entry)

Evohé. 1981 France (archival)

Evohé were a band from Toulouse who were active from the mid 70s until the early 80s. Their brand of music is decidedly right at the heart of the Zeuhl movement. While Magma is credited with the creation of the genre, it wasn't until the late 70s that the followers began to accumulate. Evohé never managed to release anything in their day, and were completely forgotten until recent times. These notes apply to the LP release (CD will be under its own entry). What separates Evohé from just about every other Zeuhl band is that they are entirely instrumental. Vocals are a key ingredient to the genre, and yet they aren't completely missed here. There's quite a bit of guitar soloing which is another departure from the norm. The sound quality is good, but certainly not great and lacks the punch the genre often calls for. In listening to the album I was struggling for comparison, as they don't sound like any of the big names of the genre like Magma, Eskaton, Eider Stellaire, Zao, or Weidorje. And yet there are elements of all the above. The closest I could come to was a wordless Pseu, yet another early 80s archival release from modern times. So high praise indeed. For fans of Zeuhl, this one is an easy recommendation. If looking to venture into this peculiar alien world for the first time, don't start here.

Ownership: LP+CD: 2018 Vapeur Mauve. Oh man, what a mess. This is already the second copy I bought, and it just came out! Why you ask? Well the first one was the US press on Music Research Library. It wasn't until after I purchased the album that I realized there was a French press too. By itself, that's not a problem. But the differences are profound. The US press is a single sleeve, a different cover, with relatively lesser sound, and a single small sheet of recording info. That's it. The French press is a lavish gatefold (incidentally the logo here reminds me some of the first Vortex album) with photos and news clips within the center, the sound is slightly better - and it comes with a 45 minute CD that is entirely different than what is found on the LP proper. It has also come to light that the US issue was not authorized for an LP pressing, but rather strictly for download purposes. Like I said - a mess. I'm going to give my US brethren the benefit of the doubt, as these things can get complicated and miscommunication is common. Forgetting the legalities, the French press is far superior, and I feel duped that I was sold the US one at all. Oh well...

These notes apply to the CD only. See my review in the main entry for context on Evohé's overall sound. What we have here is a 43 minute extended version of what is found on the LP. I heard them back to back and I wasn't even sure they were the same song. I'm sure if I focused tighter, the primary themes would emerge. Or maybe they wouldn't. This is a very interesting document, because it represents a combination I hadn't heard before: Zeuhl meets free rock. Which is something of an oxymoron if you think about it. The rigid martial rhythms juxtaposed against the guitarist who is just wailing in atonal Sonny Sharrock mode here. I'm not even sure the guitarist knows what he's doing, but in some ways it doesn't matter. It's the overall sound that remains fascinating. Definitely makes a great supplement to the LP. But on its own? No.

What a mess, part 2. See comments in Personal Collection above for further detail. In this case, we aim our arrows at the French company. The LP+CD is perfect, so for this they are to be commended. Then one finds out they released the CD on its own - with only the elongated track. What? That makes no sense and lacks context. There's no reason they couldn't have released it all on one CD. There's plenty of time. Or even if they had to shave off a few seconds, no one would notice or miss it. 

Boy did they bungle this all up.

2/1/19

Early Times ~ Japan

Second Album (1976)

Generally when a band releases a title called Second Album, one presumes a first one exists. As I write this entry, that elusive first album remains undiscovered. That can mean any number of things from a lost-in-translation scenario (i.e. first album is all in Kanji with a different meaning) to some sort of silliness conducted by the group - as evidenced by the cover perhaps. Speaking of which, doesn't the album cover look like something a modern craft brewery would release on a can?

Just as wacky as the group's own provenance is that of the music itself. That which is as eclectic as one will ever hear in the mid 1970s. Opener 'Marmalade Sky' is a cool little funky horn rock number sounding like it's 1972 all over again. And the vocals are in that mumbled unintelligible English style (or perhaps Japanese, who can really tell?) similar to maybe The Far East Family Band. 'Samui Kisetsu' follows and is also seemingly from an earlier era, but more towards the hard rocking / early progressive genre. 'The Ballad of Billy' goes for the blues, but still contains some fine soloing. 'Tabi No Fukidamari' is similar but considerably more dull, and represents the sole skip over track here. 'Time Out' is the square-on prog track here, and sounds every bit like a German symphonic band circa 1976. I'm thinking SFF here and the highlight of the album for me. The lengthy closer also has some great progressions, though it's longer than it needs to be truth be told.

In the end, Early Times is an album without obvious comparison, though it by no means goes out of bounds anywhere either. A truly intriguing piece of art. One that requires repeated listens. Worthy of reissue status for certain. And what about that first album, fellas?

Not reissued in any form as I update this (3/8/25). 

11/8/15 (review); 2/28/19 (update / new entry)

Pan - s/t. 1970 Denmark

Pan were a band from Denmark formed by Frenchmen Robert Lelièvre, himself a refugee who skipped town to avoid military service. Once again we have an album that was considerably hyped up back in the rare LP catalogs of the day. In the late 80s and early 90s, I would read these mouthwatering reviews on what an outstanding example of European progressive and psychedelic rock this truly was. Of course the album came with a hefty price tag, and was price prohibitive for me back then (still is I think...).

When the first legit reissue hit the stands from Little Wing of Refugees in 1993 (LP), I jumped at it and paid full price. Well you know where this is going by now. Prog? Psych? Bullcrap I cried! I had similar reactions to albums by Spring (UK), Fantasy (UK), and Think (Germany). It's the Great Bilk I concluded. And subsequently sold the record back into the marketplace rather quickly. Besides it had a stupid cover not reflective of the original (LWoR did that for all their LPs, a most misguided philosophy I might add).

25+ years on from that event, the Karma CD came across the wire for a relatively good price (itself now quite rare) and I nailed it. What do we have here anyway? A sound that was quite typical in Denmark from 1969 to 1971 actually. What was known to the old-timers as "progressive", but it's hardly King Crimson and VDGG. That sound would be hard rock, and that's the genre Pan belongs too. But not of the bluesy variety, as is more commonly found, but rather a bit more rural sounding similar to Culpeper's Orchard and Day of Phoenix (two other bands I didn't think much of either 25 years ago). The hard rocking elements recall bands such as Blast Furnace. There's still remnants of a psychedelic past, especially in the guitar work and the way the songs flow. Right from the beginning the album displays this sophisticated hard rock variety with 'My Time' and 'If'. Other highlights include 'They Make Money With the Stars' (a 5:52 minute length track that is inexplicably missing from RYM's track listing to your left), 'Tristesse', and 'Lady of the Sand'. There's also a lot of references to the French here, and that makes more sense once you know Robert Lelièvre's background.

In conclusion, a very good hard rock album with touches of psych, folk, and even a dash of progressive. If you're already a fan of the Danish rock scene of 1969 to 1971, then Pan definitely will find a comfy spot in the collection.

Personal collection
CD: 2005 Karma
LP: 1993 Little Wing (Germany)

The Karma CD was the first legit CD to market and it appears the definitive choice. There does exist one other from the parent label Sonet in 2010, but it looks to be nothing more than a straight reissue with no extras. The Karma CD also includes their rare 45 also from 1970, and the music there is at the same high quality as the album proper. There are also 5 bonus tracks, one an alternate version and the other 4 sound like a different band. It's darn near country rock, a sound that inexplicably was (is?) popular in Denmark back then. Pickin' and Grinnin'!

The CD booklet has photos and copious liner notes. Unfortunately they are all in Danish so I don't understand them. Would anyone be kind enough to send over a translation, or at the every least, find these online in Danish and we can Google Translate and interpret from there? I will publish it here as well as on RYM for posterity.

Marcus - From the House of Trax. 1979 USA

You can count the number of 1960's styled psychedelic albums from 1979 on one finger, and well.... here it is. I remember reading about this album in Paul Major's Sound Effects catalogs in the late 1980s. His description of the negative blue image with Marcus chained to the Earth is what you'd expect of a literary classic, not a catalog of LP rarities. Funk, disco, punk, hard rock, and early heavy metal are what 1979 was about - not heavily phased folk rock that sounded like it had just come out of a time machine circa 1968. Just like today, there are albums that try to sound like they're from 1971. Most sound like 2014 resembling 1971. But there are a few that pull it off - that really make you think you've transported time. Marcus has done exactly that - except back in 1979 when the idea of doing this hadn't really even existed. Groundbreaking in its own way I suppose.

Vocalist/guitarist/leader Marcus McDonald is an enigma, bouncing around in the beautiful environs between Kentucky and Indiana. His album was truly one of a kind from the era in which it was released. Take out the psychedelic phasing element, and I'm not sure you have much more than a straight ahead rock album with a folk bent. But with that, yea, it's a pretty cool album for certain.

Personal collection
LP: 1992 private

Date is a total guess. That's the date my database says I picked it up (though in this case that may not be entirely accurate either). It looks pretty boot-y to be honest, but Discogs is keeping it legit for now. With no date mind you. There is a legit CD and LP on World in Sound that I should look into at some point.

Last listen: Summer 2014

Sonora Sunrise - The Route Through the Canyon. 2019 Russia

In the last 25 years, we've seen Russian musicians, especially of the progressive space rock variety, exploring their vast country and the mysteries it holds within. Ole Lukkoye from the decidedly European city of Saint Petersburg pioneered this undertaking. Vespero from Astrakhan transcended the precedent set. Then the Russian born, American based label Trail Records, has taken this concept even further with two full length compilations (Tripwave) of various Russian bands performing a similar style. One of the many characteristics of this sound are exotic female voices, haunting keyboards, pounding / shifting rhythms, and fuzzed out psych guitars.

Enter Sonora Sunrise, a new band performing in the style above, that said label Trail is promoting. And this time we have a band that actually resides in the area of the world often explored. Sonora Sunrise are from the Altai region, northeast of Kazakhstan, and relatively close to both Mongolia and even the far northwestern parts of China. This is a region that is still largely unknown and misunderstood in the West.

Now comes the irony. The band moniker itself implies the southwestern deserts of the US and Mexico. And Sonora Sunrise sing (and title their songs) in English with no Cyrillic subtitles, a definite departure from the norm. But the rest of the narrative holds serve. The vocals are indeed female, and she is on about half the album and is labeled a "guest". The remainder is your standard 4 piece with guitars and keyboards. The latter, I might add, are boasted to contain Soviet era analog synthesizers. A) I didn't even realize there were Soviet era synthesizers and b) I didn't know it was a "thing". The one photo I saw looked pretty cool though.

Musically speaking, the album goes for more of the slow-burn variation of psychedelic. More haunting and brooding than jamming out. The vocals are sensuous and exotic. The lyrical themes are very consistent with the American desert, which indicates that the Altaian desert may have a similar backdrop. 'Canyon', 'Roadside Picnic', 'Ancient Stones', and 'Poison' gives one an idea. The one track where Sonora Sunrise do kick out the jams is the appropriately named 'Millions of Snakes', which to my ears recalled Titan in their prime (minus the Hammond organ). This was the highlight song for me.

If looking for comparisons, I'd offer up a more static Vespero meets The Space Spectrum, The Cosmic Dead, and even Agitation Free's 2nd album. I do think the band needs to let it loose occasionally to offset the tension that they are clearly masters at building. Most excited where they go from here.

Ownership: CD: 2019 Trail. Multi-foldout digipak.

2/22/19 (new entry)

Holocaust - The Nightcomers. 1981 Scotland

Even though Holocaust is frequently mentioned as one of the "big names" of the original NWOBHM movement, my memory says different. In 1980, age 15, heavy metal was my first foray into deep diving for music. Sure, I knew of Diamond Head, Angel Witch, Samson, Witchfinder General, Praying Mantis, Tygers of Pan Tang, not to mention the obvious Iron Maiden, Saxon, etc... But Holocaust? No. Metallica's cover of 'The Small Hours' put these guys on the larger map, but long after the initial group was dead and buried. I didn't first hear Holocaust until 1993 when I stumbled upon their live Hot Curry and Wine LP in a Wichita, Kansas record store of all places. Probably was Mark Shelton's old copy...

It wasn't until the mid 2000's that I finally picked up The Nightcomers based on positive reviews. After hearing the inauspicious opener 'Smokin' Valves', I was gearing up for an Ethel the Frog kind of disappointment. This woofer is nothing more than a 70s styled boogie rock track with distorted guitars. And then... ...then comes 'Death or Glory', a song that today is universally acclaimed as a stone classic of the NWOBHM movement. And no argument from me. It's exactly this kind of composition and riffs that makes this era of heavy metal timeless. 40 years after laying this down to wax, the music sounds as fresh and exciting as ever. What a riff, what a sound! And The Nightcomers never looks back either. Every track here is a winner. 'Heavy Metal Mania' being another very catchy number. My favorites are the more thoughtful and subtlety complex tracks like 'Mavrock' and in particular the title track. So yes, in retrospect, an absolute classic of an album. But not in their day, nope.

I haven't heard any of their reformation albums, but word around the campfire says they continued to push the boundaries of metal. Certainly sounds just up my alley.

Ownership: CD: 2000 Metal Blade (USA). Jewel case release with lyrics. Also includes their Heavy Metal Mania EP from 1980. This EP isn't near the standard of their album proper. Closer to the anthemic side of NWOBHM. Purchased in 2005.

12//05; 2/22/19 (new entry)

Eat Static - Epsylon / Lost in Time. 1995; 1993 England

Back in the early 90s, I was quite the Ozric Tentacles fanatic. It seemed they could do no wrong. When I first heard about Eat Static, I was intrigued, but given they were described more or less as a "techno" band, I steered clear. Money wasn't plentiful and needed to be allocated carefully. In 1997, a fellow collector sold to me a good number of his CDs for pennies on the dollar. Among them included Epsylon, this version being the 1995 Mammoth release that also included their 1993 EP Lost in Time.

Also in 1997, I got hitched. Me being the wise old veteran at 32, she a wide-eyed 23. Of course we dated for over a year, but there's still so much to learn about each other as all married couples understand. On one particularly memorable road trip, I pushed Epsylon into the CD player and off we went. Oh and about 15 minutes later, my beautiful young bride (still is, turns out) is having the time of her life. Dancing in the chair, banging her head, woo-hooing. Apparently... I said to myself  ...I should stock up on more of this kind of music. Odd, she didn't act that way when I played Guru Guru's UFO... Yea.

The interesting thing about Eat Static is there's no mistaking their Ozric roots. Take away the analog instrumentation and add synthetic beats, and you have Eat Static. The music isn't dull even for sit down listening. It twists and turns regularly. For my tastes music like this has a natural ceiling of about a 3.5 (Gnosis 10) with a couple of outliers. Epsylon/Lost in Time hits up against that. If for whatever reason you haven't heard much music like this, then Epsylon is as good a place to start as any. Note above story.

As for today, some 22 years later, does said wife have much interest in Eat Static? Oh hell no. However all of our nieces and nephews are very much into what is more broadly known as EDM. They're dancing their brains out. Good for them. Though... still no takers for Guru Guru. Huh? I wonder why...

Ownership: CD: 1995 Mammoth (USA). This version includes both Epsylon and Lost in Time. Part of a large collection buy in the late 90s.

Charles Kaczynski - Lumiere de la Nuit (Light of Night). 1979 Canada

Charles Kaczynski is a fairly obscure artist who pops up now and again on the internet and then disappears. His debut album Lumière de la Nuit has long been known to collectors as a very good example of the symphonic style of progressive rock. He's basically a one man orchestra here, and the (primarily) instrumental music is beautiful and rich. Though there's a multitude of instruments played by the talented Kaczynski, violin is clearly his instrument of choice. By Side 2, the music begins to become overly familiar, and it's clear Kaczynski could have benefited from the synergy of his peers. The compositions are well written, and it's too bad this was the end of Kaczynski's progressive rock career during the classic era.

Ownership: LP: 1979 private - Light  of Night (English edition)

The LP has 2 editions, one in the native French, the other with the English title Light of Night. The CD was also originally pressed privately, and later distributed by ProgQuebec with a sticker affixed with their logo on the back of the digi-pak. As such, there is no history as per protocol for the label.

First entered into the UMR: March 4, 2010 and updated.

Quel Giorno di Uve Rosse ~ Italy

Quel Giorno di Uve Rosse (1976)

Back in the early 1990s, Quel Giorno Di Uve Rosse's sole album made the rounds into progressive rock collector's circles, promising two side long tracks of classic Italian bombast. 

Bzzt! 

Working hard for a good trade to obtain it, the result ended up in disappointment for moi. But I did stick with it, and over time I was satisfied enough to keep it for awhile. A few years later, opportunity struck for me to move it out, and I've never looked back (how Biblical of me...).

So what is the deal with Quel Giorno Di Uve Rosse? The album was released by PCC which stands for Pro Civitate Christiana. Yea, we're talking Catholic Church here. The music provides the background to a Biblical story (I presume) and that which features a multitude of male / female vocalists, all of them quite good I must say. There is also some male narration. It's not a stretch to compare some of Quel Giorno Di Uve Rosse to Latte E Miele's debut Passio Secundum Mattheum, an album also referencing a Biblical story with narration. The rock music displayed here though is considerably softer, pastoral, and much more in the background than the pure Italian progressive rock of Latte e Miele. Plenty of harpsichord and flute as well. So yea, it's something of an Italian holy roller kind of thing I'm sure. But classy and well done. Worth hearing in general music terms, but calling it progressive rock is clearly misleading.

Former ownership: LP: 1976 PCC (Pro Civitate Christiana)
 

Not reissued in any format as I update this post (3/8/25).

10/14/09 (review); 2/22/19 (update / new entry)

Orpheus ~ USA ~ Boston, Massachusetts

Orpheus (1979)

Orpheus were an instrumental jazz fusion band from Boston who managed two albums in a two year time frame. On their debut, they play the familiar tropes of funk, Latin, lounge, borderline disco, and breezy fusion. Nothing outside the box, but the contents within are pleasant enough. While it seems clear this is guitarist Robert Lanter's band - and he gets in a few good licks - the star of the show appears to be bassist Chuck Quinn. He's poppin' his 4 string everywhere - and loud at that. Sometimes even a hint of fuzz. Overall if you enjoy the swinging sounds of The Love Boat era, then Orpheus will check that box for you. Good, but non distinctive. If memory serves, their sophomore effort is better. For another day.

No reissues exist as of 3/8/25.

2/22/19 (review / new entry)

Zthurehz ~ Sweden

Zthürehz (1981)

When you see an unpronounceable band name like Zthürehz, one would presume a Zeuhl masterpiece awaits. Or perhaps some all-out complex prog like Yezda Urfa. So that's what we get here right? Oh God no... Zthürehz were a duo from Sweden who released this one album and then disappeared without a trace. Given the moniker, the album found itself on many a prog want list over the years. And in these enlightened modern times, the mask has now been removed... and it's not pretty.

The album starts off pleasantly enough with a fine instrumental. I was reminded most of fellow countrymen Isildurs Bane on their own 1981 debut Sagan om Ringen, or perhaps even a non-female-vocal Autumn Breeze. Nothing complex, but straightforward rock with a nice melodic structure. We also hear this sound coming from Germany quite a bit in the early 80s. And then... it goes into indie rock mode, not atypical of the rock scene of the era. The bookends of each side provide the interest for progressive rock fans, and the remainder might appeal to the more tolerant neo psych crowd with an early 80s fetish. The blend isn't a good one, as both styles do not mesh well. Seems one or the other will disappoint their fan base. Presuming they had any to begin with... Overall, a decent / OK album from my perspective, nothing more.

No reissues exist as of 3/8/25.

11/4/15 (review); 2/22/19 (update / new entry)

VAK - Budo. 2018 France

On VAK's (stylized as such, though it doesn't appear to be an acronym) 2 EP compilation debut, I wrote: "VAK blossoms from the Eskaton branch of the Zeuhl tree". For VAK's formal debut Budo, it almost seems like a different band. In some ways it is, as there's been quite a bit of personnel change. I'd also mentioned Dun as a reference, and that too is missing - along with the flute that made the comparison. So from that standpoint, Budo is a bit of a disappointment, as they were onto something entirely unique prior.

Or is it a disappointment? Not for hardcore fans of Zeuhl like me. You give me 2 tracks of over 50 minutes of pure Zeuhl, I'm going nowhere. They definitely moved closer to the center of the movement, that of Magma. It's more plodding than the mothership though, and could be called "dense" at times. I was struggling with comparisons throughout my multiple listens. It doesn't have the brass or groove of a Weidorje, but it does have that type of gravitas. And it's certainly not noisy like Shub Niggurath, though again the heavy atmosphere is there. Maybe Jean-Paul Prat is the closest I can get here. So... even though they moved back to the main tree stump of Magma, I think VAK have indeed continued to create something unique.

Ingredients of their sound include the usual Rhodes, synthesizers, and pounding drums. The bass is more foundational than driving, so that's one departure from the norm. There's also wordless female vocals, not abrasive, but also not distinctive enough to move the needle. 'Hquark' does possess a few moments of that familiar Eskaton groove, so they haven't completely given up on their initial direction. And that leads us to 'Au Fond des Creuses', the "short" track at 8 minutes, where they reintroduce the guitar and flute, and brings us back to the greatness of Aedividea. So yes, a 4 star album for certain. And I'm sure future listens will reveal more.

At this point, VAK are one of the leading lights of the current Zeuhl movement, a tad behind Corima perhaps, but ahead of the rest of the pack by a good mile.

Ownership: CD: 2018 Soleil Zeuhl

2/16/19 (new entry)

Vespero & Ángel Ontalva - Carta Marina. 2018 Russia / Spain

Carta Marina is the instrumental collaboration album of Angel Ontalva from Spain and the Russian group Vespero. An interesting pairing, but given that both represent some of the best progressive rock music of the last 15 years, I think this is going to be great album. At least on paper.

And it came to pass that yes - it is. Angel Ontalva is the guitar player, chief composer, and defacto leader of October Equus. Their early albums were something of a psychedelic avant prog combination, a unique juxtaposition of sound. And that psychedelic effect was primarily achieved via Ontalva's heavy fuzz tone, and somewhat unhinged playing, which was the dichotomy against the rest of the band's more structured approach. Enter Vespero, arguably the best space rock band operating in the world today. What separates our friends from Astrakhan from the rest of the pack, is that Vespero is not one just to jam out, and hopefully find a groove or two to explore. But rather the group enjoys composition with their improvisation, plus they add indigenous elements for a truly exotic blend. They are at once a space rock band, yet also progressive rock, and while still paying an occasional homage to Krautrock.

So there's your ingredient label, but how does it taste? Excellent in fact. There's a bit of that "two strong leaders vying for the top position" within these songs, and it's clear the impact of each artist's unique sound. At an hour long, there's an investment of time here, especially considering the first listen doesn't reveal nearly enough. It takes a few hours worth of hearing to let it soak through. There are no obvious highlights here, yet there's nothing worthy of skip button status either. While this isn't the peak album of either camp, the results together are still undeniably great. If either band are on your radar today, then you can't go wrong here.

Ownership: CD: 2018 VMS (Russia). Digifile. VMS stands for Vespero's Mobile Studio.

2/16/19 (new entry)

McCully Workshop - Genesis. 1971 South Africa

McCully Workshop were one of the more well known bands coming out of the late 60s South African psychedelic scene. On their sophomore effort Genesis, the band adopted their psych background and combined that with the then-popular horn rock movement. It's a fascinating blend, as McCully Workshop created something wholly original within a familiar space. The McCully brothers hold down the rhythm section and lead vocals, while new guitarist Bruce Gordon provides the fiery psych toned solos. The key member here is Ian Smith who plays trumpet, flute, flugelhorn, and trombone. They multitracked his instrumental sections, so he sounds like a full horn section! I don't think I've ever heard one person contribute so much brass sounds on a record like this. And the flute sections are sublime.

The compositions are decidedly progressive rock oriented, with multiple tracks carved up in sections very much in the same spirit of the early King Crimson albums. The music itself still has its psychedelic provenance and I was most reminded of The Moody Blues, but with the songwriting of Chicago Transit Authority instead. Very much in line with some of the more progressive oriented UK horn rock bands such as Brainchild, Greatest Show on Earth, and Galliard. If any of these bands push your buttons, then Genesis is a must own.

Personal collection
CD: 2009 Fresh Music

Originals are very rare, much more so than the debut. This CD was my introduction to the album, which I purchased not long after release. It comes complete with full liner notes and masters tape sound. Fresh Music is by far and away the best reissue label from South Africa.

Franco Battiato - Clic. 1974 Italy

Clic is the 4th album from Franco Battiato, and continues to see him experimenting further afield. Battiato's albums to this point were rather odd in themselves. I find it hard to describe his music, and partially that's because I haven't taken the proper time to digest them. But the other reason is his music is somewhat disorienting. It's not really what one would call "weird" (for those of us who listen to these type of albums on a regular basis of course, not the general public). The best word for Battiato's music at this stage of the game is "alien". It's not exactly memorable in the traditional sense, but it does have sensory impact.

And Clic is just oozing with otherworldly atmosphere. It's primitive really, calling on the early classical electronic genre such as Battiato's idol Karlheinz Stockhausen. But it's not academic. The field tapes alone are really quite eerie. Some albums where I get this same vibe are Pierrot Lunaire's Gudrun, Algarnas Tradgard, and Picchio dal Pozzo's debut. And even Jumbo's Vietato... primarily because Battiato guests on that album and brings his trusty VCS3 along, the instrument responsible for much of the mystery. Overall a superb album when in the right mood. Bring an open mind - and maybe your space helmet too.

Personal collection
CD: 1998 Ricordi/BMG

My first introduction to Clic, like for many people, was the UK LP version on Island. Turns out that's a completely different album! More on that for another day (I still have that exact LP). According to my database, I first bought this CD in 2002, and that was my introduction to the proper release. I don't think I've heard it since, and I had no recollection of the contents within. Let's see if this deep dive will stick for the next listen. Hopefully not 17 years later...

The CD itself is a bare bones "straight" reissue. I thought I heard traces of vinyl sound as well.

Rejoice. 1997 Germany

In today's world, many a budding group releases their demo - or perhaps a fully produced and realized album - on a website such as bandcamp. Often times this can result in a broader release as some enterprising LP or CD label will hear it, and then will sign a contract to release the album in physical form. In the 1990s, this was also done, but via the "demo tape" (not in the 70s sense of the word). So bands had to target their (small grassroots) labels rather than have it the other way around. Enter Mauro Moroni and his Mellow label. He was a pioneer in this process, and managed to release on CD many such endeavors from around the world, which otherwise may never had reached anyone's ears beyond the group themselves. Of these groups, Rejoice has to be one of the label's big winners.

Rejoice were a German band with quite a heritage, which we will cover here in a minute. Their brand of instrumental music is a familiar one for fans of German prog rock - that of the keyboard/drums duo. Bands such as Twogether, Sixty Nine, Minus Two, and Magma are but a few examples of this. In addition to that, the keyboardist also doubles on guitar, which takes the music closer to SFF realms. And the sound is decidedly retro, with mostly analog equipment. So if 6 long tracks of primo instrumental prog rock - that sounds like it was from 1976 - sounds alluring, then this one-off from Rejoice is a must pickup.

So who is this mythical keyboard guy? None other than Martin Ziegler. Who you ask? Well, he was the ivory tickler on that most anachronistic second Moira album from 1984, aka Reise Nacht Ixtlan - an album that still is shrouded in mystery even though I was asking the hard questions about it all the way back to 2001. And then we learn the drummer is Rudi Leichtle. Who you ask? Well... he was the drummer on that most surprising album Dryve by The Perotic Theatre, it too a pseudo-retro prog album that I have a review up for already. So there it is, two obscuro artists releasing an obscuro album. Imagine that? Some people are destined that way. But one day they will be rediscovered properly. Don't miss this one.

Ownership: CD: 1997 Mellow. Fine new album jewel case layout with original photographs. Purchased online new upon release.

Rollsplytt ~ Germany

Flappergranny (1982)

Rollsplytt were a band from Germany that remains a complete unknown as I write this. They released this one album, with the intriguing name of Flappergranny (what can that possibly even mean?*) back in 1982. And it sounds every bit of its era. To my ears at least, Rollsplytt has their heart in the Synth Pop movement, but didn't realize that they needed a vocalist, and maybe a few catchy tunes to work with. They are rhythmically uninteresting, but the instrumentation on top is really quite accomplished. Primarily keyboards, guitars, and a smattering of reeds which conjure up some splendid melodies. In this way I was most reminded of fellow countrymen Rousseau, minus the obvious affection for progressive rock. But Rollsplytt managed to accomplish a similar sound on what seems like an accident. This is a good one that needed a few more ideas and instrumentation to flesh out these tracks a bit. Well worth your time to investigate.

*- So let's take a stab at this. My grandmother was a professional Vaudeville musician, and she was also known as a "Flapper Girl", which was a term / style for liberated women in post World War I. In looking at that cover, perhaps that's the reference - an older woman who did not let go of that era. But I don't think "Flappergranny" is the name for that...

Not reissued as of 3/8/25.

11/6/15 (review); 2/15/19 (update / new entry)

Gilgamesh - Arriving Twice. 1975 England (archival)

When I first picked up the LP of In the Land of Grey and Pink by Caravan at the tender age of 19, I had become an instant Canterbury fan. One that carries to this day. Throughout the remainder of the 1980s I bought everything I could that was related to the genre. Of all the major bands from the scene, Gilgamesh was decidedly my least favorite. I just couldn't understand the allure here.

In 2000, even though I'd already waved off the first 2 studio albums, Cuneiform released Arriving Twice. This CD promised to be for Canterbury fans who didn't like Gilgamesh. It was rawer, more rocked out. I bit that bait hard - and found myself flopping in the boat barely breathing, getting prepared to become suppertime. To me, it was the same ole Gilgamesh. What is with this band and why does everyone say they are so great? I don't get it I plea'd! ...Sold.

Well it's 18+ years later, and I haven't heard Gilgamesh since then. Here comes the ever present cheap CD copy wafting by. "Try me again?" it flirts. Yes, CDs and LPs talk to me. I was just explaining that to some nice lady in a white coat the other day. "Yea, sure, OK why not?" I replied.

After hearing the opener 'With Lady and Friend" I'm saying to myself what the hell Tomas, that's exactly what I love about Canterbury! Fuzz organ and raw guitar, just as it is written in the Bible. But it was fleeting and the 18 minute 'You're Disguised' pops in and then I started to hear the Gilgamesh I was more familiar with. But.... I like it now. And why is that? Well it's true that Gilgamesh aren't my favorite sort of Canterbury. They are very much coming from the improvisational jazz wing of the school, and they don't always rock out as I would prefer. But if taking Gilgamesh as a jazz rock fusion band, rather than pure Canterbury, the contents are easier to digest. I've said it many times, but setting expectations is a dangerous thing to do. When I was younger and money more scarce, each dollar had to count. I didn't want mediocre, I wanted greatness every time! The problem there is I was bringing my filter, rather than letting the music come to me.

There's close to an hour of material here, almost all of it very good. Much of the contents are variations of what showed up on the debut album with a few unreleased tracks thrown in at the end. Obviously at some point I need to revisit their two albums again as well. Enjoyable on the whole for certain.

Personal collection
CD: 2000 Cuneiform (USA)

Fantastic archival issue with full liner notes giving the complete musical history of Alan Gowen and the genesis of Gilgamesh, covering the years of 1966 to 1974. Excellent sound as well for this sort of thing.

Minoru Muraoka and New Dimension Group ~ Japan

Lupus (1974)

Minoru Muraoka is a famous shakuhachi (a type of bamboo flute) player in his native Japan. In modern times, a couple of his 1970 albums had found fame with the DJ beatdigger crowd (Bamboo, Osorezan). I haven't heard either, but judging by what I've read, they contain the usual mix of cover tunes and originals mixed with traditional indigenous music. For Lupus, Minoru Muraoka (technically this was released with his New Dimension group) takes the entire concept to its experimental conclusion.

When hearing Lupus, the two terms that came to mind were New Age and psychedelic freakout. Now there's something you probably hadn't thought of before. Of course the former is something of a response to radicalism in music. But in its earliest days, before it had become strictly the music of bored housewives at the spa, New Age promised a cultural and generational mix of sounds. And you get that with Minoru Muraoka almost by default. But what of this freakout aspect? Well consider that most of the instruments here are wired up to some sort of wah wah pedal, and the music takes on a trance like status. There's only the electric bass that represents the West, but it's a key performer driving the music in multiple exciting ways. A very unique blend, one that I hadn't heard prior to this album.

The second side more or less drops any kind of rock elements, though still is quite fascinating. The opening track with the theatrical female voice recalls J. A. Seazer, whereas the other two settle things down with some meditative classical Japanese music.

Muraoka was already 50 years old at the time of this release, meaning he was already a suffering young man during the terrors of World War II. Clearly an enlightened soul, though it's not likely he was into rock so much as he enjoyed the sounds that were emanating from his beloved instruments of old.

So there you have it, a New Age psych freakout for side 1, and a more traditional side 2. Perhaps most interesting is that it was recorded live in front of what is likely to have been an older crowd, who responded quite enthusiastically to the entire affair. Historically speaking, Lupus was way ahead of its time. Worth checking out.

Like most Japanese music from the early 70s that mixed with rock and jazz, Lupus is painfully obscure and rare. These are albums that are still being discovered even within Japan itself. No reissues exist (as of 3/8/25). This would be one worth pursuing, as even though it's not a stone classic, it is entirely unique and satisfying.

11/11/15 (review); 2/15/19 (update / new entry)

Kings' Boards. 1990 Japan

Recorded and released in the heyday of the Japanese progressive rock movement, Kings' Boards pulls together 5 ivory ticklers and pairs them with a hodgepodge of rhythm sections, for what can only be considered an instrumental progressive rock extravaganza. In many quarters, you will see this album released as the band Kings' Boards, but I don't think that's correct. It's a compilation very much in spirit to those on Musea or Colossus. That is to say, all new material recorded for the sole purpose of this one album.

The liner notes are telling if you're still unsure what you are getting into here. Instead of favorite Playmate, each one is asked to choose a favorite keyboardist. Keith Emerson wins with 2, and Tony Banks and Vangelis each got one vote. Only Motoi Sakuraba went outside the box and chose Japanese jazz pianist Kei Akagi.

As for the music, the main draw here is Naomi Miura, who was with the cutesy semi-prog band Rosalia at the time (who only managed an EP in their day). This is anything but cute, and the music has a distinct dark edge with lots of mellotron, Mini Moog, and wedgy twisted fuzzy organ. She is in fact predicting the rise of Ars Nova 2 years ahead of time.

The other track I quite like comes from Shigetomo Hashimoto, who was with a band called Ashule. I vaguely recall that name from back then, and RYM shows 2 unrated releases. If I recall correctly they were tape traded pretty heavily but never managed to release anything formally.

Of course the Motoi Sakuraba track that opens the disc is fantastic, but it was also released on his own debut Gikyokuonsou (which we've reviewed prior), and this now becomes redundant. But if you don't have that already, then you're in for a treat.

The last 2 tracks are good not great. Manabu Kokado is from White Fang, a band who also only managed one release (Crimson Waves). I never did hear it, but if memory serves they mixed glam metal with extended prog rock compositions - it wasn't such a bizarre concept in those days as it may sound now. The last one comes from Social Tension's Kodomo Endo, and his contribution here is a long way (unfortunately) from his Hammond fueled band.

One of the unique twists here is the mix of the rhythm sections. Mostly they were provided from members of Social Tension and White Fang, as well as the very obscure act Seilane, who I know nothing about.

CD: 1990 Made in Japan

I bought this CD not long after release. There isn't actually a copyright date anywhere, including the obi, which is highly unusual. The recording took place in the summer of 1990. My database shows I bought it in late 1991. So it's in that window for certain. The prevailing ruling is 1990, so we'll go with that.

Even though this CD is now quite rare, it's not super expensive like many from this time and place. Worth seeking out for hardcore keyboard gear heads.

Architectural Metaphor - Odysseum Galacti. 1988 / 1994 USA-Massachusetts

The early 90s were an exciting time for us fans of unhinged space rock. After years of dormancy, the style was beginning a new renaissance, and bands were coming from all corners of the Earth to display their unique talents. Enter Boston's Architectural Metaphor, a band that continues to operate today in one form or fashion.

I had purchased this CD not long after it first became available, on the promises of a modern Ash Ra Tempel and the like. As was often the case back then, disappointment ensued, as this is quite a ways from the original cosmic Krautrock sound. Dutifully I picked up their second album Creature of the Velvet Void some three years later, and filed both away. At some point not long after that, while doing some weeding out of the collection, Odysseum Galacti came up as a candidate, listened - and decided to sell. Gone. And that was my Architectural Metaphor story...

...Until three years ago when the aforementioned Creature of the Velvet Void was rediscovered hiding deep in my collection. I was mightily impressed, and grateful I'd kept it (notes under that entry). In addition I re-added the band to my ever growing want list for the off chance a bargain copy of any of their other CDs would waft under my nose. And that day has come.

So what of Odysseum Galacti and did I let a monstrously great album slip through my fingers in a fit of housekeeping? Well... no. I can understand why I let this one fly. However, my lower rating was considerably off, probably a rationalization of my actions back then. So let's get to the music here (that would be good of you, Genius Hans). The majority of the album was actually recorded in 1988. It's pretty sludgy stuff when one considers the fuzzy guitars and synthesizers and not-so-great production. Then there's the small matter that most of the percussion is of the drum-machine variety. Eck. Still, not all is lost here, and some of these tracks jam rather nicely, especially the final two 'Anu' and 'We've Come For Your Children'. If looking for comparisons here, I'd say Milwaukee's F/i would be a good starting point. The best is saved for last though, as the two live tracks are both from 1994, and the pared down trio has improved leaps and bounds, and real drums are now in play. Deb Young is gaining confidence behind the kit, and her space whisperer voice is becoming more crucial to their sound. One can easily see why their sophomore effort was so much better. 

Ownership: CD: 1994 ArcMet. Jewel case. Booklet with recording details and photos.

1994 (first listen); 2/15/19 (review / new entry); 10/21/24

Fractals ~ England

Fractals (1986)

Fractals were an obscure fusion band from the Oxford area who released this one album, and even today, almost nothing is known about them. What we do know is the rhythm section is none other than the same duo that performed on Red, one of my all-time favorite instrumental 80s prog albums. However, without the fiery guitar of Dennis Fitzgibbons or the fascinating New Wave sounding synthesizers, the rhythm section is left to support a rather mundane instrumental jazz fusion album. The sound is purely 1986 with warm bass tones and extremely lightweight amplified guitar. The album has absolutely zero edge. The compositions are a mix of the trite and the complex, and if there were some rock elements added, the album most assuredly would have been better received by the underground. But as it stands, this one is strictly for middle 80s fusion heads. File under average.

No reissues exist as of 3/8/25.

11/9/15 (review); 2/15/19 (update / new entry)

Malady - Toinen Toista. 2018 Finland

Toinen Toista is the sophomore album from Malady, and is largely an extension of the debut. As I stated on the notes for that debut, Malady is a band that have truly captured the sound and essence of the early 1970s. And they are defiantly Finnish at that, so the country's own progressive rock heritage is brought to the fore. Like their ancestors, Malady are not in a hurry to prove a point, but rather they invite you into their world, with strange shapes, dynamics, and colors.

The opening title track tells the whole story of the album in musical terms, so if that's not going to draw you in, might as well skip this title and head to the next one in your stack. 'Laulu Sisaruksille' is the now-requisite short introspective number with shards of mellotron and classical stringed instruments. 'Tiedon Kehtolaulu' is the highlight for me, providing a potential soundtrack to your dream vacation touring the countryside of Finland. It also underscores how much Malady should add flute as a permanent instrument. While listening to this track, you will see images of a pretty girl with long auburn hair and slanted eyes. I actually saw her come out of my CD player. Neat huh? 

'Etsijän Elinehto' is a very good track, but ultimately faceless in comparison. The 23 minute 'Nurja Puoli' almost takes us to the next level, with some stunning guitar melodies weaved into the multi-part harmonic track segments. Oddly I was reminded of Trettioariga Kriget's 'Krigssang' side-longer. I say almost, because the last 6 minutes or so took away the full enjoyment for me, with chorus' sounding like Pink Floyd through a - oh nooooooooooo - Radiohead filter. They tipped their hand that they have indeed experienced the 90s. But hey, Radiohead has the greatest album of all time according to RYM. It just boggles the mind really. Tragedy of the commons indeed. Oh well, we won't let one singular lapse in judgment spoil all the fun. Still a great track as well as an overall excellent retro prog album.

Ownership: CD: 2018 Svart. Jewel case with an 8 page booklet. Has photos and lyrics, the latter not going to be much help if you don't speak the local language.

2/7/19 (new entry)

November - 2:a November. 1971 Sweden

November's second album is very much a continuation of their debut. Gone is the occasional flute, and added is some sparse piano and organ provided by the producer. But otherwise this is straight-up power trio hard rock of the bluesy variety. Not as heavy as Black Sabbath nor as energetic as live Cream or Led Zeppelin, but well within those confines - with Swedish vocals. For fans of the language in song (like myself) this creates a bit of positive separation for November.

Historically, the band got caught in the web of the "Progg" movement in Sweden, who were basically far leftist, Communists in Sweden who expected blind loyalty to the cause. November wanted nothing to do with it, and were far more interested in just playing music. Especially "heavy and fast" as the band recollects. Like a lot of such movements, they ended up being more damaging than helpful, and the band were able to squeeze out one more (great) album before splintering into other excellent - and more progressive - outfits such as Saga and Energy.

Ownership: LP: 1971 Sonet. Inexplicably I didn't own this title until recently, including the relatively easy to find CD. When a NM copy was floated my way online (not cheap), I had to splurge (2019). Comes in a beautiful gatefold cover. 

2/7/19 (new entry)

Skeptic Sense - Presence of Mind +++. 1994 Germany

Skeptic Sense were a band from Ravensburg in southern Germany who released this one incredibly obscure CD and then disappeared without a trace. The story is a familiar one. The label they signed with goes into bankruptcy right at the point of release. No promotion, no wholesale, no reviews, no anything. Even for fans of the style, there would have been little chance to know about this release unless you were tied to the band in some way. It wasn't until years later, the album was rediscovered by deep divers.

Skeptic Sense is a bullseye for the technical thrash metal genre. Imagine Watchtower's Energetic Disassembly and Sieges Even's Life Cycles thrown into a blender. Mix. Pour into a baking dish and let dry. Then cut that up, toss it onto the floor, and then randomly put it back together. That's the sound of Presence of Mind. It's not easy to keep up, and for certain you will have no idea where the music is going. It's 60 minutes of music packed into 33. But the music is definitely heavy, and they do manage to hit a groove here and there, so it's not entirely disjointed liked a spliced tape or something. The tracks do seem composed, perhaps even charted, and the vocals are of the high pitched ball squeezer variety. Fair warning.

These kind of albums grow with age, and multiple listens reveal more each and every time. Well worth ownership status.

Mind Versus Soul contains the entire 1994 Presence of Mind album noted above + the Harmony of Souls (1991) and Demonstration I (1990) cassette tape releases.

The music on the earlier cassettes is, not surprisingly, very similar to the Presence of Mind album. Perhaps a bit more straightforward with less variation among the instrumentation, and a bit heavier/rawer. It's likely these earlier albums are easier to digest for more traditional heavy metal fans, but still quite challenging. Even though all the tracks save 'Last Moments' (from Demonstration) found their way onto the later CD, there's enough variation among them to appreciate each version. For example 'Norm Always Wins' is on all 3, and yet it's hard to recognize. Of course music like this is hard to recognize from the get. We're miles from verse-chorus-verse-solo-chorus sequences here.

All in all a great anthology, and for fans of technical thrash, this is a must find.

Personal collection
CD: 2016 Divebomb (USA)

The booklet is loaded with historical liners (extracted via interview with the band), photos, newspaper articles, and lyrics.

Jacobs Dream - Drama of the Ages. 2005 USA-Ohio

Until late last year, I had never even heard of the grammatically incorrect Jacobs Dream. A few years ago, I bought a pile of metal CDs (all new or barely used) for $1 to $2 each, and stuck them in a drawer. Somehow I ended up with the first 3 Jacobs Dream albums. After hearing and enjoying the first one, I pulled the other 2 out for a higher priority than "tossed in a container forever" status.  Of the CDs from that pile, some were hardly worth the pennies I paid. But Jacobs Dream is exactly the gem in the rough I was looking for.

As I noted on the debut, Jacobs Dream takes the premise of the Queensryche EP and runs with it. They are much heavier than our friends from Seattle were to become, and on the first two albums, singer David Taylor did a fine job at emulating Geoff Tate - himself imitating Rob Halford to an extent. For Drama of the Ages, Taylor is gone and Chaz Bond has taken the mic (cool name, eh?). His vocals are a bit disorienting at first, lower in register than Taylor, but still the Tate-isms are in play. Musically Jacobs Dream remain similar. They are not really progressive metal, but they have progressive elements, similar to the older vintage metal bands. The music is certainly heavy, and there are twists and turns within each track - and some sparse synthesizers. Miles away from the gymnastic Dream Theater school, Jacobs Dream provides you plenty of room for good old fashioned headbanging. Lyrically the band is becoming more and more overtly Christian. You would never know it by the music though. This is not praise-be-to-the-heavens hymnal work. But rather a different subject matter than what you might initially think hearing the music only.

This ended the three album run on America's preeminent heavy label Metal Blade. The fact that you can still find sealed copies for under $5 tells me the band weren't a big seller, despite the high quality and consistently great reviews from metal critics. From here the band began to self-release and later joined the Christian metal label roster of Retroactive. If any of these albums roam past my wire for a good price, I'm buying.

Ownership: CD: 2005 Metal Blade. Jewel case with lyric booklet.

2/8/19 (new entry)

An Overdose of Heavy Psych.

Well... this CD gives the buyer exactly what it says on the tin: An overdose of heavy psych. 25 psych singles (mostly singles anyway) from late 1960s North America, with an abundance of fuzz guitar being the glue that holds this one together. Unlike many compilations that have extreme highs - and lows - this one is remarkably consistent. I would argue that 95% of the material here falls within the very good to excellent category, and if you're a fan predisposed towards the fuzzy side of psych (oh you know - like me), then this is a compilation you'll want to pursue. The lowest point would be IRA, only because they ape Hendrix note for note, but still a good track. The sublime highlights include the relatively lengthy Glass Sun from Michigan, which demonstrates more ideas and a light progressive slant - and The Firebirds' 'No Tomorrows' which is about as heavy as anything released by this date, challenging Blue Cheer for California bestial supremacy. This latter band, and its pseudonym The 31 Flavors, is a revelation for me. I had seen this album for years, saw the title Light My Fire, and just presumed it was another exploito covers album. Well it was an exploitation album technically, but they didn't cover The Doors hit, and these 6 tracks prove that they were a very enlightening studio backup outfit.

CD: 1997 Arf! Arf!

Usual great job with a full booklet detailing what the author knew about the bands as of 1997. The sound quality ranges from masters tape to scratchy 45s from his collection.

Terry Masters ~ USA ~ Minneapolis, Minnesota

Thesaurus (197?)

We have quite the discovery to share today! It's been a long time, going back to the CDRWL days, that we had something this much fun to share. This one was discovered the old fashioned way - me taking a chance by buying the vinyl online. Score!

So who is Terry Masters anyway? Well if you start digging around the ole' World Wide Web, you'll discover that he had one 45 released under the avoid-at-all-costs name of Terry Masters at the Organ. You can hear one of the three tracks on YouTube (not bad really, guessing a 1970 provenance). Beyond that, what you'll find is Masters was basically a nightclub crooner. You can see and hear live clips on YouTube from 1983 of him sitting at the keyboards and singing Hall & Oates, Bob Seger, that sort of thing. Apparently he was playing Vegas shows, as well as performing lounge music in his native Minneapolis. This ties in with the narrative we then read on the back of this private press (which shows a forlorn Masters in a toga made from what looks like an old bathrobe): "Many people ask Terry to do the music he really enjoys, but limited to dance music on the job, he is not always able to play from the heart. Now, accompanied by John Calder on the drums, Terry creates the music everyone has requested and shows his great versatility on the organ, bass and mellotron. We hope this completely instrumental and spontaneous album will give you a new insight into the "other  side" of Terry Masters."

Ummm... something tells me this isn't what his fan base had in mind. When I purchased the LP, the seller fortunately photo'd the back cover so I could read the above quote. Without that I would not have taken the chance. An instrumental album with mellotron can't be that bad I figured. I actually thought this was going to be an electronic rock album with drums, similar to perhaps Klaus Schulze on Moondawn, but without synthesizers and more organ. Nope. It's an instrumental prog rock album all the way! Just two side long excursions titled rather predictably 'Thesaurus I' and 'Thesaurus II'.  The music is very free form, loose in structure, but not noisy or avant-garde in the slightest. It's very engaging I must say. And it is absolutely slathered in mellotron. I don't think it's an exaggeration to say this album has more mellotron than any 1970s era album discovered in the last 20 years. The album really has no obvious comparisons. Of course one could pull out ELP as a desperate attempt, but that's really scratching the surface. Probably the closest comparison I can come up with is Siloah on Sukram Gurk, but more professional sounding than that would imply. Perhaps also The Trip at the time of Caronte, if one considers the instrumental work, and replaces guitar for mellotron. John Calder is going nuts on the drum kit, playing in an almost jazzy manner, but clearly on amphetamines. Calder incidentally was the drummer for none other than Podipto, a relatively well known country rock band from northern Minnesota who had one major label release in 1970.

Finding info about this album is nigh impossible, though there have been a handful of sales on ebay, as archived by Popsike. Mostly not expensive either. One dealer called it "folk psych", clearly they did not take the time to hear the album, as it is of course, neither. Other auctions call it a "synth" album. None of those either (though some people do erroneously call a mellotron a "synth").

An album truly out of nowhere. Not brilliant or the greatest lost album of our time, but certainly excellent on the whole. If for nothing else, worth hearing for its unique sound crafted inside a more familiar terrain. Sadly, Terry Masters passed away in the summer of 2018. Hopefully he got to tell his story to someone, or wrote it down somewhere. I certainly would like to know more.

There is no date listed anywhere on the LP. Judging by his look, the way the album is presented, and the instrumentation, I would think 1973 is about right. Perhaps 1975 as heartland America always had these nutty outliers. But these are pure guesses on my part.

Ownership: Tektra (LP). Brown textured single sleeve with indented red lettering.

No reissues as I update this post (3/8/25).

2/2/19 ( review / new entry); 1/3/22 (update)

Walter Wegmuller - Tarot. 1973 Germany / Switzerland

The Kosmische label was originally intended to feature avant garde philosophers, artists, and other intellectuals musically backed by the stable of bands on Rolf-Ulrich Kaiser's Ohr label. First up was the exiled American Timothy Leary, the Harvard professor most known as a major advocate for LSD, and at that point an escaped prisoner living in Switzerland. He was then joined by Ash Ra Tempel for their infamous LSD spiked Seven Up album. After this experience, two other local Swiss underground poets and painters arrived on the scene: Sergius Golowin and, our topic at hand today, Walter Wegmuller. Both of these artists were surrounded not only by Ash Ra Tempel, but also Wallenstein, Walter Westrupp, Bernd Witthuser, and whoever else they could find hanging around. These 2 albums are arguably much better and more focused than Seven Up.

In some ways, I would submit, Tarot is the ultimate cosmic Krautrock album - the apex of the entire movement. Which is not the same thing as saying it's the greatest Krautrock album. Far from it, though still brilliant on the whole. When one reviews the entire cosmic wing of German rock to that point in history, it would seem Tarot was the realization of their mental fiction. Combine the 2 album extravaganza with the incredible original packaging (see Personal Collection section below), and the results are almost overwhelming on first exposure.

On the music front, there aren't too many surprises if you're already familiar with the Cosmic Courier clan. This is space rock of the highest order, with the high octane cosmic blues of Ash Ra Tempel combined with the symphonic progressive sounds of Wallenstein. The stars of the album are Enke on wah wah rhythm guitar, Gottsching on lead guitar, Grosskopf's energetic drum kit work, and Dollase's keyboards, most notably piano and mellotron. Throughout the album you'll hear Wegmuller droning in German, sounding as if he's reciting an incantation, giving the album an entirely eerie feeling. Overall it's a dark sounding album with occasional bursts of light generally provided by the fine piano work. This is a mandatory listen for cosmic Krautrock freaks, and likely to draw curious interest even from those who are unfamiliar with the genre.

After these 3 albums, the Kaiser really lost his mind in Timothy Leary fashion, and expanded his label beyond the original premise. In addition to some legitimate albums from Ash Ra Tempel, Wallenstein, Popol Vuh, Mythos, Klaus Schulze, and Witthuser/Westrupp, there were the infamous Cosmic Joker sessions, released without the musicians consent. Unfortunate for them, though it must be said a gift to music fans worldwide. Pity it wasn't handled correctly though. Edgar Froese, for his part, called the whole label movement a "Cosmic Circus" and refused to be associated with it, which is why Tangerine Dream's Atem was released on Ohr instead, even though the Kaiser had essentially shut the label down by then.

Ownership: LP: 1973 Die Kosmischen Kuriere One of only 3 albums on the Die Kosmischen Kuriere label, which was later changed to the more familiar Kosmische Musik. The LP package is nothing short of magnificent. Comes in a tin foil box, similar to how large classical albums were released back then. In addition to the 2 LP's you get a sheet of Tarot cards - each painted by Wegmuller himself and mass produced. Also there's a series of Biography cards and information regarding the release. A few years ago (2013) I bought on ebay a dead stock unsold original copy from the 70s. It certainly wasn't cheap, but a great deal considering what a stone mint copy goes for today (there's probably only one handful in the world like mine, I would imagine).

CD: 1994 Spalax (France). The first press Spalax CD does a great job at trying their hand at replicating the original LP. Ironic in that the label is generally bare bones at best. But they poured all of their profits into this release. Instead of a square box, they released a rectangular box, that comes with a full 2 CD digi-pak, a booklet containing what the "cards" above had, and this time a full deck of Wegmuller's painted playing cards (verse the sheet of the the original). Extraordinary. There's no better LP and CD combination, from a packaging perspective, in my collection today. Later the CD was released only with the digi-pak. 

My first LP copy was a mail order acquisition (1991) on the Italian PDU label (1976), and is a fine 2 LP gatefold. 

1991; 2/1/19 (new entry)