Serene. 1981 Germany

Serene's sole album is a type of straightforward rock with light prog embellishments. Typical of the time and place, Serene's album is littered with heavily accented English vocals, when German would have probably suited better. There's some nice Hammond organ work here that contains a wide open and spacious sound. I hear late 70s Novalis as an obvious influence with some nods to Eloy's lesser progressive efforts. A harmless 40 minutes, but not disturbing. Nice album cover.

cd-r

Birth Control - Backdoor Possibilities. 1976 Germany

One thing is certain: Birth Control are one of those bands that is likely to elicit plenty of polarizing opinions. It's odd that they seem to draw the ire more than others, as really Birth Control follow a very familiar path in Germany. If one is to study the German rock scene of the 1970s, a pattern emerges. Like many bands from there, Birth Control got started in the late 60s and began recording in the 1970/71 time frame. And like their fellow brethren, they started out more as a hard rock act. With Birth Control they were more geared toward a North American sound verse what we now would call Krautrock, but they weren't radically different either. Only a few bands from this initial explosion made it too far out of the gate before collapsing. And Birth Control were one of them.

So who were Birth Control's peers in both sound and success? Jane, Eloy, and Grobschnitt to name but a few. And each had a similar trajectory from hard rock in the early 70s (some with more Kraut-y aspects, especially Grobschnitt) to progressive rock in the mid 70s, and most of the bands then adopted a commercial sound by the latter end of the decade and the early 80s.

Birth Control were a little slower to embrace progressive rock, and stayed with hard rock longer than most. When one hears Birth Control Live from 1974, it appears Deep Purple was their blueprint. But prior to that - on Rebirth - Birth Control were dabbling with commercial music, even horn rock of all things. Then came Plastic People and the prog rock tendencies really started to come to the fore. The followup is Backdoor Possibilities, and it's here that Birth Control gave us their one and only fully fledged prog rock extravaganza. And they did not disappoint. It's an album that is disorienting more from the expectation one predicts from the band. This was certainly my own issue, not fully grasping where they were coming from. But had they been one of the countless German progressive rock bands that showed up in the mid 70s for the first time, then it would be easier to appreciate on initial impact. This isn't what we associate with Krautrock at all, but rather the symphonic prog of the era. Unfortunately Birth Control didn't enjoy great results real time, and did what everyone else was doing in Germany - they moved onto simpler more commercial realms. Eventually they recovered their Krautrock past some 25 years later, but by then they were remembered only by a loyal few.

I recently upgraded to the 2011 Boutique (UK) version that includes a full second disc dedicated to a live show in 1976. There's also 3 live tracks appended to disc 1 from another show in 1977. These latter tracks have appeared as various bonus tracks elsewhere, but it's nice to get them here in one place. To be honest, they are the better of the bonus tracks found here. The Sartory show, while certainly of interest musically, is not very well recorded. So I'd submit it's not worth getting only for this reason, but if you don't already own the CD, or it comes across cheap (as it did for me), it's worth upgrading - if only to get the 3 live tracks from 1977.

Ownership: LP: 1976 Brain; CD: 2011 Boutique (UK). LP is a recent online acquisition, just 5 months after posting this. Comes in a fine gatefold cover. First pressings are on the green label, but without Metronome, and that's what I have. The CD is a double set as mentioned above. The booklet contains photos, concert posters, and photocopies of reviews in German. Also has the original gatefold inner with lyrics (that you can barely see). There's no essay. Overall a good, but not great, package.

1/23/20 (new entry); 6/24/20 (LP acquired)

Kozmic Muffin - Space Between Grief and Comfort. 1997 Spain

Kozmic Muffin are one of those hidden gems that I have buried deep in my collection. In addition to that, it's been so long since I heard either of their albums, that I had totally forgotten what they sounded like. I had it in my mind they were a modern space rock band. Wrong!

Kozmic Muffin are from Galicia, in the far northwest of Spain. Like their location, their sound is miles from anything one would normally associate with the country. But the group took this even further - and went backwards in time by about 25 years. What we have here is the sound of England circa 1971. The familiar labels such as Vertigo, Transatlantic, Neon and Dawn - and the progressive rock bands that were on those labels. Heavy organ, acid guitar, dense compositions, and wild vocals is what you get. Concerning the latter, one will hear Peter Hammill, Peter Gabriel, or Jose Carlos Molina (Ñu) when ranting in Spanish (though mostly the album is in English naturally enough). This is total retro prog. But released long before Areknames, Diagonal, Astra, and many others. And just as great too! I cannot imagine why Kozmic Muffin did not hit me hard at the time, but finally some 23 years later, I realize how great this album really is. And it was released a few years ahead of its time, ironic given their disposition as a retro band. But that craze came about more in the next decade, not the 90s. I'm excited to hear again their debut Nautilus, also sitting quietly in the collection gathering dust. That day will be coming soon enough though.

Ownership: CD: 1997 Man. Purchased new upon release.

1/23/20 (new entry)

The Mandrake Memorial - Puzzle. 1969 USA-Pennsylvania

Side 2 of the previous album Medium was a harbinger of things to come for The Mandrake Memorial. Gone is the trademark electric harpsichord and its place is the guitar trio - with a fully staffed choir and orchestra in tow. The conventional psychedelic songs are undoubtedly The Mandrake Memorial of the first two albums, but the other tracks show the band pushing the boundaries of rock into exciting new directions, oddly reminding me some of Pink Floyd's 'Atom Heart Mother' suite that had yet to appear. Guitarist Craig Anderton's growing interest in electronics is given a test drive on 'Bucket of Air' - a splendid display of proto Kosmiche Krautrock if there ever was one. Overall, it's definitely an experimental record, and one that did not result in commercial success for the band. The subsequent 45 single sees The Mandrake Memorial heading back towards the middle - not sure where else they could have gone honestly - and then decided to hang it up, having accomplished a great deal in only 2 short years.

Ownership: LP: 1969 Poppy; CD: 1996 Collectables. The original gatefold features a fetching Escher cover (House of Stairs from 1951), and comes with a cool circular insert, which is often missing (fortunately I have it). On the CD, Puzzle adds in the original LP liner notes which are in Dutch and likely come from Escher himself. In addition, the CD has both sides of their final 45 single as a bonus. They also inexplicably "colored in" the Escher sketch - who knows why?

7/5/14

The Mandrake Memorial - Medium. 1968 USA-Pennsylvania

Side 1 of Medium sees The Mandrake Memorial taking a step back as they try to define their sound to a finer point. There's more of a downer folk blues sound going on, though its still psych based. There's still plenty of phasing and fuzz guitar here, along with the prevailing electric harpsichord. Side 2 definitely takes the straight jacket off, and the band spreads their wings further into longer compositions and creative instrumentals - peaking on the 6 minute instrumental 'Barnaby Plum'. A mixed album, with a much greater discrepancy - both at the top and from the bottom.

Ownership: CD: 1996 Collectables. Full biography, but the same as on the other 2 album reissues.

7/4/14

The Mandrake Memorial. 1968 USA-Pennsylvania

Philadelphia based The Mandrake Memorial began their career as a psychedelic pop group, with the distinction that all the songs here feature distant "lost" vocals and electric harpsichord. There's a certain sameness to their sound throughout. The music is every bit of its era, practically defining 1968 for us. The best tracks, naturally enough for a group existing in the psych world, are those that feature biting fuzz guitar licks such as heard on 'Here I Am', 'Dark Lady', and 'Strange'. Closer 'Sunday Noon' sounds like The Mandrake Memorial covering The Doors. And it's just as great as that might sound.

Ownership: CD: 1996 Collectables. I first bought the debut LP back in 1990, appropriately enough, while in Philadelphia (with collector Jeff Baker, who I understand is no longer with us). I replaced that as soon as the CD hit the market. The debut sold well (over 100,000 copies according to the CD liner notes), especially within the local Northeast Philly/NYC/Boston market, and thus finding an original isn't too hard. If I see it again, I'll keep it this time.

7/3/14

Nicholas Greenwood - Cold Cuts. 1972 England

Nicholas Greenwood's only solo album is a type of heavy organ rock with flute, guitar, strings, and orchestra. Somewhere between the complexity of his former band Khan, the heaviness of Deep Purple, the artiness of Second Hand, and the proto prog of Locomotive. Excellent album throughout, though nothing bedazzles quite like the 3 part opener 'A Sea of Holy Pleasures', which is brilliant.

Ownership: CD: 2004 Akarma (Italy). This is one of the label's better efforts. The CD is housed in a hardbound cover and features unique liner notes.

Abstract Truth - Silver Trees & Totum. 1970 South Africa

Abstract Truth were an underground band from South Africa during the heady days when Johannesburg looked to rival London and New York for global rock supremacy. Their debut Totum is named after a club the group labored in to eek out a living. The folk pieces here are a bit ordinary and the abundance of cover tunes doesn't help convince. All the same, there are some extended cosmic journeys and other odd compositions that go a long way to making this a desirable listen, especially considering the sitar drenched closer.

Silver Trees sees Abstract Truth improving the composition and inventiveness quotient. Here you'll find a mixture of song based folk rock and lengthy instrumental journeys. The album contains some real gems including the title track, and in particular, 'In a Space'.

Ownership: CD: 2005 Fresh Music. Purchased new online upon release. In order to fit both albums on one CD, Fresh left off 'Jersey Thursday' and 'Ain't Necessarily So / Take Five'. At 52 minutes, the Totum original was quite lengthy for its time. Years ago I heard these tracks via a bootleg CD, but forget what they sound like now. Otherwise the CD is great with extensive liner notes.

Quad. 1997 England

Quad was a side project of Gary Ramon, basically exploring his more Krautrock preferences. In a lot of ways, Quad was to Gary Ramon/Sun Dial what Incredible Expanding Mindfuck was to Steven Wilson/Porcupine Tree. In effect what we have here is psychedelic chill out music. Plenty of great acid guitar and echoed sitars to submerse oneself in. Considering the female narration, one could qualify this as a modern day Galactic Supermarket or Rosi-era Ash Ra Tempel. An easy formula, but one that is hard to master to obtain the right atmosphere. An atmosphere that is rarely duplicated in these modern times.

Ownership: CD: 2005 Acme/Lion (USA). Purchased new online upon release. Has a full history of Gary Ramon and Sun Dial. First owned the original LP, but sold it when I obtained the CD to no regrets.

Rainbow Theatre - Fantasy of Horses. 1976 Australia

There are few albums that we can truly point to as being wholly original, but Rainbow Theatre’s second album would have to qualify. Not to say it uses made up scales or instruments, but within the common boundaries of what is considered melodic music, Australia’s Rainbow Theatre have most certainly created their own room in the house. An operating 8 piece rock unit (keyboards, guitar, bass, drums, trumpet, sax, trombone and flute) accompanied by a string sextet, Fantasy of Horses makes full use of the large palette of instrumentation available, not to mention that Keith Hoban’s vocals are sung in operatic style. Overall it’s a spirited affair, not an academic high-brow run through, so rockers have much to sink their teeth into. In fact, the drumming is astounding, and propels the album to great heights of intensity. The four tracks presented here, including two lengthy multi-part affairs, chock full of mellotron and high invention, are a progressive rock lovers dream. At least for those who keep an open mind.

As well, an unusual bonus track has been added - a recent full-on classical work written by bandleader Julian Browning, that is the perfect conclusion to the rocked out album proper. I cannot think of too many albums where that would make sense, but naturally it would be apropos here.

Ownership: LP: 1976 Clear Light of Jupiter / RTM. Single sleeve. Gift from Julian Browning himself after seeing my review of the CD (above). A personal treasure because of that. The cover says it's on Clear Light of Jupiter while the label says RTM (Rainbow Theatre Music?) with a different catalog number. 

CD: 2006 Aztec. Beautiful multi foldout digi-pak with a full history and gorgeous artwork. Includes one bonus (detailed above).

The first copy I owned was a bootleg CD (1997).

1997; 10/2/06 (Gnosis); 1/18/20 (new entry)

Mosaic - Ultimatum. 1978 France

Mosaic's sole album Ultimatum has some really great moments of underground / experimental instrumental rock. Especially the brilliant opener 'Un Trop'. But honestly there are a lot of wasted notes on here - with plenty of bits that sound more like a rehearsal/tune up. And the punkish closer 'Mercenaire' is wildly out of place. The more overtly fusion Zeuhlish 1977 material that serve as bonus tracks are much better (and there's more bonus than the actual LP!), but alas it's not very well recorded. Pity that they weren't able to record properly during this period of the band. This album will have its fans, especially among those who enjoy the quirky French avant prog strain. For me it's a bit too much unfocused and hard to enjoy for the duration.

Ownership: none. The 2003 Mio (Israel) CD is a great reissue with liner notes and lots of bonus tracks as noted below. All the same, the music didn't hold enough interest for me, and I sold it.

Lethe. 1981 Netherlands

Lethe is the second incarnation of the band Mirror, and just as obscure unfortunately. Their sole album starts off rather inconspicuously with a classically oriented oboe, acoustic guitar and piano piece. Then, just like the Mirror album, the band launches into a sophisticated and highly melodic progressive rock form. And while Side 1 is good, side 2 is an absolute clinic on how to combine complexity and yet still maintain a strong melodic backbone, that recalls Finch on occasion. This is the album that Camel never made after Moonmadness. Astounding album really.

Ownership: LP: 1981 M.M.P. Single sleeve. Acquired from a Dutch mail order dealer (1997)

1997; 8/21/09 (CDRWL); 1/18/20 (new entry)

Ungava. 1977 Canada-Quebec

On the surface it would appear Ungava would be yet another power trio, given their guitar-bass-drums lineup. But the two guest musicians, one on keys and the other on sax/flute appear to have far more than cameo appearances as seemingly they are part of the band, perhaps leaving just prior to release and being relegated to "guest". This is one of Quebec's finest, recalling Opus 5 or Maneige in places, but with the added strong guitar work. Maybe not Frank Marino or Walter Rossi strong, but still some high quality six stringing going on among the complex progressive rock compositions. An exceptionally great album.

Ownership: LP: 1977 36 Records. Purchased from a catalog dealer in Quebec (1997).

Not reissued as of 8/5/24.

1997 (first listen); 10/20/10 (review); 1/17/20 (update/new entry)

Yves et Alain Lorentz - Espaces 2. 1980 France

Yves and Alain Lorentz are two names that appeared on this one album and haven't been heard from since. Typical of a French band, Espaces 2 has that signature compressed and phased out electric guitar sound, mixed with String Ensemble synthesizers (or a facsimile thereof). Somewhat like Sensations' Fix Portable Madness minus the rhythm section. Ah, you say, wouldn't that be Falsini's Cold Nose then? Perhaps a bit more dynamic than that may imply, but yes it's a fair comparison. Other French artists such as Ose, Renaud, Archaia, and Flamen Dialis provide more guideposts for what you can expect here. An excellent aural experience, the music belongs more to electronic than progressive rock, but the lines can often be blurred. Even though this LP may have been scored for the film and TV market, it works well as a cohesive album.

Ownership: LP: 1980 Arc en Ciel. Comes in a nice embossed gold cover. Purchased from a catalog dealer in the late 90s.

Originally reviewed for the CDRWL: Mar 5, 2011 (and since edited)

Ablution. 1974 Sweden

Jazz rock/fusion was all the rage in Sweden in the early 1970s. In addition to the indigenous groups, there was quite a bit of "supergroup" activity, with Sweden operating as a host / safe harbor country, including those from behind the Iron Curtain. Pop Workshop may be the most known of the names, but Ablution may have been the most successful and fiery of the bunch.

Ablution features no less than 7 members playing organ, electric guitar, multiple percussion, Rhodes, Clavinet, trumpet, piano, bass, and drums. Highlights include Janne Schaffer laying down some of the hottest licks of his career while Bjorn J:Son Lindh's flute soars over the thunderous percussion below. Reference points include early 70s "electric" Miles (without trumpet as the lead), Herbie Hancock (especially the funk bits), as well as Santana near the time of Lotus (guitar/percussion overload).

Ownership: LP: 1974 CBS. Single sleeve. Recent online acquisition from France (2020). 

No reissues exist as of 6/6/24.

9/25/09; 1/13/20 (new entry)

Cry Freedom - Volcano. 1976 Germany

Cry Freedom's debut is one of the earlier entries within Germany's huge fascination of everything jazz fusion. By the 1980s it seems there were hundreds of such releases. Primarily instrumental sax / guitar / organ / synthesizer driven numbers, with a stronger than usual emphasis on melody. Not quite at the level of a Embryo or Missus Beastly, but more thought out than most fusion groups of the era.

Ownership: LP: 1976 private. Single sleeve. Recent online acquisition from Germany (2020). 

No reissues exist as of 6/11/24.

4/28/10 (CDRWL); 1/11/20 (new entry)

Bambibanda e Melodie. 1974 Italy

Garybaldi was the second incarnation of a band called Gleemen. And Bambibanda e Melodie is the 3rd version of same. The various groups never had a particular identity, so each album is unique on its own terms, similar to The New Trolls in that way. Gleemen's sole album was a straight-up psych rock work. Garybaldi's debut Nuda extends the Jimi Hendrix Experience motif into prog rock realms, and is arguably the collective's best album. Astrolabio followed and was more geared towards improvisational space rock. Which leads us to Bambibanda e Melodie. By 1974 many bands were following the fusion path, and guitarist Bambi Fossati was no different. Here the blueprint seems to be Santana's Caravanserai, though Fossati's approach is more psychedelic than the more soulful Carlos. 'Pian della Tortilla', 'Calabuig!', 'Mara delle Terre Medie', and the outro 'Canto del Sole' all represent this newer style, and total over 30 minutes of great, mostly instrumental, progressive jazz rock.  The other two songs are more pop influenced and can be skipped over.

Bambibanda e Melodie are one of the more obscure bands of the original early 70s Italian prog scene. It's understandable as it sits a bit outside the norm of the genre - though not that much more than Garybaldi themselves.

Ownership: CD: 1991 Fonit Cetra. This CD offers nothing more than a single tray card with front and back covers. Was part of a large collection buy in the late 90s.

Maajun - Vivre la Mort du Vieux Monde. 1971 France

Vivre la Mort du Vieux Monde is the debut album from Maajun, better known as Mahjun. And with this debut one quickly realizes that two words that go so very well together are wacky and French. Mix in the year 1971 and the idea of underground rock and you have the perfect champagne cocktail. There's the expected juxtapositions that match the anguished French tantrums with the delicate flute; the heavy electric guitar with the spacey voice; the menacing violin with the soft acoustic guitar; the screeching sax with the chanting monks. Well, we could go all day here. It's what you would expect from an album that translates more or less to "Long Live the Death of the Old World". This unabashed creativeness defines the time and place. Makes you want to riot at La Sorbonne, just as a raison d'etre.  While side 1 offers hors d'oeuvres, it's side 2 that we enjoy our super repas. Bon appetit!

Ownership: LP: 1971 Pop Music / Vogue. Recent online acquisition from France. Originals come with the flapback cover that was still common back then. 

6/6/09 (CDRWL); 1/20/20 (new entry)

Von Zamla - No Make Up! 1983 Sweden

Second album from international version of the zany S/Zamla Mammas Manna bunch with ties to Albert Marcoeur’s group. Featuring an expanded lineup of six, including Univers Zero reeds man Michel Berckmans, No Make Up! is undeniably an avant progressive tour de force. The album opens, interestingly enough, with ‘Forge Etude’, a rework from Zamla’s (then) final album Familjesprickor. A rarely mentioned fact, possibly due its obscurity, is the relationship of Von Zamla with the German fusion band Munju during this period. Both recorded for the German based JA&RO label (aka Exil). And not only do they share a full time member, bassist Wolfgang Saloman, but Berckmans also played extensively on Munju’s Le Perfectionniste album. This collaboration is reflected on the third track ‘Für Munju / Indojazz’, one of the livelier pieces on No Make Up!. Throughout the album, it’s once again Lars Hollmer’s familiar accordion, that drives most of the Nordic European style folk melodies. The ensemble work is tight, in typical chamber music fashion, with the aggressive rock edge provided by guitarist Eino Haapala, the same role he played for the Zamla clan prior. It’s fair to say that most of the groups in the Rock in Opposition camp find it hard to avoid some crazy improvisation, sort of their bitch-slap to the establishment. Here Von Zamla only utilize one piece for that, the unbelievably irritating (and mercifully short) ‘Voice Improvisation’. Fortunately the remainder of the tracks remain composed, energetic and satisfying. No Make Up! was slotted to be reissued on CD in 1998, but for reasons unknown, did not happen.  Highly recommended to fans of the original RIO movement, the collective avant progressive sound, and those who have recently arrived through the Nordic front door via the Northside label.

Ownership: LP: 1983 JA&RO (Germany)

Still no CD as I update this (6/9/24).

2008; 1/9/20 (new entry)