Psychomuzak - Send. 1997 England

Psychomuzak was guitarist Dean Carter's space rock band, who released two albums in the 90s. Starting off like Gottsching's Inventions for Electric Guitar, with sound on sound echo guitar, the music starts to take shape when Camel's Andy Ward begins bashing on the drum kit. Other guests include King Crimson's David Cross on violin and Mandragora's Simon Williams on keyboards. And while I'll readily admit to having too many modern space rock albums, Psychomuzak goes to places most do not. Four long tracks of deep space rock and trance, with Carter's echoplex providing a foundation. Once you go past the triumvirate of Gottsching, Reichel, and Schickert, there aren't a lot of examples of this kind of Krautrock tinged space rock in the marketplace. This is a title worthy of a revisionist outlook.

Ownership: CD: 1997 Delerium. 2xCD. Standard jewel release. Purchased new near the time of release. The second CD is made up of "chant" and "drone" variations of the CD proper. I haven't taken the time to listen to it myself.

1998; 6/5/21; 4/30/23 (new entry)

Tricantropus - Recuerdos del Futuro. 2007 Spain

Two nights in a row, same country, approximately the same year - I had a very similar listening experience. For the night before it was Planeta Imaginario, and last night it was this album. Both were formerly in my prog rock collection and I thought they very good but duplicative. But with a jazz mind on, they each were awarded a +1. With that said, Tricantropus is a different kind of jazz. Whereas Planeta Imaginario were more early 70s focused, Tricantropus brings in the 80s. The former more rocked up jazz, where today's feature is what we associate fusion with. You'll see references to bands like Camel and Genesis, and while that's not entirely incorrect, it doesn't properly capture the plot. The album starts off rather bland, a bit too sunny and digital to embrace. But like all good albums, it begins to lure you in. By the time you've hit track 4 'Al Otro Lado del Vado', the real estate deal has been signed - yes, you do have a reserved space in the collection. This was not always the case, as three prior listens had it sitting in purgatory. The mind shift changed the game. The guitar work in particular is sublime - considering both melody and tone. The latter more of an early 70's psych sound. There are many guests on the album, extending the sound palette beyond standard issue keyboards and guitar, most notably flute, piano, Hammond, and violin. A fine debut from a band that remains little known. They were to release two more albums of which neither I've heard.

Ownership: CD: 2007 Mylodon (Chile). Standard jewel case release. Purchased new upon release. Mylodon has proven to be a great label over the last 20+ years. I haven't followed them in quite some time, so I was happy to see they are still releasing albums as late as 2022.

2008; 8/25/19; 5/10/22; 4/29/23 (new entry)

Planeta Imaginario - Biomasa. 2008 Spain

This is an album I've gone back and forth on, but I'm firmly in the pro camp now. For their debut I wrote:

Sounding every bit like a second generation Canterbury band from the late 1970s, Planeta Imaginario absorbed and filtered the best parts out of Soft Machine and Nucleus. The 8 piece band - including 2 sax players, trumpet, trombone, Hammond Organ, Rhodes electric piano and the usual rock band plus guests on flute and percussion - created a most beautiful album from a most beautiful form of melodic jazz rock (Canterbury). And the amplified guitar recalls the greats from the 70s past. I also love the horn charts, well composed and played. It's hard not to think of National Health while listening to this fine debut.

---

I think the above is where the breakdown occurs on Biomasa. This really isn't a Canterbury album. Gone are those warm melodies and insouciant touches. In its place is a more cerebral jazz rock, more dissonant but creative. It is interesting that if you put on a prog rock hat and listen to an album that is jazz, it doesn't sound so great. Switch to a jazz hat, and a different perspective reveals itself. The hype strip doesn't help much either, also indicating an "attractive Mediterranean sound" while listing National Health as but one Canterbury reference. Naw, none of that here. It's much more "rock jazz" if that makes sense. Favorite track is 'La Caja Negra'. An excellent album that takes multiple spins to penetrate.

Ownership: CD: 2008 Cuneiform. Standard jewel case release.

2008 (first listen); 7/13/22; 4/28/23 (review/new entry)

Riot - Thundersteel. 1988 USA-New York

Riot are one of the pioneers of American metal, though they never managed to be in the limelight, despite having legions of fans. Even for myself back in the late 70s and early 80s - when I was a true metalhead - I never bought any of their albums. I can remember hearing Narita played in full on the radio in 1979. It may have been just too much for me at the time, I don't recall too many details. To this day I haven't heard it again, though I'm certain a revisit will be rewarding. It wasn't until 1990, when I purchased The Privilege of Power real time, that I finally took the time to listen to Riot again. Different era and different music. 

I bring this up on Thundersteel, because this is Riot's most popular and highly rated album, at least in retrospect. In reading the reviews, this is their own Painkiller, for those that know Judas Priest well. The kind of album, that had they released it back in 1983, would have likely taken them to underground stardom. Instead they broke up at the worst time. By 1988 metal had progressed leaps and bounds from the earlier 80s blueprint. So by the time Thundersteel hit the market it was lost among a sea of worthy competition. As noted above, today it's highly revered. Part of that admiration is this is a no muss, no fuss kind of fast heavy metal. I hear it as thrash metal, though others will state it's a heavy variation of speed metal. In this genre, the fanatics' eyes will bug out of their sockets if you wrongly categorize them. Like with a good hamburger, metal albums don't have to be fancy to be great, and that's really what Thundersteel brings. What are those ingredients? Solid riffs, great soloing, a hyper rhythm section, and a histrionic vocalist who can actually sing. No muss, no fuss. :-)

Ownership: CD: CBS Associated. One of those $5 brand new commodity CD buys (2013). Standard issue jewel case release.

8/1/13; 8/5/18; 7/28/22; 4/26/23 (new entry)

Harmonia - Deluxe. 1975 Germany

As noted recently in my Autobahn review, many followed Kraftwerk's blueprint for success. And certainly Harmonia's second album is a good example of this. Much different from the experimental and sparse Musik von Harmonia, Deluxe represents optimism and sunny days, just as the beach scene on the back cover depicts. Heavily percussive, mostly utilizing drum machines (with a little help from Mani Neumeier), the instrumental music just breezes along in a bouncy pleasant manner. Only Rother's guitar gives it that Krautrock edge, though it mostly provides a much needed contrast. A fine electronic album, but hardly the groundbreaker one would expect from an ensemble made up of Cluster and Neu.

Ownership: LP: 1975 Brain. First pressing single sleeve with green label. Online acquisition (2020). The first copy I purchased was the orange label release at Recycled Records in Denton (1988). It wasn't the best copy and I sold it off for the CD. Now we're back to the LP...

1988; 2010; 4/25/23 (new entry)

Esperanto - Last Tango. 1975 Belgium-England

Esperanto are one of the hardest groups to pin down. All 3 of their albums are different from each other. Of course if you name your band after a made up international language and have constantly shifting lineups, then you're destined to be confounding. Their debut is tough sledding while Danse Macabre is a prog rock classic.

Last Tango, their 3rd and final release, is an album I'd given up on, but decided one more listen might be in order. While certainly the centerpiece track 'The Rape' is full-on prog, the rest is geared more towards AOR. They have a very unique sound here, and one I finally began to embrace. Comparisons are not readily available, but it is still familiar. Picture mid 70s Renaissance joining The Alan Parsons Project before Tales of Mystery and Imagination. How does one grasp that? One could see why a major label would drop these guys. Who could possibly be the audience? After all these years, not only did I enjoy a +1 bump, but I also see future growth here. One of a kind, and very intriguing.

Ownership: CD: 2001 Si-Wan. Online purchase (2002). Papersleeve edition with a full history in English and 2 bonus tracks. The first bonus 'In Search of a Dream' is of unknown origin, the other a 45 single. I've had the original LP before, and it remains very easy to find here in the States. The overall package makes the CD the desired release.

2002; 4/25/23 (new entry)

Marillion - Fugazi. 1984 England

Going back to 1983: It had taken me a few listens to get into, but Script for a Jester's Tear ultimately won me over. So I was quite excited to obtain Fugazi as soon as it was released to the marketplace. I had yet to hear IQ and other bands coming from the neo prog camp - or what was starting to be referred to as the New Wave of British Progressive Rock. Therefore Marillion was my gateway drug into contemporary progressive rock. As their music went, so did my interest in it.

The opener 'Assassing' is an exhilarating piece, and had me thinking real time that this was going to be an album for the ages. But it quickly dropped off from there - at least in terms of energy level. It was something of a head fake - a distinctive turn to hard rock. Which in retrospect many of the neo prog bands were quite adept at. Ultimately I didn't even hold onto Fugazi, thinking it second rate prog for newbies, falling into that 90s crowd that turned their collective noses up at such twaddle. It wasn't until 2005 that I decided a revisit was in order. OK - now I get it.

Fugazi is a progressive rock album. There's a revelation, eh? Why I didn't have the patience for it initially is rather perplexing considering all the 70s albums I'd absorbed by then. Most of them not exactly easy listening. Perhaps because Marillion were a contemporary group - and they did after all start the album off guns-a-blazing - I guess I just wanted more of that. Rather Fugazi has all the trademarks of the neo prog genre with digital instrumentation, complex yet accessible compositions, and a Gabriel-esque vocal delivery. The reality is Marillion were a foundational group of the movement versus a follower. Major label exposure and subsequent sales totals only pushed the new genre into the limelight for the masses. It wasn't to last but the middle 80s held much promise, thanks to the efforts of Fish & Co.

For 2023, it brings in the whole 80s nostalgic pull. Of course I conveniently filter what I want from it, and I'm completely dishonest with myself on what the 80s reality truly was for me. Nothing beats rose colored glasses. You oughta buy a pair of 'em. +1 listen.

Ownership: LP: 1984 EMI. Gatefold. Online purchase (2011). Decided to get the original UK since it's a gate versus the single sleeve American version. Even today, the original UK press is very affordable online, though finding in the wilds here in the States is tough. My first copy, as noted above, was purchased upon release (1984 Capitol). You don't see this version outside the house much either.

CD: 2005 EMI (Japan). Papersleeve edition. This CD brought me back to Fugazi.

1984; 2005; 2011; 4/23/23 (new entry)

Broselmaschine. 1971 Germany

Some 22 years ago, I penned the following for Gnosis:

One of the three legendary Pilz folk albums from the early 1970s German scene. Of these, Bröselmaschine were certainly the most folky. The five-piece lineup included primarily male and female vocals with acoustic guitar. And as accents to various songs, the band added electric guitar, bass, hand percussion, flute, sitar, zither, and mellotron.

The five minute opener 'Gedanken' is a pleasant enough folk track with heavily accented dual male and female English vocals, flutes, and some nice electric guitar. 'Lassie' follows and is just the sort of song that my Dad would have enjoyed. One gets the impression that Bröselmaschine would feel comfortable opening for comedian Bob Newhart at a place like the Hungry I in San Francisco circa 1966. Ceramic plates and silverware clanking in the background - and after the song completes - an uproarious crowd claps maniacally while cigarettes dangle from their lips. The two minute acoustic guitar interlude with wordless female vocals 'Gitarrenstuck' is where the proceedings begin to get interesting. 'The Old Man's Song' starts with a repetitive and trance-like acoustic guitar. Hand percussion and wah-wah guitar enter while some delicate flute sets the tone for the peaceful female singing. The nine minute 'Schmetterling' is the album's highlight and recalls Hoelderlin's Traum with its Eastern motif (sitar, tablas, flute) and female narration in German. Later in the song there's a wonderful driving bass guitar that gives the song a sense of contrasting urgency not found elsewhere. The album closes with 'Nossa Bova' a nice stroll in the park kind of song with emphasis on acoustic guitar, flute, wordless voice, and hand percussion.

Overall, Bröselmaschine is the type of album to sooth ones nerves after a hard days' work. Not particularly experimental or groundbreaking, but for fans of early Hoelderlin, Emtidi, or other such cosmic folk bands, Bröselmaschine is a must pick up.

---

Last night's listen resulted in a -1. Still an ultimate keeper especially since I have the original LP. However I'm not feeling the cosmic angle as much as prior. 'Schmetterling' was the go-to track for that, and it still shines comparatively, but it's not enough to suggest that Broselmachine isn't anything more than a folk rock album with psychedelic embellishment. Which by itself isn't a bad thing, and for what is presented, it's quite pleasant. 3.5 stars / Gnosis 10.

Ownership: LP: 1971 Pilz. Gatefold. A gift from a good friend of the UMR (2014). 

Former ownership: CD: 2013 Belle Antique. Papersleeve edition.

Former ownership: LP: 1981 Pilz / Pop Import. Mail order acquisition (1992). 

1992 (first listen); 8/26/01 (review); 9/20/13; 4/22/23 (update / new entry)

Shylock - Ile de Fievre. 1978 France

I decided to go a second round with Shylock's sophomore album. Earlier in the year I noted that there was no +1 bump like others of its ilk. I didn't believe my own assessment. And sure enough, last night I achieved that extra dimension. Part of the issue with Ile de Fievre is that it starts so strong, it's hard for anything else to keep up. But the variation of tracks plays to its advantage in the long haul. Not an easy album to describe, but definitely fits comfortably in the all-encompassing progressive rock genre. Excellent guitar and Hohner Clavinet are the keynotes here.

Ownership: LP: 1978 CBS. Single sleeve. Purchased at University Records in Lubbock while still in college (1986).

CD: 1996 Musea. Complete with a full history and one bonus track. The latter is pretty rough sounding with plenty of dropouts. It does tell us, however, that Shylock were well on their way to a great 3rd album before disbanding.

1986; 2/15/23 (LP 4.8); 4/22/23 (new entry)

Kraftwerk - Autobahn. 1974 Germany

Probably the most famous of electronic albums coming from the early 70s, Kraftwerk managed to popularize a style that isn't necessarily geared for the masses. Not sure Autobahn is geared for that either, but the fact remains it was a big hit in its day. Perhaps more novelty driven than based on serious critical study. It's tempting to dismiss Autobahn as simplistic elementary school electronic music. Prep work for the serious albums of Tangerine Dream and Klaus Schulze. But that's just snobbery really. Kraftwerk had a different, perhaps pioneering outlook, even though they started like the rest of them as a wild and wooly Krautrock outfit. Honestly you can hear Tangerine Dream themselves copying the concepts of this album in the early 80s. The boys from Cluster leant an ear to it, that's for certain. If taking out the historical context, Autobahn is a pleasant listen, ironically nothing too forceful or impactful.

Ownership: LP: 1974 Vertigo (USA). Single sleeve. Purchased at a private LP sale here in the Springs for $2 (2019). First time for me to own in any format.

10/21/19; 4/20/23 (new entry)

Pearl Jam – Ten. 1991 USA-Washington

This is the debut album from Pearl Jam, one of grunge’s major stars. If I was unplugged by 1986, you can only imagine where I was in 1991. Of course I knew who all these bands were. I still would watch MTV on occasion as but one example. Some of my metal friends had started to crossover to the flannel shirt set. If I were to summarize, I would say that I viewed Pearl Jam and its ilk in the same way I viewed Madonna in the early 80s, which I spoke about on one of her albums. That is to say, I wasn’t enamored by it, but I wasn’t annoyed either. Sounded OK to me, and I remembered being tempted to buy a Soundgarden album at the time. Now is probably the right time for me to listen to Pearl Jam. The vocal style that Eddie Vedder brings isn’t really to my taste and yet it defines the genre honestly. But I’m beginning to tolerate it. What I do like is the psychedelic styled guitars, very much an indication of the upcoming stoner movement, which I was an early adopter of (though I tired of it quickly). I found the whole album very enjoyable.

Ownership: MC: 1991 Epic Associated. From a recent garage sale collection buy (2023).

3/3/23 (MC 4.1); 4/19/23 (new entry)

Beastie Boys - The In Sound From Way Out! USA-New York (compilation)

What I know about the Beastie Boys you could put on a head of a pin. They broke big while I was still in college, but by 1986 I was so far gone from my own generation’s music, I barely noticed. However, I still had my tentacles into metal, and they were getting coverage from some of the magazines. Mostly negative. I just knew they were a white rap group and weren’t to be bothered with. And that may still hold true for me, but I’m far more open minded now to at least sample some of these albums. But I didn’t expect this! The In Sound from Way Out is essentially a compilation (with a few new songs) of their instrumental jazz funk work that they interlaced into prior albums. I think they’re quite good at it too! I probably wouldn’t move mountains to obtain the album, but it’s already here, and it’s a solid Gnosis 11. My tape drawer is fairly empty, so it’s got a long runway. I’m sure they have other material I would enjoy as well. I have one more tape here by them. On a quick sample I heard some rap, but we’ll give it a shot anyway.

Ownership: MC: 1996 Capitol / Grand Royal. From a recent garage sale collection buy (2023).

3/3/23 (MC 4.1); 4/19/23 (new entry)

Apple and The Three Oranges – Free and Easy. 1970-1975 USA-California (compilation)

I had little interest in these kinds of compilations until I started digging into the 45 world in the last 4 years, especially the soul genre. Apple and The Three Oranges were from the Los Angeles area and represented the optimism yet angst of the American black experience at that time. Today all these 45s go for a small fortune as few were pressed, and those that were didn’t survive. For me, the allure of these titles lies in the funk, and there’s plenty of that to digest here. There’s also quite a bit of crooning soul, something I’m not likely to ever adopt as I have no foundation. Brilliant CD package with liner notes and photos. I still don’t have too much of this kind of music in the collection, so there’s room to grow.

Ownership: CD: 2013 Now-Again. Recent online acquisition (2023).

3/17/23 (CD v4.7); 4/19/23 (new entry)

Amnesty - Free Your Mind: The 700 West Sessions. 1973 USA-Indiana (Archival)

What I said about Apple and the Three Oranges can apply here as well, this time though we’re in Indianapolis. However, in this case, I was tipped off to this archival album upon release. I was told it was very much like Funkadelic. There’s some of that here for sure, but this is more serious, and the funk is lighter and scarcer. Again, soul music plays just as much a role, something that I’m embracing more as I get older. Whereas I dismissed the opportunity to buy it originally, today it makes more sense (especially since it’s being sold at a deep discount). And as with the above, Now-Again is to be commended for the excellent historical research.

Ownership: CD: 2007 Now-Again. Recent new copy online acquisition (2023).

3/17/23 (CD 4.7); 4/19/23

Jean-Luc Ponty - Individual Choice. 1983 France

Individual Choice is a very interesting album from Ponty, favoring the synthesizer over his trademark violin. In this way, he seems to be following Richard Pinhas' approach more than his own fusion based efforts. His sound choices are mostly monolithic while heavy on the sequencer. Though more positive in tone, one could make comparisons to Chronolyse, especially when there's bass and drums present. The melodies are well written and provide a nice contrast to the normally cold electronic genre. Always fun to hear future American Idol star Randy Jackson on the bass. He certainly earned his way to being a judge, as he was a very busy session player in the 80s. Only the finale 'In Spite Of All' demonstrates Ponty's fusion tendencies. I'd owned this album many years ago, but dismissed it as ordinary fusion. I missed the boat. Wrong genre and wrong mindset.

Ownership: LP: 1983 Atlantic. Single sleeve. From the free box of records at the last Colorado Springs show (2023).

1993; 4/18/23 (new entry)

Peter Gabriel – Security. 1982 England

Recently I wrote of my disappointment with the first 3 Gabriel albums. I really thought with my newfound appreciation of X-Wave that Gabriel would resonate better. If anything, his music only got worse to my ears. But this fourth album was the only one I originally kept (also having let go of the follow-up So many years ago). Happy to say I enjoyed a +2 listen this go round. I have so many memories of this album from my well-heeled friend playing the CD on his massive stereo (see the Al Di Meola Elegant Gypsy review about him) - to the chilling soundtrack to a Miami Vice episode, Security is something I relate well with. I did pick up the LP but I’m going to sell it at What’s Left (already sold...). For me this album represents the thrill of the early days of the CD and the excitement that the medium brought in the mid 80s. So clear sounding. So powerful. As noted in the Pink Floyd Meddle review, I was considered rich myself to own a CD player back in 1986. But my buddy had one from the very beginning and we used to play this album all the time while shooting pool in his huge game room. Great memories. I didn’t get this CD until many years later, but it’s going the distance I think.

Ownership: CD: 2002 Geffen. Jewel case. Remastered.

1983; 2002; 3/17/23 (CD 4.6); 4/18/23 (new entry)

Areknames – In Case of Loss. 2010 Italy

The 3rd and last album from one of the earlier Italian retro prog acts. Areknames (named after a Battiato track) didn’t emulate their own country’s output but rather that of the early 1970s UK and northern European sound. Heavy on the analog instrumentation with just a touch of post rock. Very easy on the ears for those of us predisposed to these kind of sounds. I loaded up on albums like this in the 2010’s. Will be interesting to see how well they hold up. This listen resulted in a +1 putting it on even keel with the other two.

Ownership: CD: 2010 Black Widow. 6 panel digipak with 12 page booklet. Purchased new upon release.

2010; 3/17/23 (CD 4.6); 4/18/23 (new entry)

Franco Leprino – Integrati… Disintegrati. 1977 Italy

I picked up this CD not too long after release and I swear I haven’t heard it since. I have way too many neglected CDs like this. All I remember was the baby crying lol. Actually that aspect of the recording is its most polarizing force. Some find it powerful, others irritating. I’m of the former mindset. Adds a chilling reminder of a difficult world all humans must face and conquer. The music is a combination of cold and clinical systems music with that of a warm European instrumental prog act. Gentle yet icy. It’s a stark contrast, one I find rewarding. I need to spend more time with his one. If I wait another 32 years, I’ll be 90. Gosh that’s scary to think about…

Ownership: CD: 1990 Vinyl Magic. Standard jewel case release.

1991; 3/17/23 (CD 4.6); 4/18/23 (new entry)

Todd Rundgren's Utopia. 1974 USA-Pennsylvania

When I think of Todd Rundgren, the last thing to enter my mind is progressive rock. Psych, garage, power pop, art pop, singer-songwriter, new wave, oh sure all of those things. The guy was born to be ultimately successful in the 1980s. I think of him in the same way I do David Bowie or Bryan Ferry. But Utopia's first album isn't just progressive rock - it's prog overload. One hour of complex proggy prog prog. I've read that some folks think it's something of a joke, an ironic take on the excesses of rock. The bloated dinosaur of Yes and the lot, that needs to be killed immediately by true rock n' roll - like punk! And it's Todd Rundgren - c'mon man! This is Pat Boone doing heavy metal right? I don't buy any of that. No one would take the time to put this kind of effort into a parody. Certainly Rundgren had an experimental streak going all the way back to Nazz, but he still channeled that through the Rolling Stone Guide's comfort zone of pop music. I'm sure for many fans, Utopia's debut is Rundgren's nadir. While I still can't get myself to rate it at a first division level (12 and up), I seem to always enjoy listening to it. Albums like this were made for the compact disc. I started with the vinyl in the 80s, and of course it sounds like crap. 60 minutes of music in those tiny grooves will do that (and it's not even his longest single album!). This is one commodity CD I have no intention of letting go.

Ownership: CD: 1987 Rhino. Standard jewel case release. This replaced the commodity LP on Bearsville (1988).

1988; 2/19/23 (CD 4.5); 4/18/23 (new entry)