The Sterling Cooke Force ~ USA ~ Pennsylvania

Full Force (1984)

Here's an album that I first discovered via their earlier 45, which I reported on at the beginning of this month. To quote: "From northeastern Pennsylvania. File Sterling Koch (real name) next to Uli Jon Roth as guys who had no intention of letting Hendrix's legacy become forgotten. A) side sounds like the first Electric Sun album, which gets you a gold star in my book*... ...This would be the debut recording for Koch, and it looks like he went on to form The Sterling Cooke Force and released two albums and one more single." 

That debut album finally arrived after the seller left it in his living room for a full week. No big deal, sounds like it was an honest mistake. 

The sound that Cooke put forth on that single is here as well. Full Force is a direct collision of The Michael Schenker Group, Electric Sun, Roth era Scorpions, and a more metalish Robin Trower. The ghost of Hendrix looms large here. Sure, he recycled half the riffs, but when they sound this great who cares? It's a mix and match of all your favorite hard rock psych guitarists all in one place. It's a possible route Hendrix himself could have taken, dragging the late 60s into the 80s. I doubt he would have (see my Junior Hanson review), but it's fun to fantasize. Personally I think the album is fantastic. 

* - that track is on this album as well, but I'm sure it's been rearranged.

Ownership: 1984 Ebony (LP)

This is my first album to own on the infamous Ebony, most known for signing up downstream and mediocre NWOBHM bands. Now that's their reputation, but I'd like to find out for myself some day.

I also obtained their second LP Force This. It's essentially hair metal and falls outside of my interest area.

4/20/24 (review)

The RH Factor ~ USA ~ Los Angeles, California

Cries of the Night (1988)

I've been sitting on this since last June (so says the price sticker anyway). Picked up locally for four bucks at the now defunct Independent Records. One of my best scores there (look it up on Discogs). There are a few RH Factors, this one stands for guitarist Robert Howell. Apparently a disciple of a one Frank Marino, though that connection is only apparent on 'Rock Me Baby', which is exactly the kind of cover tune Marino would do. The music could best be described as AOR metal, but I think I'll categorize it as hard rock all the same. The songwriting is really strong for this kind of thing, and the album remains engaging. Excellent guitar work as to be expected. Only B2 stuck out as something regrettable. There's even light proggy touches to be found here. Given its scarcity, I'm going to hang onto this one. Worth seeking out if you're curious (check out YouTube).

Ownership: 1988 Tem (LP). The colors are little more softer / realistic than this photoshop scan. 

No reissues as of 3/31/25.

4/19/24 (review / new entry)

Tiger B. Smith ~ Germany

Tiger Rock (1972)

And now you know the group and album. I met Holger Schmidt's son. Take away the afro and scraggly beard, and his son looks just like him. Holger passed away in 2016 and we talked about that some as well.

As for the music, it's one of those I discovered later in life after being disappointed with the lightweight We're the Tiger Bunch, which was a pretty easy score in the late 1980s (due to being released on Janus in America). As with Lily, Tiger B. Smith only looked like a glam band, but the music on Tiger Rock is no such thing. It's pure gritty hard rock, done Krautrock style. 'To Hell' is the highlight of the five tracks presented and features molten hot guitar and precision rhythms. 'Tiger Blues' closes in namesake fashion but still rocks the house. Overall a super hard rocker in the Silberbart, Hairy Chapter, Night Sun tradition.

Ownership: 2008 CMV (LP). With poster and postcard. There's a mistake on the label, as Side A should be listed as (this side) rather than (over).

This is copy #25 (I'm sure Holger Schmidt received all the early ones). To be honest, I thought he might even be sending me the original Vertigo (maybe they had multiples of them?). We didn't discuss it and it really doesn't matter to me. Whichever copy he sends will remain the treasure of the collection. And so it is this version that will remain with me to the end.

4/14/24 (review / new entry)

I have a story to tell

I've been sitting on this story for a little over a year. Now is the right time to tell it. It's one of those incredible coincidences and encounters that we sometimes get in life. It's too good not to share with you all, as it's very relevant to this blog.

So... every year I attend our internal sales kickoff conference in Las Vegas (late Feb / early Mar timeframe). I'm not in sales per se, but I support them in my current role. The software company I work for is large, has very deep pockets, and really goes all out for this event. The last night of the conference involves a major shindig of some sort. Last year they rented out half a block of restaurants and venues including the Brooklyn Bowl, which was the original destination and we would spread out from there.

To get there from our resort hotel, they provide dozens of shuttle buses (there's close to 5,000 people at this event). Typically you would "meet up" with peers and friends and then ride over together. Being the random type of guy that I am, I just wandered over by myself and let's see what happens. I sat down next to a young man (heck - grandpa here is older than most of my peers these days), and started chatting. Turns out he's from Germany and is one of our sales reps there. As with anyone you have a common bond with, the conversation turns more lively as you learn about each other. Naturally we start with our jobs and the company we're with, and then it moves in various directions (family, food, drink, travel, culture, etc...). Our conversation carried pass the bus, the walk to the venue, and then inside the bowling alley. It's one of those finger food events, and we grab a space at the bar, get into some craft beers and food, and continue talking incessantly. Music had wandered in and out of the conversation, but I never expect anyone to know about what I write about here so I rarely broach the topic.

Eventually we start deep diving into music. He knows a lot. So I asked him if he knew what Krautrock was. I mean he's much younger (early to mid 30s) so this would be interesting to see. "Oh yes!" he proclaims. 

"My dad was in a Krautrock band". "Really? Did they record anything?"

"Definitely - they had two albums." "Whaaaat? This is crazy. What was their name?" "xxxx" (to be continued).

Then he offers: "I have many copies of the first album - I'll send one to you." And he did just that. I didn't even own a copy prior, making it that much more special.

After that I ended up bowling with him and the German team. Haha. All this happened because I didn't hang out in my comfort zone.

Tomorrow afternoon or Monday morning I will reveal that group and album.

To close the story, before this year's conference, I began to compose an email so that we could reconnect again. 

He is no longer with the company 😞 He's not even on LinkedIn, the only social media where my real name and photo exist. Overall, a most bizarre and fortuitous encounter.

Dewey Terry ~ USA ~ Los Angeles, California

Chief (1972)

From the two dollar table and this might prove to be my unexpected favorite new discovery of the last record show (still plenty to go). Chief is a very eclectic album and much of it is not of interest to me. It's a mix of soul, jazz, blues, rock, and funk. Dewey Terry is from Los Angeles but this LP was released on the short-lived Tumbleweed label up the street in Denver, which is probably why I found it. Starts off in soul territory before moving into a rocker that reminded me of Jim Croce of all people. Things get much more interesting on 'Funky Old Town', before the album offers the two tracks that insist you pay attention (totalling close to nine minutes). 'Suit for the Cat' (not credited on the back cover) is an excellent instrumental jazz rock piece featuring Terry on electric harpsichord. This is followed by the album's best cut 'Do On My Feet (What I Did In The Street)'. Featuring a killer funk groove with great guitar and Hammond organ, this track will get you on your feet alright. It's what the hipsters would call a banger. Side 2 picks up the same tune and leads into a commercial about a chicken farm - in Nashville, Tennessee! Que?  B2 and B4 are sleepy blues tracks. 'Sweet as Spring' is a very nice soft rocker with a sweet melody. And finally the album closer has a great rural rock mid section and solos that remind me of Culpeper's Orchard. So, as you can see, the album is all over the place and very inconsistent. But there's a lot of great here to be found. Combine that with being somewhat local to me - I'm keeping it.

Ownership: 1972 Tumbleweed (LP). Promo. This is some cover, I'll tell you that. It's meant to emulate a classroom notebook. Inside is notebook paper filled with recording details written in pencil. You need to be a member of Mensa to figure out where the LP is supposed to be stored. Surprising a record like this isn't worth hundreds of dollars. Guessing there's always been plenty of supply.

4/11/24 (review / new entry)

Satin Whale ~ Germany

Don't Stop the Show (1981)

Closing out the 5xCD set. Their last album was the plodding A Whale of a Time, which arrived with a thud. Once Don't Stop the Show started, I knew it was going to be better than its predecessor. Welcome to the 80s, Satin Whale! Here they provide a more energetic and punchy sound - not too far from a Saga or any number of thoughtful well known 80s AOR bands. Unfortunately this only lasted through the second song. A3 to A5 are turkeys, sloppy tries for stardom. Guess Satin Whale used all of their melodic songwriting skills on their first two prog albums. B1 shows promise that maybe they'll finish out on a high note. B2 wears out its whalecome (OK, I'll stop) after the first couple of minutes. And then down the tubes they go again. Still a much better try than A Whale of a Time, and I found it good overall, but nothing more. Well... poo. This set ends up being a disappointment for me on a number of levels. Just having Desert Places on CD is enough excuse to keep, and I certainly don't mind having Lost Mankind as a supplement. As a Keepsake has some very fine moments, but the last two I don't even consider part of the collection even if I own them via this package.

Ownership: 2023 Made in Germany (5xCD). Details on the Desert Places review below.

4/8/24 (review)

A Whale of a Time (1978)

Ugh. My dream that Satin Whale had great potential to put out a proggy AOR masterpiece certainly did not come to fruition on their 4th album A Whale of a Time. The fact is I did not have a whale of a time listening to this. While As a Keepsake had plenty to praise, there's nothing here I liked other than maybe the instrumental opener with its disco like strings, minus the beats. I think I would have liked the album more were it disco instead. A very disappointing try for FM radio exposure. I still have high hopes for their final album (in this series) that came around three years later.

Ownership: 2023 Made in Germany (5xCD). Details on the Desert Places review below.

4/2/24 (review)

As a Keepsake (1977)

Now that I've relistened to the first two Satin Whale albums on CD, I was curious how the next three would go since I've never heard them prior. I was told they were more commercial and not so interesting, which is why I never bothered prior. As noted many times, my interest in proggy AOR has gone up considerably so I figure I might be a good candidate to really enjoy this album. Especially when you consider that Satin Whale displayed a strong knack for melody even on their two acclaimed prog albums. So was I pleased? Yes and no. There are some great moments here, especially on the instrumental 'Maree' which would have fit perfectly on Lost Mankind. Flute remains a key part of their sound palette, and adds more contrast to their overall sound. The opening couple of songs are off putting at first, as the sound is too foreign for Satin Whale. Like they're trying too hard to be commercial when they don't need to. I listened to the album three times straight and the familiarity helped me appreciate more what they were trying to accomplish. There's plenty of progressive rock sequences mixed in with what appears to be straightforward compositions. At least on As a Keepsake, Satin Whale didn't convince me they were a top tier AOR candidate, but I wasn't disappointed either. 

Ownership: 2023 Made in Germany (5xCD). Details on the Desert Places review below.

3/28/24 (review)

Desert Places (1974)

Though I've owned Desert Places for 35 years, have rated it 5 stars, and the album was a charter member of the CDRWL, I never penned any notes about it. Desert Places is one of those rare albums that ticks all the prog rock boxes, and yet doesn't really sound like anyone else. The melodic quotient is higher than most, and their compositional approach is different, but not radical. The key ingredient here is that Satin Whale has an uncanny ability to groove, most evident on songs such as 'Seasons of Life' and 'Remember'. This is head bobbin' music. The band manages to go from one idea to another seamlessly, while never losing sight of the song or the rhythm. It's an agreeable sound, the type that makes it an ideal place to teach others about the beauty of progressive rock. In this way, they remind me of early Caravan, though this isn't Canterbury styled music. Other guideposts from Germany would be Eiliff and Twenty Sixty Six and Then. Not a minute wasted here. A gem of an album.

Ownership: 1974 Brain (LP). Green label original; 2023 Made in Germany (5xCD) 

Regarding the CD set titled The Studio Albums 1974-1981. Contains their first five albums in full with liner notes in German. Pity about this latter fact, as I'm sure many around the world would like to know their history. 

5/22/89 (acquired); 1995; 3/11/24 (review)

Lost Mankind (1975)

Lost Mankind is Satin Whale's sophomore effort, but it's quite a bit different from its predecessor, the brilliant Desert Places. The album is more in line with what other groups in Germany were doing during this time. Bands such as Missus Beastly, Altona, Birth Control, Ramses, and Sahara. There's more of a woodwinds presence, and the lengthy guitar and organ solos are mostly absent (but not entirely). Still the organ presence is strong, and there's plenty of wonderful flute. Despite lineup changes, no one can still sing, a common problem with German bands in those days. Fortunately Satin Whale isn't afraid to break into instrumental bits, and they have more edge than their contemporaries. Lengthy closer 'Beyond the Horizon' is the closest they get to Desert Places. All in all, an excellent album, though still a distant second to their debut.

Ownership: 1975 Nova (LP); 2023 Made in Germany (CD). Details on the Desert Places entry above

2000 (acquired); 4/19/10; 1/1/22 (review); 3/21/24

1/1/22 (new entry)

Hokr ~ Czech Republic

Starej Hokr Vol. 2. (2023)

Every few years we hear from the Czech Republic's finest prog band Hokr, and here we have a very interesting mix of archival and new material. I'll discuss that further below, but let's tackle the music first. Which I did over five listens on subsequent nights. Hokr has never been an easy listen, and this album is no different. 

For their last album I wrote: "...is a dense Van der Graaf Generator styled prog with the addition of sax and anguished vocals (in their native Czech). ...There are 8 tracks totaling 48 minutes, and everyone of them is challenging and complex. Yet easy on the ears with a certain melodicism. This is not the cold and calculating avant prog classroom exercise. No, this points to the early 70s masters of the style. I listened three times straight last night, and each listen revealed many new twists. Hokr are a full sounding five piece group, whose music will easily transcend time."

I think that covers this as well. That thick organ, tenor sax, complex charting, and impassioned vocals immediately recall the best of VDGG. Just the sound alone is very enticing. It's a varied album, which makes sense when you know how it was compiled, but it still comes across as a cohesive whole. Despite terms like "difficult" and "complex", the album actually flows nicely and is pleasurable throughout. That's a testament to the group's experience.

So what is this album anyway? The title means Old Hokr Vol. 2. Petr Cermak (friend and drummer of the band) tells me this was music they used to play from 1979 to 1985 (newly recorded though). OK, tell me more. Thank goodness for Achim, my long time friend and colleague from Germany, as he saved me time here. He dived deeper and offers this (translated by Google): 

"An email exchange with Petr and Pavel Cermak helped a lot to clear things up, and also helped clarify the band name. 'Hokr' was the band's neighbor's last name, i.e. the neighbor of the Cermak family, in whose house the group had started rehearsing in the fall of 1979. Since he was a bit strange (the neighbor), says Petr Cermak, and the band's music too, they named themselves after him. Back to "Starej Hokr Vol. 2". Starje is called old, so the album is roughly called 'The Old Hokr Part 2'. Here you can find music that Hokr composed, rehearsed and performed at secret concerts back then, especially in the first half of the 80s (they did not have an official performance permit from the Czechoslovak authorities). "Starej Hokr" is the sister album to "Hokrova Vila", which also contains such historical material from the band, but newly recorded in 2003-2004. “Starej Hokr” took a little longer, as the pieces were recorded between 2005 and 2023. This was probably also because Petr Cermak lived in the USA in 1986, while Pavel was active in the Czech Republic with Hokr, with a new drummer. Of course, original drummer Petr Cermak wanted to work on the skins for “Hokrova Vila” and “Starej Hokr”. ...Petr Cermak names Blue Effect (Modrý Efekt), Collegium Musicum, The Plastic People of the Universe, DG 307, Mikoláš Chadimas Extempore (later known as MCH Band), Vladimír Mišíks Etc…, SBB, Budka Suflera, Ossian and Omega as influencers at the time . The group's favorite band was probably King Crimson. From these sources of inspiration and a lot of their own, Hokr then formed their very own style, keyboard-heavy, a bit jazzy, slightly chamber rock and always nice and creaky, with very unique singing in the local language. Aku-Aku's colleagues, Dunaj, Domácí Kapela and Narajama later made similar music."

Thank you, Achim. Had no idea it was their neighbor's last name! And I also need to follow up on some of those reference groups. I know many and have written about them here, but there are some new names to me too.

Ownership: 2023 private (CD). Thick digipak with stapled booklet. 

4/7/24 (review)

Klid v Bezčasí (2017)

One of the better progressive rock discoveries of the last decade was Hokr, a band from Prague who released two albums of great invention. I have notes on each somewhere in this blog, for reference. So when I received notice that a 3rd album had just come out, I was ready to pull the trigger immediately. Ummm... one small problem. No one had it for sale. I mean no one. I put on the Discogs want list immediately, along with an ebay search. And waited. And waited. And waited. And finally that day arrived. Hokr managed to be for sale, even here in the United States. Hooray.

Now that I have secured the CD, which Hokr can I expect? The reality is that their two albums are very different from each other, but both great. The 2004 debut is a keyboard based progressive similar to Collegium Musicum but updated Elephant9 style. The other (Zahřáté Brzdy Optimismu from 2012) is a dense Van der Graaf Generator styled prog with the addition of sax and anguished vocals (in their native Czech). And the answer is? Klid v Bezčasí is very much like the latter. There are eight tracks totaling 48 minutes, and everyone of them is challenging and complex. Yet easy on the ears with a certain melodicism. This is not the cold and calculating avant prog classroom exercise. No, this points to the early 70s masters of the style. I listened three times straight last night, and each listen revealed many new twists. Hokr are a full sounding five piece group, whose music will easily transcend time. They are 3 for 3 in my book. Well worth seeking out.

Ownership: 2017 private (CD). Tri-fold thick digi-pak, with a booklet attached containing lyrics and original photography. 

5/7/21 (review)

Zahřáté Brzdy Optimismu (2012)

It's been eight years since Hokr's last album, and in between they released an album under the name Poco Loco. Zahřáté Brzdy Optimismu is closer in sound to Poco Loco than the last Hokr. The vocals have an anguished guttural quality similar to Peter Hammill (except sung in Czech), and the dense complex compositions recall the early 70s albums by Van der Graaf Generator. Sax, fuzz bass, and amplified organ lead the instrumental side of the band. This a fairly unique album overall. Perhaps only Garden Wall of Italy has a similar compositional style. Remove the metal guitars and add sax, and you have about the closest cousin you can spot. And they are distant cousins. Very distant. Highly recommended for the adventurous progressive rock listener.

Ownership: 2012 Ears & Wind (CD)

5/18/13 (review)

Hokrova Vila (2004)

At its core, Hokr are an organ based trio (whose history goes back as far as 1981) that seems to be the spiritual successor to Collegium Musicum, but put through the Elephant9 hyper amplified grinder. Additional guests on cello, tenor sax, and guitar augment their sound greatly. Though primarily an instrumental album, the Czech vocals are delivered in an impassioned narrative like a cross between Pholas Dactylus, Devil Doll, and Deus Ex Machina (at the higher registers). The cello gives them a slight Anekdoten feel. This is the best album from the Czech Republic since the heyday of The MCH Band, who they share some similarities with especially on the tracks with sax (minus the guitar of MCH of course). 'Mouse in a Trance' is a certified monster quality track! Hokr evolved into the also creative Poco Loco, a group I need to spend more time with obviously. Don't miss this one!

Ownership: 2011 private (CD)

4/28/11 (review)

4/28/11 (new entry) 

Malady ~ Finland

Ainavihantaa (2021)

Ainavihantaa is Malady's 3rd album and is a continuation of their foray into the waters of retro progressive rock. Some quotes from my notes of their prior two releases (below):

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

"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."

Remember what I said on the latest Agusa album about putting on a pair of your favorite jeans? That's Malady. Whereas Agusa takes me to new heights, Malady feels comfortable. Like watching an old episode of Rockford Files rather than something more challenging, even if it's based in old school principles (say... Bosch for example). The question then becomes how many pair of comfy jeans do I need to own? That's going to be a debate coming in the not so distant future. We'll have to review this one with a more critical ear. For now... I'm good.

Ownership: 2021 Svart (CD)

4/4/24 (acquired / review)

Toinen Toista (2018)

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' 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. 

Ownership: 2018 Svart (CD). Booklet with lyrics, photos, and recording details.

2/7/19 (acquired / review); 11/13/25    

Malady (2015)

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

Ownership: 2015 Svart (CD)

1/8/16 (acquired / review)

1/8/16 (new entry)

The Mars Volta ~ USA ~ El Paso, Texas ~ Los Angeles, California

Amputechture (2006)

The headline: Artificial Intelligence Creates First Prog Rock Record

In a related story, when I was in high school in the early 80s I had a good music friend who came up with the concept of "random notes and metrics" using a pair of dice against a matrix of notes and scales. He's involved in a few albums, so he'll remain nameless to protect the guilty. I don't know if he invented that concept, but one wonders if The Mars Volta didn't come up with a similar philosophy using an online random number generator.

For Frances the Mute I joked "Until now I didn't realize one could get four hours of music onto a single disc." And further offered "It's like Led Zeppelin playing the music of Thinking Plague."

Amputechture follows Frances the Mute and largely maintains the patterns above. I'm not really quite sure what to do with these albums. I find them fascinating but not necessarily enjoyable. I can't even imagine playing these songs live - they're not even really songs. It would seem they would need music stands and written charts. It's almost the logical extreme of prog rock. The band must've asked themselves "What if we take Tales from Topographic Oceans... to the next level?" The whole thing seems random and made up as it goes. Which in of itself is not a bad concept, and these guys do on rare occasion catch a groove. Once again, I feel like they're talented hard rockers gone completely off the rails. They're creating an endgame for something that doesn't need it. This is like a $5 CD, so if you're looking for value per notes created, tough to beat mathematically speaking.

Maybe one day these albums will make some kind of sense. Perhaps listening to only one song over and over would help. And then put the CD away for another day. Sounds like a reasonable retirement activity.

Ownership: 2006 Universal / Gold Standard Laboratories (CD). With lyrical booklet and bizarre WPA era artwork.

2006; 4/4/24 (review)

Frances the Mute (2005)

Until now I didn't realize one could get four hours of music onto a single disc. Or at least it seems like it. I purchased this when it first came out, and haven't heard it since (sound familiar?). All I remember about it was the music was complex and they created a hell of a lot of racket. After just absorbing it again, what I remember shortly thereafter is... it's complex and they create a hell of a lot of racket.

It's not that they aren't qualified musicians - far from it really - it's that the composition style is chaos versus order. And melodies are optional. It's like Led Zeppelin playing the music of Thinking Plague. To be honest, it's the former that I enjoy most about The Mars Volta. They are an excellent hard rock band. Prog? Not so much. The music doesn't ever breathe, constantly being suffocated under a pillow screaming for air. One has to admire the sheer audacity of attempting music such as this, especially for a band that was in the midst of commercial success. It's not like I have a collection full of bands that sound like The Mars Volta. I also have their debut and 3rd album, of which the latter will be reevaluated soon enough. For now, I think Frances the Mute qualifies as "unique", and thus stays with the collection.

Ownership: 2005 Universal / Gold Standard Laboratories (CD)

5//05; 10/16/20 (review)

Other albums I own and need to review: De-Loused in the Comatorium; The Bedlam in Goliath

10/16/20 (new entry)