Astrud Gilberto ~ Brazil

Look to the Rainbow (1966)

Cool, another Astrud Gilberto album I didn't have, and in great condition. All of these are costing me 69 cents each, which makes me even happier. Starts off almost serious, though the uplifting sweet vocals of Gilberto will never allow the clouds to gather. She's gaining confidence as a singer, and the arrangements haven't been over saturated yet like on Windy. She sounds more fragile than ever here. You can just picture the drunks proposing marriage to her at the local lounge. As usual, the Portuguese numbers add more flair to the proceedings. A few folks pointed out that B1 is the origin of Deep Purple's 'Smoke on the Water' track. Yep, it's true. The piano riff is the exact same. Imagine Blackmore and the boys in the green room spinning Astrud vinyl for inspiration. Haha. 

Ownership: 1966 Verve (LP). Mine's the mono pressing, unlike the cover presented.

12/3/25 (acquired / review)
 

The Astrud Gilberto Album (1965)

Astrud Gilberto's debut album is Bossa Nova perfection. Easy listening music that is truly timeless. Her delicate and innocent voice brings out the testosterone in traditional males like me. You just want to wrap your arms around and protect her from the harsh world around. It's all fantasy of course. Which is what this album brings - a world of fantasy. We all need an escape and that's what music does best. It's vice free, and allows us to go to all sorts of places in the safe confines of our home. Perhaps it was my business travels to Sao Paulo, but there's something very romantic about Brazil in the 60s. And even as late as the 2010's, the luxury hotels were preserving that culture as best they could. If you don't get all soft in the middle listening to this, then you may have died inside. No time like the present to revive. This album will resuscitate you.

Ownership: 1965 Verve (LP) Mono.

5/5/25 (acquired); 9/5/25 (review)

Windy (1968)

I couldn't pull this out of the thrift shop bin fast enough just hoping the vinyl wasn't trashed. And it wasn't! As noted prior, I'm buying anything with the Gilberto name on it, especially Astrud. And she's covering The Association's 'Windy'? That's not even fair. That's like adding Nolan Ryan to the 1927 Yankees roster. And yet... I didn't get much out of this album. Way too saccharine and over produced. Gilberto's chilling and innocent voice does best in a mixed emotion state. Here it's all rainbows and unicorns - and lots of strings to sink the mystique. Ah well, I didn't figure she'd bat a thousand (it's baseball metaphor season apparently). 

Source: 1968 Verve (LP)

10/10/24 (review)

Now (1972)

What can I say? Astrud is my kind of girl. Her sweet vocal styling makes me melt. Usual mix of covers and originals along with Portuguese and English vocals. Easy listening Bossa Nova music as if we never left 1966. Fine with me. Any chance we go to a neon motel with "COLOR TV", a swimming pool, and a coffee shop?

---11/24/25

I didn't mention that a couple of the cuts have fuzz guitar, quite a surprise at this late date. Final track 'Daybreak' is stunning and you'll be humming that tune long after your listening session. I find her music perfect for CD, so I'll be acquiring those as I go. Though I won't sell the first two LPs.

Ownership: 2022 Octave Lab / Perception / Today (CD). Booklet with original lyrics and liner notes in Japanese.

3/18/24 (LP acquired / review); 11/24/25 (CD acquired / update)
 

The Shadow of Your Smile (1965)

Albums like this connect with my inner six year old I think. I was less than one years of age when this was released, but it was just this kind of music that I would hear when with my parents at some restaurant or cocktail party (Dad was in sales, so picture that scene for 1970). I was exposed to the adult world early in life, which was unusual for its day. So in my naive little world, beautiful sweet females dominated the music scene, and it was Astrud Gilberto leading the way. Not that I had any idea of that back then, or even until very recently. Her voice and this music goes deep to the core and I feel it like a cat who hasn't seen his former owner in five years. Favorite track from this set: 'Fly Me to the Moon'. When Jet Setting had real meaning. Sigh.

Ownership: 1965 Verve UK (LP)

7/18/19 (acquired / review); 1/13/21

7/18/19 (new entry)

A Piedi Nudi ~ Italy

Creazione (1995)

When Ezra Winston kicked back open the Italian prog door in early 1988, they ushered in a new wave of Italian prog activity. Most of the groups were influenced by the neo prog of Marillion and the likes, and also went boldly forward with English. Not a wise choice. While certainly a few bands were operating in the older forms of the art, sung in proper Italian, namely Nuova Era, Sithonia, Deus Ex Machina (in Latin no less), and Malibran (later), none of them tried their hand at the darker recesses of the early 70s past. Until A Piedi Nudi showed up on the scene. An updated version of Il Balletto di Bronzo was much needed, and well received. I know some bristled at the metalish guitar, but it was a reasonable facsimile, especially for the era. When A Piedi Nudi came back a year later with their sophomore effort, I don't think anyone was quite prepared for what it unleashed. Yes, Italian prog in its most herky-jerky form was back. A brighter day indeed.

After polishing off Il Balletto di Bronzo, A Piedi Nudi tried their hand at Semiramis. Now they're really going for it! And Campo di Marte, French Horn anyone? Amazingly, even though they lost a key ingredient when vocalist Mirko Schiesaro left, drummer Carlo Bighetti proved to be just as adept. So take that Phil Collins. And sure, the keyboards are still digital and the guitar decidedly metal toned. I'm in the so-what? category here. The album is one big rollercoaster ride, just like the masters of the early 70s. Jumbo, Museo Rosenbach, Capitolo 6, De De Lind, and the rest of them. Many modern groups would follow, some converting back to analog gear. All positive developments that led to the great Italian prog renaissance that peaked in 2013. I submit this album had a huge hand in that overall development.

According to my journals, I show no activity for this title since 2004. And yes, it does seem like forever since I last heard it, at least 25 years. But I listened to Creazione a lot after first receiving it. It was so exhilarating to hear my favorite type of Italian prog done by a contemporary group of my age group. Despite the lengthy break, I recognized all of it immediately. One of the landmark progressive rock albums of the mid 90s.

Also love the bizarre artwork, that perfectly reflects the contents within. I plunked down for the LP when it was released for that reason. Today it is featured on my Wall of Albums.

With all these bands coming back after 20 and 30 year breaks, is it possible we will hear from A Piedi Nudi again? Maybe with a real organ and mellotron this time.

Ownership:

1995 Mellow (CD). Booklet with lyrics and band photo.

1996 Mellow (LP). Gatefold. Adds a 12" with one bonus track.

1995 (acquired); 12/1/25 (review)

Eclissi (1997)

A Piedi Nudi's 3rd album continues on in the same fashion as its predecessors. There's a prog metal component here, though the scales still point more toward traditional prog rock. In this way Eclissi is more like their debut. They seemed to be heading in a similar direction to fellow country mates Garden Wall, though always more Italian focused. A Piedi Nudi were one of my favorite bands of the 90s. Revisits are only confirming that for me.

Ownership: CD: 1997 Mellow (CD). Booklet with lyrics and original art. 

1997 (acquired); 5/2/20 (review)

A Piedi Nudi (1994)

A Piedi Nudi's debut album sounds very much what it strove so hard to be: An updated version of Il Balletto di Bronzo, especially from their fabled Ys album (it even opens with 'Introduzione' and closes with 'Epilogo' - not a coincidence). Not as brilliant or groundbreaking, of course, but a valiant effort all the same. We'll start with the vocals of Mirko Schiesaro. Without any doubt he studied Ys intently, as he sings very much in the same way as Gianni Leone did, especially as he truncates the verses and lifts his voice near the end of each stanza. Perhaps not as histrionic - or as effective honestly - but oh yes, the style is basically the same. Now onto the guitar of Nicola Gardinale, who also happens to be the only songwriter here, so it's clearly his show. Gardinale's tone is decidedly 90s metal, with plenty of riffing. It's quite jarring against the expected heavy psychedelic tone of the almighty Balletto, but very exciting all the same, and fits well within the style of music. He also composes sudden breaks similar to Ys. On the downside would have to be the keyboards of Cristian Chinaglia. He's a competent player for certain, but the sounds are exactly what one would expect from the era's plastic digital gear, very typical of the 80s and 90s. Even when the "organ tone" is on, this is no match for the real-deal mellotron and organ of the masters. Lost in all of this is the fantastic rhythm section of the Bighetti brothers, who are perhaps the closest of all to the original Balletto recording, and are up to the task in keeping with the constantly shifting meters. The music, over the course of the album, begins to blur together in a samey sound manner, though a close listen will reveal many differences within. A Piedi Nudi's debut is one of many classics of the 1990s Italian progressive rock scene - and as with the 70's bands - will likely be discovered some 20 to 30 years after the fact. The band would improve from here and include more references from the 70s Italian scene, but this debut is outstanding, and I've never tired of it some 20+ years later.

There is at least one review out there that only references UK groups, including 80s neo prog bands (and hair / grunge metal? OMG), and was disparaged because of it. That just completely misses the point, and the historical references that A Piedi Nudi were clearly aiming for - and were inspired by. Certainly the original 70s Italian progressive rock scene was heavily influenced by the UK masters to begin with, and so that point is never lost. But the sub-genre cannot simply be written off as copyist, considering the tremendous local culture imprint, all of which has been well documented as such for over 25 years now.

Ownership:1994 Mellow (CD). Booklet with lyrics and recording details.

1994 (acquired); 10/19/12; 2/9/16 (review)

2/9/16 (new entry)

Radio Massacre International ~ England

Republic (1996)

---2006

It’s been awhile since I’ve listened to any Radio Massacre International, and even longer on the earlier ones that got me hooked initially. I think Republic is the first one I bought in 2001 and started me on a tear of picking up retro Tangerine Dream style bands from the UK (Red Shift, AirSculpture, Arc, Under the Dome, Arcane, etc…). Tangerine Dream laid out an interesting framework from Phaedra to Encore, one that wasn’t copied by anyone, including themselves, for over 20 years. There were some mild attempts, usually by solo artists (which is near impossible to do – you need the synergy of at least two people to accomplish some interchange of ideas). Then finally some of the groups I mentioned above started getting serious about it. Another key ingredient is the use of analog synthesizers (Moogs, VCS, Elka, Mellotron). What I like is that RMI and the others don’t exclusively go retro and will use modern technology to their advantage. But they didn’t abandon the past either. Then there’s the development of each piece. No cruise control sequences for these guys, they’re always twiddling knobs and adding / reducing sounds as they go. Just sit back and watch the world go by. Here’s your soundtrack.

---12/1/25

Another album I haven't documented in the UMR era, even though I snuck in one listen in 2014. Not that my viewpoint has changed in the near 20 years since that review. Some more detail though. There's only three tracks. Each over 20 minutes, filling up the entire CD. It doesn't start off in bombast mode however. The opening track is a slow buildup, with plenty of sequencers and mellotron to set the tone. 

The second composition is similar, though the sequencers become more powerful about eight minutes in. And then you can hear that the guitar is gearing up to let loose. And then he does just that, with roaring synthesizers in the background, at the same moment they unleash the dark choral mellotron. That combination is a tough one to beat, no matter what genre of music you're hearing. This piece gets very intense in places, like we hear from Tangerine Dream on their archival live releases from 1977. The ending of this incredible track sounds more like Heldon than T. Dream.

Not to be outdone, Republic then goes into that same dark cavern with a lake, as I describe on my Rubycon review. Choral mellotron defines the haunting mood. The question becomes, are we going to exit along the river or stay there forever? The sequencers then begin to provide the light so we can see our way out. Optimism is reflected in the flute tapes of the mellotron. The pace of the sequencers continues to increase. By the 19 minute mark everything is louder and more intense. For the last six minutes we have a chance to reflect on all that has happened.

If you're going to get into Radio Massacre International, then I'd suggest Republic to be at the top of your list.

Interesting to note, this album isn't listed in ProgArchives though most of them are. This is one of their landmark albums, so a strange absence for certain.

Ownership: 1996 Centaur (CD)

2001 (acquired); 2006 (review); 12/23/14; 12/1/25 (update)

Planets in the Wires (2001)

According to my database, I have accumulated 14 RMI albums to date, and sold one (Zabriskie Point). Too much of the same thing you ask? That's kind of where my head was at going into this listen. Of all their albums that I do own, I've held this one with the least regard.

Now I'm not so sure of that assessment. I will say that it is too long, and the 75 minute length could have been trimmed by 20 minutes, easy. Some of the lengthy "ambient" sections don't add much to the recording and get away from what Radio Massacre International does best: Essentially copy Baumann-era Tangerine Dream. But once the sequencers begin to roar and Gary Houghton begins to wail on his guitar similar to Edgar Froese, well it sure is hard not to appreciate the contents within. I probably do have too much of this kind of stuff. Where to draw the line? I dunno - kicking that can down the road some more. I have other fish to fry.

Ownership: 2001 Northern Echo (CD)

2002 (acquired); 6/24/22 (review)

Solid States (2003)

Solid States is made up of four live and studio concerts during November of 2002, performed in both Philadelphia and the Los Angeles area. This is one of Radio Massacre International's more psychedelic releases, and that's primarily due to the abundance of electric guitar. Basically what we have here are long journeys of Berlin School electronic music with fat analog sequencers, mellotron, and loud acid guitar solos. If this sounds like Encore-era Tangerine Dream, including the concerts-in-the-USA theme, then yes, you have tracked the scent indeed. One cannot possibly get enough of 'Coldwater Canyon' in my book, and here you'll swim in roughly two and a half hours of it. Essential.

Ownership: 2003 Northern Echo (2xCD)

2003 (acquired); 5/26/16 (review)

The God of Electricity (1994 / 2000)

In effect, The God of Electricity is Radio Massacre International's earliest album, though not released until 2000. The album was recorded throughout the summer of 1994, and later pieced together, which is a bit different than the normal RMI protocol. It's a darker work, with synthesizers dominating the proceedings even more so than later in their career. The sequencers remind us once again that Baumann-era Tangerine Dream is the blueprint for all future RMI recordings. The God of Electricity is yet another excellent album from RMI, though I wouldn't recommend it as a starting place. Better to try their actual debut Frozen North to get the true Radio Massacre International experience.

Ownership: 2000 Centaur (CD)

2001 (acquired); 11/1/16 (review); 4/3/25 (update)

Septentrional (2006)

Radio Massacre International have to be viewed as one of the most innovative of recent groups. Certainly within the electronic music space, a field that has the same devotion and non-wavering loyalty to sub-genres as does heavy metal. You're either "Berlin School" or "Ambient" or "Techno" or any other such labels, but you shouldn't be all of them - say many fans. RMI, who started out pretty much strictly "Berlin School", are now all the above and more, with recent excursions into tripped out Krautrock, and whatever else they feel like doing. Septentrional is one of their most polarizing CD albums (their privately released CD-R's are even more controversial). Produced by Ian Boddy, and released on his DiN label, Septentrional is RMI at their most modern and cutting edge. But in a paradoxical way. See, Septentrional has more of that ancient mellotron than any of their other albums. Of course it's put through the production grinder and is echoed, techno'd, phased, manipulated, and ultimately tortured through Boddy's mad scientist lab. It's all rather fascinating. Headphone music for the modern age. If looking for just one composition to leave your jaw hanging, may I suggest 'Trident', which is truly a beautiful thing to hear and behold.

Ownership: 2006 DiN (CD)

2008 (acquired); 10/18/15 (review)

Frozen North (1995)

It all starts here for Radio Massacre International (RMI). That most creative English band that almost single-handedly brought back the Berlin School trio format back to prominence. All three perform on a raft full of analog keyboard equipment (yes, of course, mellotron, Moog's, etc...), while one doubles up on electric guitar. Sound familiar? Sure it does. So if you're looking for about 20 more quality albums from the glory days of Tangerine Dream's "Virgin Baumann years", well do I have good news for you! Not that RMI was content to just sit in that same zone, as many of their albums followed other trends of German Kosmische, but primarily RMI were all about sequencer and atmospheric mid to late 70s Tangerine Dream. And the double CD Frozen North is the perfect place to start (if you can find it that is - I bought mine not long from its release date). We are talking two hours and 15 minutes of Encore meets Rubycon era Tangerine Dream. Not a mere copy, but yet a completely unique take on a classic sound. To say it is essential for fans of Berlin School elektronik music would almost be understating the matter.

Ownership: 1995 Centaur (CD)

2003 (acquired); 12/21/14 (review)

Knutsford in May (1997)

The hardest part about writing on Radio Massacre International, is that they have so many doggone great albums, it's near impossible to determine what is great from what is really great. If you're a fan of the Berlin School of electronic music (Tangerine Dream, Klaus Schulze, etc...), and you like sequencers, mellotron and electric guitars (and even real drums on later albums) - then do not wait another second - don't walk, but run out, and buy at least one RMI album. You almost cannot go wrong, though as I said in the prelude, there is a bit of separation on their respective titles. Knutsford in May is one of their can't miss titles for fans of the genre. This one has more than its share of mellotron and guitars, and while listening to this you'll feel like someone dropped you into Edgar Froese's studio circa 1975. RMI have completely mastered the style, and if you're looking for a starting place - Knutsford in May is as good as any.

Ownership: 1997 Centaur (CD)

2001 (acquired); 10/10/06; 5/17/11 (review)

Rain Falls in Grey (2007)

As stated in my review for Septentrional, Radio Massacre International are one of today's most innovative groups. Case in point: Rain Falls in Grey. On this outing, RMI pay their respect to Syd Barrett. Musically this is RMI's most overt space rock effort, with raging electric guitars, and ferocious drumming. As well, RMI have successfully created those magical atmospheres that one would typically find on an old German Ohr release, who themselves were enamored with late 1960's Pink Floyd. This being RMI, one is never too far from classic mid 70's Tangerine Dream, and the combination of the early Krautrock sound with "Berlin School" electronics is highly fascinating. After a bit of a lull at the beginning of the decade, RMI has created a triumvirate of classic releases starting with Emissaries. Each represents an entirely different sound. Rare is this kind of innovation found, much less from a band whose recording history was almost 15 years old by this point.

Ownership: 2007 Cuneiform (CD)

2008 (acquired / review)

Other albums I own and need to review: Organ Harvest; Borrowed Atoms; Upstairs Downstairs; Walking on the Sea; Emissaries; Time & Motion

5/17/11 (new entry)

IQ ~ England

Dominion (2025)

Here's the last of my new music arrivals. As you can read below, IQ is a very important group for me. For as long as I can collect music, I will likely always buy a new IQ album. There's not too many bands I'd say that about at this point. This time there was a six year wait, slightly more than their standard five they had established back in 2004 (though they've averaged five since 2000). We can blame COVID. Might as well, I blame it for a lot of things. The band that appeared first on The Road of Bones continues on Dominion, thus adding a stability that had been missing in their early years. Let's see how the new album stacks up against its predecessors.

This time they open the album in introspective mode, with Peter Nicholls singing over atmospheric electronics and past war declarations. Near the five minute mark, we hear the familiar IQ prog rock sound. Four minutes later, they really begin to amp it up. This is my kind of IQ! I don't know if there are too many bands that I would recognize instantly as I do with IQ. They have a sound, and they perform it on Dominion just as they have for the last 30+ years. I describe that sound, as best as I could, on prior reviews. That's not to say all the albums are the same. Far - far - from that. They are each crafted within the boundaries they created. If they were all the same, I'd have dropped these guys many years ago. My initial response to Dominion isn't as strong as the albums from the last 25 years. Though my high rating remains the same. I mean - it's IQ. It sure was a fast 53 minutes, which is a compliment.

On that topic, interesting to note that IQ's last several releases more or less receive the same ratings on RYM and ProgArchives. For the former, they seem to hover around 3.6 (which is excellent for that site, especially for prog). And the latter is in the low 4's, an excellent score no matter who's doing it. The number of ratings is significantly down for Dominion on both sites, however. Whether that's an indication that folks have moved on from prog, dying off, stopped rating albums in general, or just following other interests (or groups), I cannot say. I'm no different, rating 4 stars for all of their albums since The Seventh House. For me personally, I attribute that to not getting to know their albums more in depth. I think if I were to put any one of them into the car changer for two weeks straight, at least one (or more) would rise. I should prove that theory some day. But which one? Questions. Another fun challenge would be to rank all of their songs in order of preference. That would be some undertaking. If I ever get out from under the mountains of albums I need to listen to, I may take that one on.

Ownership: 2025 Giant Electric Pea (CD). Tri-fold digipak. Booklet has lyrics, artwork, and a band photo.

12/1/25 (acquired / review)

  

Resistance (2019)

I've written extensively about IQ in the past, and Resistance fits their current pattern perfectly. Following on their five year new album release schedule, going back to 2000 (allowing that Seventh House to Dark Matter was four years, close enough), Resistance is yet another tour de force from the best operating band of the original New Wave of British Progressive Rock movement. And this time, we have a static lineup. 80% of the original band is sticking with it, and Neil Durant seems to be the answer at the keyboard set. As with their other recent albums, gone are all traces of attempts at pop stardom. With Resistance you get close to two hours of hardcore progressive rock. With most bands, anything more than 50 minutes seems like a slog, but with IQ the time moves swiftly. Those five years of interim between recordings are not to put waste. All the tracks are well crafted, and it's clear that multiple listens will reveal more each time. I've only listened to disc 1 twice and disc 2 once, but like all of their catalog, I know revisits will be rewarding. As I've said before, there's probably not too many people who are new to IQ - and maybe less to prog rock in general - but one could do far worse than starting right here with Resistance as a great place to begin your collection. The album is a great ambassador for the progressive rock style - all that is excellent about it, while leaving off the more derided aspects of the genre.

As I've also mentioned in the past, IQ is often at their best in foot-stompin'-hard-rockin' anthem mode. IQ knows this by now too, so no point in making anyone wait as opener 'A Missile' is just that. A hard rocking missile that is. Most of disc 1 is a spirited affair, mixing in complex charts with memorable tunes. Disc 2 is geared toward their epic progressive side, something they don't always focus on. I would argue Resistance is their most progressive outing yet, if I can use the word progressive in the sound-of-an-era sense verse true progression. 'The Great Spirit Way' has the type of changes and sound that we often associate with the Scandinavians like Wobbler or Anglagard.

IQ has spoiled us for 20 years straight now - and it's hard to choose what is their best work in this era (I'll always be partial to their original albums Tales from the Lush Attic and The Wake because of time and place) - but most certainly an argument can be made that Resistance is that album.

Thank you IQ for keeping the original early 80s progressive rock spirit alive. Perhaps we see you again in 2024?

Ownership: 2019 Giant Electric Pea (2xCD). Tri-fold digipak. Booklet has full lyrics, credits, a band photo, and artwork.

12/8/19 (acquired / review)

Seven Stories Into 98 (1982 / 1998)

When I did a full IQ retrospective a few years ago, I realized I had never heard their initial demo tape from 1982. It was then, for the first time it appears (not sure why?), I became aware of this CD. The fact that they re-recorded the material was even more exciting. So off I went to buy the CD... ugh. OOP and expensive. So I waited. And eventually I sourced a copy online for a reasonable price, and here we are.

First off, I was determined to hear the tape first, followed by the re-recordings. The band of course pushed the new recording first, as they indicate often an apologetic approach to releasing the demo at all, but I think most fans wouldn't care about the flaws. And I do recommend a similar approach, otherwise it will take your ears quite a bit of time to adjust from professionals in a studio to amateurs in a bedroom.

The liner notes alone were worth the price of admission, and I learned some things about the band I never knew. For example, I didn't realize they had started out as an instrumental fusion band influenced by the likes of Return to Forever. And this shows prominently on the opening track 'Capital Letters'. It's not until the namesake 'Intelligent Quotient' do we first hear Peter Nicholls and their trademark neo prog sound they helped create. By the time we get to 'It All Stops Here', you can tell the band is firing on all cylinders and ready to hit the studio for their brilliant Tales From the Lush Attic debut.

After hearing the tape, I fully expected to be blown away by the new recordings. But honestly, I enjoyed them about the same, despite the obvious improvement in sound and execution. Perhaps it's because I grew up in the same cassette tape culture IQ operated in, and I appreciate the raw grit that comes with it. This CD is a must own if you're a fan of the early IQ sound, of which I most certainly am.

Ownership: 1998 Giant Electric Pea (CD). Historical liner notes.

7/8/16 (acquired / review)

The Road of Bones (2014)

And so now we arrive at IQ's most ambitious album to date: The Road of Bones. 30+ years after debuting on the scene, IQ have remarkably not only stayed true to progressive rock (not considering the middle 80s missteps), but are the rare breed to continue to actually progress, thus living up to the genre name. Perhaps most surprising is that the lineup for The Road of Bones is a major upheaval from their last Frequency album. Whereas that album was the least looking IQ lineup, with only founding members Michael Holmes and Peter Nicholls on board, on The Road of Bones these two are rejoined by the original rhythm section of Tim Esau on bass and Paul Cook on drums. It's been over 25 years since Esau was in the band, and yet he fit like a hand in glove. And not only that, but Mark Westworth's position as keyboard maestro lasted for one album, and here he is replaced by Sphere3's Neil Durant - who to my ears is probably the best choice yet for IQ, given his preference towards analog equipment. You won't miss Martin Orford (really). The album has been presented as a single, or a double, depending on one's budget I presume. It is important to note that this isn't a one album CD, with archival bonus material filling out the second disc - or some novelty item of IQ covering classic 70s rock. No - it's a double CD filled to the brim with classic IQ music. So if you do decide to get the one CD version, you'll end up with half the album. I don't recommend that to anyone. No matter your budget, wait a bit and save up the few extra dollars, and buy the CD in its full glory. You'll want it eventually anyway. I haven't spoken yet about the music, and not sure I need to. There are 100's of reviews out there already dissecting each note, theme, lyric, and purpose. This tells me IQ is bigger than ever, and the world is a better place for thinking that way. Sure, for purists not everything is "just so", and IQ utilizes too much metal, or electronic, modern production techniques, bla blabla bla bla. And yea, Nicholls sometimes has to sing a novel, and doesn't shut his yap. But the music is absolutely identifiable as only IQ. No one else sounds like them, and their music has a depth that allows for multiple listens, and new discoveries await at every turn. I found it hard to pick a favorite song, as each one was of a high quality. In some ways, objectively speaking, this is IQ's finest hour. Err two hours (so yes, they have one upped Frequency). For me, my life is inextricably linked to their first two LPs, and they likely will always be my favorites. If coming at this band for the first time (is that even possible?), then start here and absorb the album in full before launching into their deep catalog. For me, IQ can do no wrong. And I hope we hear from them again in the next five years (or sooner, eh guys?).

Ownership: 2014 Giant Electric Pea (2xCD). Tri-fold Digipak.

12/30/14 (acquired / review)

Frequency (2009)

Vocalists and bassists come and go, but IQ stalwarts Martin Orford and Paul Cook have now exited stage left, and in their stead are Frost* drummer Andy Edwards and Darwin's Radio (and Grey Lady Down prior) keys man Mark Westworth. This leaves only guitarist Michael Holmes to have weathered the entire storm to date. And so what does Frequency sound like? IQ. In fact, it sounds like IQ in 3-D. Their brand identity has been distinctly carved out now, and this is a band who knows what that identity is. Everything is bigger, louder, and more pronounced than before. So at this point, it's about the composition, and the execution thereof.  IQ are always at their best when in foot stomping mode, and 'Ryker Skies' is this album's best representation of said sound. And 'The Province' picks up on IQ's ability to go deep into the progressive rock weeds with multiple time changes and mood changes. While the nostalgic exhilaration of Tales of the Lush Attic and The Wake inevitably take those albums higher for me personally, objectively it's hard to argue that Frequency is not their best album to date. Only in that it is their most focused, and overtly progressive rock themed album yet (well OK 'One Fatal Mistake' kind of blows, self-defining the title a bit then.). Not that the latter statement of "most progressive themed" is a virtue in of itself, but when executed by IQ... maybe it is.

Ownership: 2009 Inside Out (CD)

2/13/11 (acquired); 12/24/14 (review)

Dark Matter (2004)

IQ were always a band of the 1980s with a compositional structure that points to the '70s. With Dark Matter they finally look backward in time and marry their instrumental side with their writing style. Martin Orford will never be accused of obsequious loyalty to the analog beasts of yore, but at least here he is willing to give the heavy wood pieces a bit more attention than prior. And even if they're not authentic 1971 ware, at least the effort was made to sound as such. As with The Seventh House, the days of penning pop hits are long in the rear view mirror. This is all-in progressive rock. Dark toned opener 'Sacred Sound' recalls the brilliant 'Widow's Peak' - but with an organ dirge in the middle. 'You Never Will' possesses some fine heavy bass and synthesizer. And 'Born Brilliant' brings back the old mid-80s IQ anthem-styled stomper. The much ballyhooed 24 minute+ 'Harvest of Souls' includes a dynamic and rocking Yes-like mid section similar to the glory days of Relayer. On initial impact, I was certain that Dark Matter was an improvement on The Seventh House, but while taking in all the IQ albums in succession, I'm more of a mind now that they are of similar quality. One represents the 80s IQ, while the other gives us a peek at a potential look back in time. Both are excellent and essential.

Ownership: 2004 Inside Out (CD)

11//05 (acquired); 12/22/14 (review)

The Seventh House (2000)

And now we get to The Seventh House, which is of course, their 7th studio album. If Ever and Subterranea represent the two albums that IQ should have released for major label Mercury, then The Seventh House seems to be the album that would have come after The Wake - had they stayed in the underground that is. The tight and compact structures, combined with the anthems of The Wake and Tales From the Lush Attic, have returned on The Seventh House. Generally registered - or derided depending on one's perspective - as IQ's decent, but not great album, between their late 90s two CD epic Subterranea and their 70's throwback masterpiece Dark Matter - I personally find that The Seventh House is more a return to form to the IQ I love. While there's no 'Widow's Peak' hair raising moments, IQ have clearly shed their commercial desires here, with perhaps the exception of 'Shooting Angels', and even that track isn't too overt in its desire to attract mass audiences. I think it is on this album, more so than the last two works, where IQ realized that they are stars in their own world - but have no chance for world domination. If they did have that chance, then that ship sailed long ago. They made their try.... and failed. Sorry chaps. Now it's time to get serious about this progressive rock thing. Yea, that's right, the style of music they originally made a go at some 15+ years prior. And very successfully. To my ears, it's amazing how much the 2000 release The Seventh House sounds like something from 1986, a year I could go a whole lifetime without acknowledging again, and yet they make me pine for it as if in a fit of nostalgia. I honestly mean this when I say: Only IQ could pull something like that off. With The Seventh House, IQ are back on track and ready to wow their old-found progressive rock audience.

Ownership: 2005 Inside Out (CD). Booklet with lyrics and photos. 

11//05 (acquired); 12/20/14 (review); 9/26/22

Subterranea (1997)

The two-CD follow-up Subterranea has always been tough for me to penetrate ever since its release in 1997 and my immediate subsequent purchase. I know some folks don't want to hear this, but yea, it's definitely IQ's version of Genesis' The Lamb Lies Down On Broadway. As with that work, this album focuses on a concept album with specific focus on heavy lyrical content while the instrumentation and complex arrangements (if they are complex at all) take a back seat. Subterranea is one hour and 42 minutes in duration. I'd say that's about one hour too long. For an album that features 19 tracks, it's amazing not one of them really stands out in an extraordinary way. Subterranea is one of those albums that I really want to like, since it's obviously very popular with fans of the band - and I am too a fan of the band - and yet this one is lost on me. On this last listen, I was bound and determined I would get everything out of it as possible. I sat there, headphones on, dedicated to hearing the entire album in one sitting listening to every note, without distraction. But I just couldn't find any major redeeming qualities. There was no 'Enemy Smacks' or 'Widow's Peak' or 'Fading Senses' or any of the other great tracks from the first two albums and Ever. I have to say there is a lot of down time with Subterranea. Long stretches of vocals and boom-boom-bash drumming over a wall of keyboards and guitar choruses - like any respected pop band would do. They just couldn't let go of those commercial aspirations, even a decade later. If nothing else, if you start with Disc 2, you are likely to have a better experience. Yes, the 20 minute track 'The Narrow Margin' is really the best thing here, and even it doesn't really get cooking until the halfway mark. It's not a bad album mind you, not at all in fact, but it's definitely their weakest studio release beyond those two albums that I hope need not name. They were to improve from here though - dramatically so.

Ownership: 2005 Inside Out (2xCD)

1997 (acquired); 11//05 (reacquired); 12/17/14 (review)

Ever (1993)

By 1993, progressive rock had found its roots again, and with new-on-the-scene bands like Anglagard and Anekdoten blowing everyone away with their modern take on 1973, a group like IQ didn't seem to have an audience anymore, especially after such a long silence and having released two commercially oriented, and arguably failed, albums. The logical choice would've been for them to join what was now known as the Neo Prog movement, which already had quite a large niche audience itself. Bands such as Marillion and Pendragon were enjoying a cult-like status and they had many emulators. Peter Nicholls was back at the microphone, with Jadis' John Jowitt now on bass, but could IQ regain their fans? Ever was the result. This is the album, of course in retrospect, they should have released for Polygram. Picking up right where The Wake leaves off, with the near 11 minute opening 'The Darkest Hour', IQ climbed back on that tightrope of balancing complex progressive rock with a more poppy approach. There are plenty of quirks and complicated meters to please the more discerning listener, while still delivering accessible melodies and structures for the more commercial oriented. The opener is followed by the two-part 'Fading Senses', which is as good a track as IQ had ever recorded up this point (other than 'Widow's Peak' of course). A multi-segmented piece with some stunning atmospheric keyboard work, impassioned vocals, and driving electric guitar. The 14 minute+ 'Further Away' brings back the epic opus, with all its sections / meter changes / dynamics / climaxes - and demonstrates that IQ are ready and willing to sign back up for all-in progressive rock. They hadn't quite given up their pop aspirations, as can be heard on 'Out of Nowhere' and 'Came Down' (good examples of commercial rock, however). With Ever, IQ were back in the saddle. And they never strayed again. In fact, they would turn the dial even more towards complex progressive rock, while moving further away from any thoughts of commercial stardom. Except perhaps one last look back.......... said Lot's wife.

Ownership: 1993 Giant Electric Pea (CD)

1993 (acquired); 12/14/14 (review)

The Wake (1985)

There was heavy anticipation for IQ's second album and they delivered in grand fashion. No sophomore slump can be found on The Wake. There can be no doubt that the heavier moments from their debut were better received by a live audience, and IQ began to move away from some of the subtle brilliance of Tales From the Lush Attic and more towards aggressive anthem rock structures. The title track itself is proof that IQ could pack a wallop, and still be interesting to progressive rock listeners, while the opener 'Outer Limits' is a great mix of progressive and accessible rock (listen to those synthesizer solos alone!). The analog keyboards from the past were starting to get minimized (except for the glorious mellotron) and traded in for modern, cutting edge synthesizers, and samplers. While in today's world, old vintage equipment is highly revered, the 1985 mindset was much more anxious to ditch the heavy, clumsy, and unpredictable hardware, for more sleek - easy to tote - and cleaner sounding instruments. Even for dyed-in-the-wool hardcore mellotron addicts, The Wake is not to be missed. Side 2's opener 'Widow's Peak' is IQ in all its glory. From powerful head banging anthems and atmospheric flute, to guitar loops meshed with anguished vocals - the track delivers on a number of fronts. The 6 and a half minute mark of 'Widow's Peak' delivers one of the most powerful musical statements in my entire collection! 'The Thousand Days' demonstrates their move to commercialism, while not abandoning their progressive integrity, and it all fits the era in which it was released so perfectly. Overall, The Wake was a bold move forward to a larger audience while not compromising their overall creativity. In conclusion it is indeed another classic. The band seemingly could do no wrong. IQ were on the tightrope of accessible progressive music, balancing everything perfectly here.

It was a rope, though, that they were to fall off - oh so very off - shortly thereafter.

Ownership: 

1985 Sahara (LP)

1994 Giant Electric Pea (CD)

1985 (acquired); 1996; 12/12/14 (review)

Tales from the Lush Attic (1983)

Hard to imagine now, but at one time IQ was a boon for the progressive rock starved fan in the early 1980s. Believe it or not, 1983 was an exciting time for traditional progressive rock music. England was experiencing a renaissance in creativity after a few years' dearth of interesting new progressive rock. Heavily inspired by the classic progressive rock works of Genesis, bands like Marillion, Pendragon, Pallas, Twelfth Night, Haze, and.... yes IQ, were blazing a new trail for a younger generation looking for more challenging music than the radio and TV was affording at that time. Decidedly noncommercial for their day, these bands were raising the spirit of Gabriel-era Genesis from the virtual dead. Best of all, it was an updated sound with modern equipment, cleaner tones, and a more aggressive rock approach (no doubt influenced by the contemporary punk and metal movements) combined with the challenging compositional style of Genesis albums like Foxtrot and Trick of the Tail.

It was during this period that I personally became involved with the progressive rock scene. I still remember a review of Twelfth Night showing up in the metal magazine Kerrang claiming "Bring out the Mini-Moogs boys, the Progressives are back!" And they were, even if it was just for a short period - in its original form anyway. Of all of the bands from that era, IQ were quite possibly the most accomplished, at least from an exploratory progressive rock mindset.

Tales From the Lush Attic is IQ's debut (on LP, there was a demo cassette prior), released on a small private label and in very minute quantities. The album, however, had gained the attention of the heavy metal media (of all people) and quickly sold out to an audience yearning for something a little different and more challenging, thus leading to a much larger repress. IQ's well-deserved positive reputation had begun. Opening with the 21-minute 'The Last Human Gateway', IQ laid down the gauntlet that they were serious about this progressive rock thing, despite in appearance looking like a typical MTV synth-pop act. No group in their right mind did side long epics in 1983, lest they be panned by the lemming-like music press as the worst album since the ghastly Tales From Topographic Oceans. This track had all the right ingredients: Organ, mellotron, synthesizers, crazy rhythms, Hackett-esque guitar, and possibly best of all, a very talented and dramatic singer in Peter Nicholls. He even wore face paint for crying out loud! Continuing on, 'Awake and Nervous' is a more commercial sounding track in the rare case that any reviewer had actually made it through the opener and its short followup. This is followed by the hilariously titled 'My Baby Treats Me Right Cos I'm the Hard Lovin Man All Night Long' which is, appropriately enough for the setting, a classical solo piano piece. The closer, 'The Enemy Smacks' is IQ's finest moment here. A combination of aggressive hard rock with symphonic progressive which happens to contain their most complex metronomic moments as a bonus. Very powerful - and perhaps just the right punch to score with the younger fans it so coveted - and represented themselves. A brilliant debut.

Ownership: 

1984 The Classic One Shoe Record Label (LP). Acquired at Virgin Records in London, as there was no chance of getting this back home in the States - or at least that I was aware of at the time. Interestingly enough, the album had already been repressed a few times by then. My copy has the more familiar brown border verse the original blue. Real originals are numbered and scarce. Of course given the time and place, I would never sell my treasured copy. 

1988 MSI (CD)

8/16/84 (acquired); 2/7/01 (review); 7/4/14 (update); 1/5/24

Other albums once owned: Nine in a Pond is Here; Nonzamo; Are You Sitting Comfortably?

I hope to revisit the latter two. I'm sure they aren't as bad as I made them out to be, but we'll see.

7/4/14 (new entry)

The Velvet Underground ~ USA ~ New York City, New York

The Velvet Underground (1969)

I had no intention of listening to The Velvet Underground today. But yesterday I found the 5xCD box set for 69 cents (in mint shape no less). I already have the first two in the collection, and I'll revisit those at another time (one is recent, see below). But I've never heard the next two, nor any archival material. I know they are radically different than the two I'm familiar with, but still are highly regarded. Let's see how the 1969 album goes, and I'll go for the other two in the following weeks.

My cynical side tells me that if this wasn't a Velvet Underground album, no one would give a rats about it. But then again, there really wasn't that much like this in the late 60s either. It's almost a throwback to the Greenwich Village folk scene from the early part of the decade. However it has this loner approach, that wasn't to find its audience for another 20 years. It's so different than what had transpired prior you wonder why they didn't just rename the band. Truth of the matter is, The Velvet Underground weren't all that popular in their day. They were more famous than profitable, and none of their albums charted high, if at all. It wasn't until many years later that they found their audience, long after they were an entity. I'm not really a folk nut, much less a lo-fi indie guy. And that's where this album sits. The great exception is 'The Murder Mystery', a lengthy track that hints at what could have been a successful 3rd avant rock album. I do think people work much harder at appreciating this album than they would for some unknown during the same era. RYM, for their part, has this as the 5th highest rated album for 1969. Completely absurd from my vantage point. Would I keep this album were it not part of the box set? Nope. No chance. At least I won't be tempted to keep an original LP if the situation presents itself.

The bonus tracks are primarily culled from the VU outtake comp from the mid 80s. The studio selections were recorded a few months after the album above. They are much more upbeat, with a blues, garage, and psychedelic focus, recalling the earlier sound of the band.

Ownership: 1995 Polydor (CD). Peel Slowly and See box set. Eight bonus tracks.

12/1/25 (acquired / review)

 

White Light / White Heat (1968)

The Velvet Underground's second album is most fascinating to me on how far MGM / Verve were willing to take things in the late 60s. Considering they also had Zappa / The Mothers in the ranks too. This album is as underground as anything ever released in America on a major label - thinking competition would be from RCA's Friendsound for example. Side 2 is just insane really.

I'm also very intrigued by what is considered highly collectable today versus what isn't: Subversive disposition. Whether it be jazz, psychedelic, folk, rock, country, or metal - the less regard one has for civilized society, the more desirable the LP. Especially from the 1950s and beyond. Anything that's mainstream and wholesome has almost no intrinsic value. Doesn't matter what color you are - or race or religion - just be sure to stick it to the man somehow, someway. Sometimes I wonder if the 50 cent records of today will be highly sought after in 20 years (especially after guys like me basically give them away, or even have to toss), and records by groups like The Velvet Underground will all be worthless (or illegal - hey you never know!). Universal consciousness is cyclical. White Light / White Heat is as rebellious as it gets.

Ownership: 

1968 Verve (LP). First pressing. 

1995 Polydor (CD). Peel Slowly and See box set.

1985 (reissue LP acquired); 1995; 4/3/21 (original LP acquired / review)

Also own and need to review: The Velvet Underground & Nico; Loaded (1970); Peel Slowly and See (archival disc).

4/3/21 (new entry)

Jukka Hauru ~ Finland

Information (1972)

---3/25/11

On Jukka Hauru's debut album, Information, there's no doubt the major influence here - one of Frank Zappa, especially of the Hot Rats era. The same motif is applied: Silly bits of humor, an almost academic approach to chamber jazz, and shredding early 70s bluesy wah-wah guitar like the master himself. Hauru proves to be an exceptional student, and this album is a no-brainer for fans of the style. 

---12/1/25

I first acquired this LP at the height of my deep diving into the European underground in the mid 90s, mail ordering records from there at a high rate. The review above represents my CDRWL blog listen. And now I'm hearing the album for only the 3rd time in 30 years, or close thereabouts. While making its debut into the UMR. No disagreements with my initial review. The album is inconsistent as noted above (mainly A3, B3, B5 and sections of A4), but for the most part Information is an excuse for Hauru to rip on the guitar. I like his nimble and jumpy playing style. A bit from the McLaughlin school with a bit less focus. Saxophone is another instrument that receives quite a bit of airplay. "Jupu" Poutanen's violin is also very prominent, and it's clear he's an equal participant to Hauru for the recording. 

Ownership: 1972 Finnlevy (LP)

1996 (acquired); 3/25/11 (review); 12/1/25 (update)
 

Jukka Hauru & Superkings ~ Pop Liisa 02 (1973)

Finnish guitarist Jukka Hauru had two fine albums from the 70s (Information, Episode) before hanging up his music career for the writing pen. Both are still quite obscure due to a lack on any modern CD reissue (since rectified, albeit in small quantities). This all-instrumental live concert encapsulates perfectly the sound of both, most notably the raw and edgy Information. As I state on that review, it's quite apparent Hauru is influenced mightily by a one Frank Zappa, though for this live concert, the humor bits have been completely rubbed out. Other guideposts include Mahavishnu Orchestra and Weather Report.

In listening to this set, it probably would have been a better fit for the "Jazz Liisa" series. All the same, Hauru has just enough progressive rock sound and composition style to qualify for the genre. And one reason for this is violinist Juhani "Jupu" Poutanen, whose nickname would lead to another obscure band without a proper reissue: Jupu Group (also since reissued). A band that now also has a Pop Liisa concert available to purchase. Poutanen is one of the "Superkings", a made-up-on-the-spot moniker meant as a joke to counter the quintet being called by the local music press a "supergroup". So melodic and shredding violin with electric guitar define this kinetic set. It really is too bad Hauru called it a day, as he had some fiery chops to display. Keyboards and an agile rhythm section round out the ensemble.

Worth noting that opener 'Mai-Ling' appears to start in mid-jam form, but as it turns out, the first three minutes of the tape had been damaged, so they salvaged what they could. Also of note, both 'Twilight Time' and 'Angel' are previously unreleased tracks. 

Ownership: 2016 Svart (CD). Booklet with liner notes. With Tasavallan Presidentti (Pop Liisa 01).

9/17/16 (acquired / review)

Also own and need to review Episode.

9/17/16 (new entry)

Coroner ~ Switzerland

Dissonance Theory (2025)

Next up in my coverage of new albums comes Coroner's latest. I closed off Dark Angel's Time Does Not Heal review with: "Their new album has been met with serious derision. The opposite of another 80s / early 90s legend that recently reformed and I will be talking about (excitedly I hope) within the next month." And here we are.

Coroner is arguably my all-time favorite metal band. If not number #1, they are certainly in the discussion. They were part of the second wave of thrash bands that came around in 1987, post Master Of Puppets. Coroner were peers of Celtic Frost, and they were inspired by that group's unique style of thrash metal and God-knows-what from Tom Gabriel's cabeza. I haven't documented any of their five original albums on UMR, but suffice to say, they got better as they went. I know I'm in the minority here, but Grin was the apex of their career, and probably was the perfect time to call it quits, before the 90s metal scene devolved into an uninspired mess later in the decade. I'll defend my position when I get back to their discography, whenever that may be.

The build up for Dissonance Theory has been nothing but super exciting. It brought me back to the mid to late 80s, pouring over every word in Metal Forces, looking for that one metal album that would take me to the stratosphere. And that happened many times, some have already been documented here. I haven't done this type of reading in eons. The wait has been very long, going back almost a decade to 2016, when Coroner said they were working on a new album. Years passed, and only a few hints kept that flame alive. Until 2025. The way the group talked about the upcoming release was exactly how bands would describe their music in 1989. Except these guys are my age, in their early 60s. They are clearly young at heart, and still sharp as ever. But with 30+ years more wisdom at their disposal, and they talk smarter, which is refreshing (many of these metal guys purposely sound like they're still in grade school). They have a new drummer, but the key members of Tommy Vetterli (guitar) and Ron Broder (bass / vocals) are onboard. Also of interest to me is that the album has been exceptionally well received. You almost never see this from legendary thrash metal bands of the past. Witness what's happening to Dark Angel's latest. It currently sports a sub 2 rating on RYM (that's really bad). Coroner is rated number #23 overall for 2025, with a similar rating to their classics, and is likely to continue to go up with more ratings from users. For a tech thrash band on a 32 year hiatus, that's nothing short of incredible.

OK, I wrote the above before hearing one note of Dissonance Theory. This also represents the first album for me to hear that was released in 2025. Perhaps one last build up before lift off. Here we go. Let's see where this takes us.

Wow. Just wow. I listened to the whole thing without typing one letter. That's what Coroner does. They entrance you into their world, and don't let you out until it's over. What's impressive about Dissonance Theory is that it sounds 100% like Coroner, without repeating the past. The opening is very much like Grin, atmospheric then followed by fast and heavy riffing. Soon, Ron Broder begins singing in his unique snarling manner. He sounds exactly like he did in his prime. Whether that's through the aid of technology or he's ageless, I cannot say. New drummer Diego seems more active than his predecessor which is only a plus. Dissonance Theory doesn't follow the same path as Grin, which continued to get slower, moodier, and more pissed as it went on. 

The new album varies the tempo throughout, but never gets hyper technical as it did on Mental Vortex. From a flow perspective, it probably ties closest to No More Color. The production is brilliant. You can hear every nuance, from the gritty guitars to the atmospheric electronics. On that topic, I noticed that "guest" keyboardist Dennis Russ happens to also cowrite every song with Vetterli. He's an American who also contributed to the production and lyrics. As the album progresses you begin to hear just how off kilter the rhythms can be. That's the disorienting magic of Coroner. Repeated listens will only increase the rating for Dissonance Theory. This I know from experience. I'm sure I won't hear it as much as I once did for Grin, but as I talked about with Iron Maiden, we have so many options today that's it's difficult to focus on one album for so long. Despite saying this, I'm on my second straight listen as I type this out.

Highlights are tough to spot, though the opening sequence is exciting just due to the newness of it all. And that Coroner are back. Real thrash is back perhaps to say. I enjoyed 'Crisium Bound' as a great example of how Coroner operates on their own time signatures.'Transparent Eye' is another example of this phenomena. 'Renewal', the last proper song on the album, happens to also be its most thrashy, heavy, and complex. And not to forget the legacy of 'Host', 'Prolonging' closes the album with metal combined with a wild Hammond Organ solo from Russ. More of that would be insanely welcome.

I sure hope Coroner doesn't wait another 32 years to get back in the studio. Because if they do, they'll need a real coroner. I'll be 93, and so will they. So let's get a move on fellas.

Ownership: 2025 Century Media (CD). Booklet with lyrics, photos, and recording details. Nice artwork that honors their heritage well.

11/24/25 (acquired / review)

Also own and need to review: R.I.P.; Punishment for Decadence; No More Color; Mental Vortex; Grin

11/24/25 (new entry)

If ~ England

If 3 (1971)

If are one of those bands that I should know much better than I do. I've only picked up two of their releases on CD over the years, and couldn't tell you much about their sound. And that's because I haven't documented any of my listens. The group released eight albums from their original run, and for some reason, I think I've passed on a couple of their LPs in recent years. Probably were too expensive. Of course it doesn't help that the group's moniker and generic early titles are entirely unGoogleable. Naturally, they had no idea how the future would unfold.

Starting with Hammond organ followed by dual saxophone harmony and rhythm guitar, I'm immersed into their groovy set right from the off. They introduce vocals on A2 separating themselves from a pure jazz rock outfit. Some inspired psychedelic soloing on this track as well. A4 picks up the familiar groove from the opener. You hear collectives from Germany reviving this sound in the mid 70s, like Missus Beastly and even Embryo. Some of the vocal tracks, like B1 and B2, tend to drag. Reminds me a bit of later Skin Alley in that way. B3 is a nice song with some excellent sax soloing. I think this is the sound that If works best in. A combination of songcraft and instrumental flights of fancy. B4 is similar to the predecessor, though the soloists this time are the guitarist and organist.

Debatable if this is a necessary part of my collection, though I heard plenty to hang onto it for another listen in the future, at the very least.

Ownership: 2007 Repertoire (CD). Papersleeve. Gatefold. Poster booklet features a full review from Chris Welch. The two bonus tracks are single edits from the LP.

3/31/16 (acquired); 11/24/25 (review)

Also own and need to review If 2. Now that I've given If some focus, I'm sure I'll get ahold of some of their other titles as well, and report back here when I do.

11/24/25 (new entry)

Astra ~ USA ~ San Diego, California

The Weirding (2009)

As you can see below, I went on quite a bit about my Astra experience over a decade ago. But I never did document their debut. 

I think one reason I really enjoy the type of progressive rock Astra peddle is that they lean in strongly towards the psychedelic. That magical 1971 / 1972 sound that seems to capture my imagination the most. Whatever was happening around the world at that time must have been something special. I was just a young boy in Texas, so would really have no idea what the worldwide artistic community was like real time. How it got destroyed so quickly would be a good subject for a thesis I think. And probably has provided the subject matter for at least one in the past. I suspect money will be the lead cause and effect.

As noted on my review of The Black Chord, what makes Astra so impressive to me is that they capture the ethos of the era perfectly. It doesn't sound like an imitation but rather a participant from the time and place. That place was Europe most assuredly, especially England, Italy, Sweden, and Germany. Not here in the States. Maybe a few years before we were the artistic leaders, especially California, but not in the early 70s.

Strangely on this visit I hear snippets of early 70s Black Sabbath. There's some Ozzy is those vocals. I see other reviewers call that out as well. OK good, I haven't completely lost my mind. Yet. 

The album is a large commitment of time, going the full CD length. I think for the sound Astra has going, a haircut would have been more appropriate before going to the dance. Which is exactly what they did on their next opus. Of course, the question always is, what do you trim? Ehhh, that's a problem. I think that's why I have The Black Chord rated higher. The Weirding is an overdose. For example, 'Ouroboros' is 17+ minutes of instrumental hardcore space rock. It will test the limits of your appreciation of the style, though I think it's a great specimen myself. The whole album is just a lot to take in one setting.

I closed The Black Chord review with: "I can only tip my hat, and can't wait for any future releases." And that never happened. That's unfortunate. Birth seems to be the next incarnation but I have yet to check them out.

Ownership: 2009 Rise Above (CD). Slipcase. Booklet contains recording details only. Nice artwork.

11//09 (acquired); 6/3/12; 2/1/14; 11/24/25 (review)

  

The Black Chord (2012)

In the world I choose to exist in - the byzantine progressive rock underground - bands like Astra might as well be Taylor Swift in terms of general recognition. These are albums that have close to 500 ratings and dozens of reviews on RYM for example - when the usual norm for my modern era collection is eight ratings and one review, and that one review might be my own.

For those that still haven't heard Astra - and I can't imagine anyone reading this that hasn't - then they can best be described as 1972 personified. They have absorbed the influences of the time, instrumentation, and recording techniques of a bygone era, and created their own personal vision of what that would sound like. So if you're an "all-in" kind of progressive rock fan, then these albums are can't miss propositions. For as great as The Weirding is, Astra took it a notch further with The Black Chord. The songwriting has improved, as well as the crispness of the playing itself. If all this sounds eerily familiar to another feature I've written before, then you are perceptive indeed. Rise Above's first band to really accomplish this feat is Diagonal, and they too improved with their sophomore effort. Diagonal is more about the arcane UK progressive scene as promoted in 1971 by the Neon, Dawn, and Transatlantic labels. Whereas Astra is coming at this from the early King Crimson, VDGG, and Yes perspective. So from that viewpoint, Astra will feel more familiar to most modern listeners.

Of course when you obtain the kind of popularity that Astra has, especially on the coattails of the classic early 70s progressive rock bands that many adore and feel cannot be replicated, then you can expect a lot of negativity will find its way to them. I would just wave all that aside if you're a fan, and it least give these albums your full attention, and not try to be swayed too much. Personally I can't possibly hear enough albums that attempt to do what Astra has. This is miles beyond the superficial tries of many modern acts who are looking to achieve a similar conclusion. It takes far more than a retrospective view of another era (i.e. watching That 70's Show isn't going to cut it), and throw a Hammond and a Memotron (faux Mellotron) in there and hope for the best. One really has to be a student of the genre to achieve these kind of results. I can only tip my hat, and can't wait for any future releases.

Ownership: 2012 Rise Above (CD). Slipcase.

6/4/12 (acquired); 2/2/14 (review)

2/2/14 (new entry)

Jonesy ~ England

Keeping Up (1973)

---Sep 2005

The epitome of the kind of album I wasn’t into in my initial discovery of the obscure UK prog scene back in the late 80s and early 90s. If I scored it 2.5 stars, it would’ve been lucky. It struck me as a plain rock album at the time, and I didn't even bother to buy it. The bands that are like Jonesy (in this manner) are endless: Spring, Indian Summer, Czar, Gracious, Fantasy, Kestrel, Diabolus, Raw Material, etc… I was wanting more as in the bombastic Yes or the very progressive Genesis. And Italian prog was king for me then. So I didn’t want less. And all these bands are less – and that’s a positive thing. Focus is on songwriting, melodies, and sound. It’s all very subtle, but beautiful. It doesn’t hurt that there's gobs of mellotron here, an instrument that works for its warmness and depth of sound. And plenty of great ripping guitar as well.

---11/24/25

While I'm very familiar with No Alternative, I'm much less so for their next two, having acquired them many years later. And I often confuse those latter two in my mind. I didn't realize I had a pretty decent review from 20 years ago, buried deep on my hard drive. But my thoughts exactly. Some of the piano melodies remind me of the stellar Kestrel album. It's not quite that transcendental, but the talent is there. And, really, what a mellotron album. Yea, the band did tone down the heaviness on Keeping Up, though it forces the group to rely more on songcraft. B1 recalls same era Soft Machine, with the addition of psychedelic guitar, a departure for the group. They saved the best for last, as 'Children' is not only beautiful, but represents a kind of progressive rock that you only hear from the early 70s, never to be replicated.

Ownership: 1973 Dawn (LP). Gatefold.

9//05 (acquired / review); 11/24/25 (update)

  

No Alternative (1972)

Jonesy (named after guitarist and primary songwriter John Evan-Jones) were one of the finest of the Dawn label bands, providing a blue collar progressive rock sound - which was in deep contrast to some of the more hoity-toity bands coming from the UK at this time. Their debut No Alternative catches the band at their heaviest, and demonstrates a more bluesy proto-progressive sound. Perhaps a year past its prime, but nonetheless a good example of said style. Every track features mellotron, giving it the requisite dreamy contrast. In this way, early King Crimson becomes an obvious reference.

The CD features two very cool bonus tracks in Quad that sound magnificent.

Ownership: 

1972 Dawn (LP). Gatefold. 

2006 Strange Days (CD). Papersleeve gatefold.

1988 (acquired); 3/21/10 (review); 8/26/19

Also own and need to review Growing.

3/21/10 (new entry)