Thought Industry ~ USA ~ Michigan

Songs for Insects (1992)

Recently I mentioned that Coroner could very well be my favorite metal band of all time. Songs for Insects is in the running for my all-time favorite metal album. I've referred to this album often in these pages, usually when complimenting a band on their inventiveness, drawing comparisons back to Songs for Insects. Kalamazoo's Thought Industry seemingly came out of nowhere, and rewrote the book on the possibilities of thrash and progressive metal. It proved to be too much for the general public, however, and the album more or less disappeared into the ether. Even today, it's not much more than a cult favorite, but with only a very small, but loyal, audience. Their second album was much heavier, though not near as creative in my mind (though it rates higher in metal forums). I removed it from the collection, but still have the CD here, so maybe I'll try one more time. After that, they switched gears entirely and became an alt-rock band. And not a very good one at that, though I probably wouldn't know what a good alternative rock band sounds like anyway.

Though it appears the last time I heard the album was when I bought it upon release, that's only because I have no documented listens since 2004. But I heard this album a lot throughout the 90s. It was one of my adrenaline go-to's, and certain tracks I'd hear over and over. But it's true, it really has been over 20 years since I last heard it in full. So I'm curious if it holds court as a top level metal album, or if it's lost its lustre. Let's dive in.

The album actually starts off like a more traditional thrash album, albeit with technical complexities. A little bit like Wrathchild America. The crunchy guitar tone is perfect and I really appreciate the vocal style. He doesn't shriek or growl, but rather he sings. What a concept. It's the title track where things get weird. I mean really weird. You can pretty much tell if Songs for Insects is going to be for you right here. The music is all over the place and rapidly changes tempos. It's about as progressive as it can possibly get, including traditional prog rock. Imagine Gabriel-era Genesis mixing it up with Watchtower. Get your mind around that one for a minute. The vocals are at once soft and harmonious, and at others they're processed like a beast. But nothing like death metal, more like a 70s type effect. And the lyrics draw inspiration from the cover. Daliesque indeed. You probably should hit pause here and take a few breaths. It's an overwhelming track.

You could parse one track a day, and pull something different each time from it. For any other band, every one of these songs would be the highlight of the album. Here they get lost in the mix and it's a lot for the brain to distill. It's only because I know the album so well, I can anticipate where the music is heading, and recall the peak moments. And there are so many peak moments. Track 5 provides the necessary acoustic break in the action, though no less progressive. 6) is the perfect energetic setup for...

7) 'The Chalice Vermillion'. As if the title track wasn't enough, Thought Industry had one more incredible composition in their suitcase. It's just as insane, but with even more ideas per second. It's crisply executed too. I could make an argument that this is also one of the greatest metal songs ever made. What on earth was going through the minds of this group when they composed these numbers? They defy all sorts of convention. Tales from Topographic Melting Clocks I'd submit. Hi King Crimson, meet Death Angel. Surreal as it gets.

After that roller coaster ride, we still have three tracks and 23 minutes to go. And it's not like they eased off the gas. 8)-10) are just as progressive, in some cases pure prog rock versus metal. These three would have made an excellent EP, released separately. It's easier to digest that way.

You'll notice that every review of this album is very different from each other. Everyone has their filters, and this album manages to obliterate those in ways none of us truly understand. But what it should tell you, my dear reader, is that you will be in for a unique experience. And it will be all your own.

One other thing - this should be the last album in your listening session. Nothing else will sound the same. Tomorrow is another day, and all will be back to normal.

Ownership: 1992 Metal Blade (CD). Booklet with small print lyrics, recording details, and a band photo.

Also have Mods Carve the Pig.

1992 (acquired); 12/8/25 (review)

Gabor Szabo ~ Hungary ~ USA

Mizrab (1973)

Mizrab represents the first Gabor Szabo album, as my introduction, to hear via CD. You can read my thoughts about this on the Macho addendum review below. 

The cover advertises the musicians participating, and it's a who's who of jazz fusion A-listers. Szabo always surrounded himself with top talent, so I'm curious if the music reflects more of a fusion angle, or a traditional jazz approach.

No one will ever accuse Szabo of trying to be the next McLaughlin or Coryell, and his lightly amplified picking / rambling style is apparent. The first two tracks, both penned by Szabo and encompassing the original A side, demonstrates a fusion leaning backup band, with complex rhythms and electric piano. On the flip side, Szabo slips back into his comfort zone with two soft affected orchestrated covers, while he continues to pick along on his guitar. Honestly I don't buy Szabo albums to hear him chase the voodoo down, so the easy listening stuff is fine with me. He also tackles Shostakovich in a hotel grand ballroom sort of way. Someone has to provide the background music for the ice sculptures while being unveiled. Bachelor Pad music for the 1973 set.

Ownership: 2025 CTI / King (CD). Booklet with liner notes in Japanese.

12/8/25 (acquired / review)

  

Rambler (1974)

Standard issue Szabo album with lightly amplified acoustic guitar strummed over instrumental jazz rock. Bassist Wolfgang Melz is the centerpiece of the album, having written five of the six songs. His playing is also very noticeable. The title is a good description of Szabo's style. Not one of my favorites from him but good enough to keep for now.

Ownership: 1974 CTI (LP). Gatefold.

7/23/24 (acquired / review)  

Bacchanal (1968)

Bacchanal isn't quite as hypnotic as the albums I know from him during the same period which include the aforementioned Dreams as well as High Contrast and Gypsy '66, two albums I skipped over for documentation but do own. That said, it's still highly enjoyable. It's his usual mix of covers and original compositions, though in this case it's 75% of the former. Lays down a groove and Szabo picks away on his lightly amplified electric guitar. A timeless formula.

Ownership: 2006 Skye / Muzak (CD). Papersleeve. 

12/18/23 (LP acquired / review); 8/4/24 (CD acquired / update)

Dreams (1969)

My big score from the Denver Record show. Five bucks (yep) and a very nice copy at that. I beat the Rocky Mountain showrunner to it (the other Denver show), who subsequently shook his head wildly and went "DAMN!". It was from a wacky old lady who almost refused to sell it to me. She yelled "You're just going to resell it!!". I promised her I would not, that I really wanted it for my collection (all true). It took about five minutes of prostrating myself before the court before she relented. Jeesh. This is proof positive the best stuff goes when the dealers set up. Even the early entry fee guys missed out. We'd already set up and JL took the tables while I wandered around (as per protocol). 

OK, lots of talk about how I obtained it, but what about the music? It's classic 60s Gabor Szabo for sure. I love his guitar style and the groove of the jazzy backdrop. It's light but intoxicating. And how about that cover? I need to find a place on the wall for it. But I would have to remove the price tag. Can't do that.

Ownership: 1969 Skye (LP). Gatefold. 

10/28/23 (acquired / review)

Macho (1975)

As noted on one of the other Szabo reviews, I'll buy any of his albums, no questions asked. And to date I've kept them all, this one no exception. 

My notes from the next album Nightflight stated: "...Everything about it screams the era from which it came...Enter in Gabor Szabo, who then proceeds to jam over what appears to be backing tracks. His tone is that of a lightly amplified electric guitar, and sporadic acoustic guitar. Some of his solos are sublime, while others don't belong at all, adding to the strange vibe." 

That could work here, though it must be said that Macho seems more put together. Macho is a very soothing album, and the funk and disco elements are mostly muted. This was a known jazz guitarist beginning to branch out into new mediums. Full eight piece band with lots of invention.

---11/17/25

I've moved back to one of my older philosophies of collecting, that of selling commodity LPs and bringing in more scarce CD reissues. Szabo sells well at the shows, and I have no nostalgia here. Besides I appreciate his sound in clear digital form. Some of his LPs, however, are going nowhere. And you can guess at least one. :-) Using history as my guide, these Japanese CDs will likely skyrocket. You can get them dirt cheap now, for those of you so inclined.

Ownership: 2025 CTI / Salvation / King (CD). Booklet with notes all in Japanese.

12/16/22 (LP acquired / review); 11/17/25 (CD acquired / update)

Gabor Szabo Live with Charles Lloyd (1974)

This is a strange little title. If you've been keeping up with this blog you'll have noted I've become something of a Szabo nut. So I'm buying everything I see - and once again this one was languishing in a thrift shop. Not sure how any album with a cover like this goes unnoticed, maybe I got there right after they put it out? Well it's not rare or anything.... The weird part of this is the title itself. Charles Lloyd is on about half of one of the four songs - it's the one he composed ('Sombrero Sam'). Guess Szabo needed his name to sell the album? I didn't realize one was more known than the other. It's a nice track with some fine flute from Lloyd. The selling point for me is 'Stormy' and here the flute is more fiery - this time from woodwinds specialist Tony Ortega. Meanwhile Szabo does what he does - finger pick his lightly amplified guitar. If there was ever a time for him to plug in and wail, it would have been this album. Guess that wasn't to his taste. Pity. 

Ownership: 1974 Blue Thumb (LP)

11/6/20 (acquired / review)

Nightflight (1976)

I don't know a lot about Szabo's discography, but I found Nightflight to be very engaging. Everything about it screams the era from which it came. Had I not known better, I would have presumed the album to have come from France, as the sound here isn't that far removed from some of the artists you'd find on the Cobra label for example. In some ways, it's a bit too pre-packaged. The occasional strings and disco beat only underscore this point. On other tracks, one will hear a heavy funky racket in the background, with wah-wah guitars and tribal rhythms. Enter in Gabor Szabo, who then proceeds to jam over what appears to be backing tracks. His tone is that of a lightly amplified electric guitar, and sporadic acoustic guitar. Some of his solos are sublime, while others don't belong at all, adding to the strange vibe. And Szabo sings too - at least I think it's him - in the grand ill advised tradition of other jazz fusion artists like Tony Williams and Al Di Meola. Still, the compositions are well written, and the melodies stick out in a good way. I can live without 'Funny Face' and 'Theme for Gabor', but the other five tracks are super.

Overall the album captures the optimism of mid to late 70s Paris. Richard Pinhas would later also celebrate jet-setting across the pond, except his vision turned Szabo's upside down into a nightmarish fiery inferno.

Ownership: 1976 Mercury (LP). Single sleeve. The inner sleeve has an advert for the Mercury stock of artists, in addition to a rant on the "dangers of home taping". 

12/22/19 (acquired / review) 

Other albums I own and still need to review: Gypsy '66; High Contrast

Other albums I once owned: Magical Connection (not in good condition, need to hear again)

12/22/19 (new entry)

Heldon / Richard Pinhas ~ France

Stand By (1979)

Not an everyday occurence when a band releases their best album on the seventh try and then calls it quits (for all intents and purposes). That's what Heldon managed to accomplish, and closed out the 70s decade in style. It's also a new direction for Pinhas and company, as much of the album is more progressive rock oriented than prior. There's also a parallel effort with Tangerine Dream's Force Majeure, mixing Berlin School sequencer based electronics with rock instrumentation. Though Pinhas was more on fire than Froese at this time. B1 adds in some Zeuhl vocals from Klaus Blasquiz, hey why not, they're going for it. The energy level remains high, and the sequences fast.

Then comes the title track, one of the most blistering, unrelenting, guitar power trio instrumental tracks ever made. It's no wonder why Pinhas closed off the Heldon name here. There was nowhere else to go!

Ownership:

1979 Egg (LP)

2005 Captain Trip (CD). Papersleeve. With three inserts.

1987 (LP acquired); 2006 (CD acquired); 12/8/25 (review)

Agneta Nilsson (1976)

Agneta Nilsson was the first Heldon album for me to hear, and like so many foundational albums, it helped shaped my tastes in music rather than validate it. I was very familiar with Tangerine Dream, Ashra, and Klaus Schulze by this time (early 1986), but little else outside of Germany in the electronic field. When I saw the cover, it seemed like a can't miss proposition. Used import records back then weren't expensive so I took a chance. And was rewarded, though once again it took a long time to fully appreciate. The opening track is more like Richard Pinhas' Iceland (an album I'd hear a few years later), which is a long.. cold... electronic landscape. This is followed by the second Perspective which is a wild combination of synthesizers and atmospheric percussion. It's the third Perspective that enthralled me initially (and to this day). 'Baader-Meinhof Blues' is an incredibly intense piece of music and it's here that I was introduced to Professor Pinhas' 1954 Gibson Les Paul guitar. When one uses terms such as anguished, tortured, or nightmarish electric guitar, then this is the textbook definition of that. And while Pinhas is conjuring up the evil side of Hendrix, the Moog playing is magnificent. It appears to be completely improvised with the unpredictable analog instrument threatening to blow up at any moment. Like a washing machine that's about to topple over. This is followed by the one peaceful track 'Bassong' which is a guitar bass duo from two players not on the rest of the album, but both part of Pinhas' world (Gerard Prevost and Michel Ettori). The long Perspective IV is a summary of the contents before it with added doomanality (new word). Pinhas can really crush your spirit with his guitar and "melodies". After this album, Pinhas added permanent members to create more electronic rock sounding albums, that are even better (especially the last two). But these semi-solo electronic experiments prior are not to be missed. Pioneering in every way. 

Ownership: 

1976 Urus (LP)

2005 Captain Trip (CD) Papersleeve.

1/6/86 (LP acquired); 9/15/06 (CD acquired); 1/5/24 (review)

Rhizosphere (1977)

Heldon were one of the early obscure European electronic groups that I got into during my college years. While in Chicago a couple of years afterward, I stumbled upon the US pressing of Rhizosphere (on Aural Explorer), which is Pinhas' first solo album. Not surprisingly, there isn't that much difference between a Pinhas solo work and a Heldon album. Similar in that way to Edgar Froese and Tangerine Dream in the mid to late 70s. One could argue that Heldon essentially is Pinhas. However, Rhizosphere didn't excite me much on initial impact as it was a bit more static electronic than the more active and full bodied Heldon. Over the years though, I've come to appreciate his dark and heavy sequencer style, which makes the entirety of this album. Though it must be said that Pinhas' tortured trademark 1954 Les Gibson guitar is sorely missed.

What makes this CD more special is the 1982 live material from a concert in Paris. From an artistic standpoint, the two periods of music are incongruous. L'Ethique was the current album then, and Pinhas had more or less shut down Heldon by that point. In effect, it's more of a group effort and the guitar was back out front and center. And the concert is very spirited. While not a perfect soundboard recording, the type of music on display here will distract you from any sonic limitations. 

Ownership: 2006 Captain Trip (CD) Papersleeve. Bonus tracks as described above.

5/24/89 (LP acquired); 3/16/18 (CD acquired); 6/14/22 (review)

Single Collection (1972-1980 / 2006)

A much needed single compilation from one of France's electronic pioneers. In short form, Pinhas proved to be quite the rocker more so than his electronic focused albums with Heldon and as a solo artist. I've heard most of these in bits and pieces, some sitting on cd-r's. So it's really great to have them all in one place.

The first Schizo 45 from 1972 is a real foot stomper. Heavy wah wah bass and guitars and gravelly vocals similar to the guy from Ergo Sum. It's a long way from anything Pinhas ever did afterward, but it would have been a great path to follow, had he chosen to. The second Schizo 45 (1973) is really the first Heldon work and gone are the vocals (though there's narration). The a) side finds itself on Electronique Guerilla with a different mix, but no less haunting. Patrick Gauthier's 'Torcol' is the b) side, and foreshadows Heldon's more progressive rock tracks. Both Schizo 45s are excellent and not to be missed.

The 3rd single is Heldon's Soutien a la RAF. At 15 minutes, it's really an EP (and it's 33 rpm). Released in 1975, this is where Pinhas gets back to his rocking roots of Schizo, and contains heavy Moog sequencing with his patented tortured 1954 Les Paul. One has to laugh that these were released as "singles". Not exactly AM Bubblegum here. The 4th SP release (1976) is where the Perspectives title takes hold. Recorded during the Agneta Nilsson sessions, once again it's more on the rocking side than the album proper.

T.H.X. (1978) was Pinhas' attempt to join in with JP Massiera and others for the Parisian disco set. A long way from New York's Studio 54, France had some very interesting electronic artists playing in that field. Once you get your mind around the time and place - and don't expect Heldon - then this is a very fine 45 as well. And the b) side is more traditional Pinhas solo fare, with Rhizosphere back in the limelight.

The next single is a complete mystery. I cannot find evidence it exists anywhere. There is a scan of it in the booklet, but it's too small to read. From 1977 (and they put a question mark on that too) on Cobra (catalog number 10.019), the single features two edited tracks from Rhizosphere. My best guess is this is a test press that was never released, and was in Pinhas' personal collection. Anyone know more about this?

This is followed by two singles from the East West era (1980). Arguably this is Pinhas' most commercial effort, and brings back vocals and a slight new wave edge. I was harsh on that album back in the 80s, but I found myself really enjoying the music here on this go round. 'West Side' is on both singles and is the same track, so it's only represented once here.

It should be noted that most of these - if not all - are taken straight from the vinyl, and it's obvious at times. All the same, this collection is a can't miss item for Heldon and Pinhas fans.

Ownership: 2006 Captain Trip (CD). Papersleeve. With booklet showing the credits and pictures for each entry here. There is an essay as well, but it's in Japanese. 

5/18/21 (acquired / review)

Iceland (1979)

As one can probably guess by knowing nothing more than my avatar, I'm a huge Heldon fan. They were one of my initial discoveries when first digging deep into the European underground of the 70s. It was 1985 and I was all of 20, at quite the impressionable age I might add. So Heldon is one of those bands that helped shaped my tastes in music for the future.

However, Richard Pinhas' solo works didn't have the same impact on me as his band proper, even though he was the undisputed leader of the group. In this way he deviates considerably from, say, Edgar Froese and his comparable solo efforts to Tangerine Dream. Until recent times, the only two Pinhas albums I kept from the 80s were Chronolyse (where side 2 is as heavy as anything Heldon ever did), and L'Ethique (a diverse but also powerful Heldon-like release). So what was the issue with the others? Well from my perspective the key to the greatness of Richard Pinhas is his ability to mix fat analog synthesizers with searing electric guitar (usually played on his trusty 1954 Gibson Les Paul).

It's this latter element that is missing greatly from Iceland. It is, as the title and everyone else's reviews suggests, a icy cold landscape of droning synthesizers and almost-industrial like percussion. Take away 'The Last Kings of Thule', especially Part 2, and the guitar is entirely absent. In effect, it's a static release, missing much of the dynamism of Pinhas' best efforts. In reflecting back as I hear the CD, the music is quite good for what it sets out to do - basically begging you to put a coat on even during a sunny summer afternoon. 'Greenland' is also a very fine electronic piece, definitely recalling Pinhas' trademark sequencer sound with a fine melody throughout. The 25 minute CD bonus track 'Wintermusic' is basically a long extension of 'Iceland (Part 3)', and if anything, is even more sterile and cold than the album proper.

Overall a mixed effort, worth owning for fans, but I'd save hearing this one until you've digested all of the Heldon's and the two aforementioned Pinhas solo works first.

Ownership: 2006 Captain Trip (CD). Papersleeve

1989 (LP acquired); 6/28/18 (CD acquired / review)

Chronolyse (1978)

Richard Pinhas' second solo album is an absolute classic of progressive electronic music. The music is very much in line with what he was accomplishing with his primary vehicle Heldon at the time. The album contains seven vignettes of aggressive Moog sequencing, and one longer electronic piece on Side 1. And on the flip, there's a 30 minute brain blaster of guitar-bass-drums and electronics in the best Heldon tradition. A fine companion album to Heldon's Stand By. Brilliant.

Ownership: 

1978 Cobra (LP)

2006 Captain Trip (CD) Papersleeve.

1991 (LP acquired); 1998; 8/10/17 (CD acquired / review)

L'Ethique (1982)

Unlike the 1970's era Heldon albums, all of which I can unconditionally recommend, the same cannot be said for Pinhas' solo works from the same period. Rhizosphere is a static electronic album, Iceland is as chilling as its name, whereas East West shows Pinhas trying his hand at more commercial material. But two albums stand out: Chronolyse (1978) which is perhaps the best of the lot and the album of today's post: L'Ethique.

L'Ethique was an excellent way for Pinhas to close shop (and he didn't truly resurrect for at least another 10 years). It's a concise summary of his musical career to that point. The four part title track, spread evenly throughout the disc, demonstrates what I think he was trying to do on East West, except with far better results (and it helps immensely that he buries some of his patented tortured guitar into the mix). The two part 'The Wailing Wall' follows down this trek, but is even more powerful, especially the smoking guitar and sequencer runs of Part 1. 'Melodic Simple Transition' represents his pure electronic side. But best of all, is the return of his King Crimson inspired heavy rock jams, as found on the last two Heldon albums and 'Chronolyse'. These are represented by 'Dedicated to K.C.', 'Belfast' and the bonus track 'Southbound' (taken from the Perspective compilation). This is one of those albums that opened musical doors for me.

Ownership: 

1982 Pulse (LP)

1992 Cuneiform (CD) With bonus track as noted above.

1986 (LP acquired); 1996 (CD acquired); 5/19/11 (review)

Allez-Teia (1975)

Continuing our trek through the Heldon catalog, we enter the famed number II. Of all the Heldon albums, this is by far the most mellow, with a proliferation of acoustic guitar calming down the proceedings just a little. The subversive feel of the debut is maintained throughout however, and anarchy seems just around the corner. Deep, heavy, thoughtful music. While heavily influenced by Robert Fripp, Professor Pinhas was trekking down an individual path, and is now considered a legend in his own right. A lot of name dropping in the track titles, something that became vogue in the 2000s, but wasn't as common in the 70s. Amongst the more obscure, 'Fluence' references Pascale Comelade, where Pinhas was featured heavily on the self-named album for the Pole label. While 'Michel Ettori' refers to the sometimes Heldon guitarist. A highly regarded album and rightly so. The real underground of the 70s is featured here.

Ownership: 

1975 Urus (LP) Gatefold

2005 Captain Trip (CD) Papersleeve

2//88 (LP acquired); 2005 (CD acquired); 6/18/10 (review)

Electronique Guerilla (1974)

All of the Heldon albums are special, and the first is no exception. It's more raw and primitive, and that's part of its charm. Moog synths with searing electric guitar work define the album. An anarchic left wing vibe gives it a radical student atmosphere, befitting Professor Pinhas' role.

I found some unpublished notes that I wrote in 2006 about Heldon's early albums: A proper discussion of French electronic music cannot be had without at least a passing mention of Heldon. Lead by the mercurial Richard Pinhas, a professor of Philosophy at Le Sorbonne, and master of electronics and guitar. The early albums, generally accepted as the first three, exude the feeling of the underground - a true rebellion to all things that are commonly accepted. Subversive. One can only wonder what role Pinhas would’ve had in the French Revolution, but I get the impression he would’ve made the history books. And, in some ways, he has made the history books, even if the subject in question are more for connoisseurs than the general public.

Ownership: 

1975 Urus (LP)

2005 Captain Trip (CD) Papersleeve.

1987 (LP acquired); 2006 (CD acquired); 2/10/10 (review)

Also own and still need to review: It's Always Rock and Roll; Un Reve Sans Consequence Speciale; Interface; Fossil Culture

2/10/10 (new entry)

Il Rovescio della Medaglia ~ Italy

La Bibbia (1971)

---Jun 2005

This is one of the more misunderstood of the Italian progressive rock albums. Most known for Contaminazione, this has about as much relevance to that album as Tangerine Dream’s Electronic Meditation has to Phaedra.  A concept album around that always popular topic of the Bible, this mixes studio electronics and an experimental edge with primal blues hard rock. It’s not that it’s simple music - just unrelenting. A trio with more hard guitar than you’ll find on almost any Italian album. I had forgotten there was flute interspersed in a couple of places. 'Sodoma E Gomorra' is almost like a big band swing jazz track as done by a hard rock trio. Too funny given the topic.

---12/8/25

My viewpoints today are, predictably, very similar. I didn't mention it above, but there are similarities to Krautrock here, especially in the atmospheric sections with studio manipulation, flute, feedback, and other like-minded ideas.

Ownership: 2005 BMG (CD). Papersleeve. Contains a replica of the original circular insert.

1990 (LP reissue acquired); 6//05 (CD acquired / review); 12/8/25 (update)

Contaminazione (1973)

Contaminazione is Il Rovescio della Medaglia's 3rd album and quite a departure from their heavier early works. Now with a keyboardist, and fully orchestrated in the same way as the New Trolls Concerto Grosso and Osanna's second album, RDM brings about some Bach n' Rock to the table. Take away the window dressing though, and it's your prototypical Italian prog album, mixing harder passages with romantic songwriter tendencies. Many twists and turns, but with a highbrow flavor. Highlights are the more radical heavier pieces such as 'Il Suono del Silenzio', 'Scotland Machine', and in particular the heavy metal riffing 'Alzo en Muro Elettrico'. Contaminazione is considered table stakes for any self respecting Italian prog collection, and it's easy to see why. Though it's by no means the best album Italy offered in those days, it is indeed very representative.

Found this album in the Classical section of a Houston record store way back in 1988. I had presumed I would luck out that way again, but it never happened.

Ownership: 1973 RCA (LP). Gatefold. 

8//88 (acquired); 2004; 8/29/22 (review)

Also own and need to review Io Come Io

Also once owned Giudizio Avrai

8/9/22 (new entry)

2025 Electronic Journal Vol. 2

*Fripp & Eno - Evening Star. 1979 Antilles (LP) (1975). Much of the ambient electronic genre can be attributed to the early Fripp & Eno albums. No Pussyfooting features more raucous guitar rave-ups from Fripp and clearly was an influence on Richard Pinhas and his future group Heldon. You can also hear Fripp & Eno in the works of many German artists as they moved away from their Krautrock roots into something more serene and surreal. Frequent Eno collaborator Cluster being probably the most well known. Evening Star is more subdued than No Pussyfooting, though no less engaging. The shorter songs on Side 1 even reflect what we hear coming from Jade Warrior during this era, given the Asiatic presence. The side long piece is more Germanic in tone. Deep space like early Klaus Schulze but with searing guitar, similar to a Gottsching contribution. When I get around to putting together a King Crimson page, I'll add these Fripp & Eno albums in there, for a lack of a better page. (12/6)

*Gil Trythall - Luxikon II / Echospace. 1980 Pandora (LP). Now here's something different. Found this at a thrift shop with another album of his, that's actually quite famous. It's called Switched on Nashville (Country Moog) and might be the craziest album I've ever heard. This album is nothing of the sort, a very academic electronic album commissioned by a couple of dance and multi-media companies in Atlanta. You wouldn't miss the front cover, presenting itself like the coolest private album at the record store. The back cover will give you some pause. He looks all the world like your local middle-aged short-haired church organist, sitting behind the Big Moog and a bank of wires. And he's happy. You can't be happy! lol. Actually he was a professor at the University of West Virginia when this was released. In any case, how is the music? It's excellent as it turns out. This is not Klaus Schulze or any of his followers. It's a serious electronic album that changes moods, textures, and rhythms throughout. Not ambient in the slightest. And nothing like Berlin School. Nor Gershon Kingsley. 1980 is a little late to rely heavily on the big Moog, but here is one example. Gets pretty wild on Echospace. Have to keep this one. (12/2)

Hoverkraft - Schwebende Musik. 2021 Special Low Frequency (MC). This tape was recommended to me by my record store partners at What's Left here in Colorado Springs. Hoverkraft is the name of an electronic project headed by Paul Riedi, here under the name of Wolfgang Sebastian Reidl. This appears to be his 5th album using this moniker. Everything is in German, and the album is clearly an homage to early Klaus Schulze, Deuter, Tangerine Dream (Zeit), and the rest of them. Paul Riedl's primary band is Blood Incantation, a highly regarded Denver based experimental death metal group, who mix in all sorts of prog and space rock into their mix. I haven't dug into their material yet, but probably someday will. The What's Left brothers are good friends of the band, and Paul in particular. And Paul's knowledge of the German masters is impressive, more so than one might expect. He's one of my LP customers via the shop, who buys some of my prog albums, though I haven't met him personally. Interesting to note he plays a Moog Prodigy, a synthesizer I once owned and sold to Ron Boots. Schwebende Musik is of the slow build ambient variety, and I find it to be a bit dull honestly. Really wanted to like this, for obvious reasons, but not really my kind of electronik musik. (10/30)

Synergy - Cords. 1978 Passport (LP) clear vinyl. Earlier this year I concluded Larry Fast's second album Sequencer with "I have his next album on LP here in the stacks. We'll see if it fares any better." Hmmm, not really. I figured he'd take a stab at the Schulze / Tangerine Dream sound at some point, but I guess he never did. It's more cinematic (in the traditional sense) and classical oriented. From 1978, this sounds more like a 1985 product, which I suppose should be a compliment. It is high praise from a technology standpoint, but not a musical one. Either they over-pressed these albums, or they sold gobs of copy in their day, as they remain somewhat ubiquitous in the marketplace. I need to lay off future Synergy titles unless I see some solid financial gains. Glad I never pursued these real time in the early 80s, as I'm sure I would have been disappointed. (9/4)

Ned Lagin - Seastones. 1990 Ryko (MC) (1975). I remember this album being something of a big deal when I first started going to record shows in the mid to late 1980s. Seems it was in high demand at the time. I never inquired further once I found out it was Grateful Dead related. I had presumed this album was in their west coast psych meets hippie blues meets country style. I could not have been further mistaken. This is really quite an intriguing release. Essentially it's serious electronic music, closer to Stockhausen than Tangerine Dream. Perhaps Klaus Schulze's Irrlicht could be thrown out here as a comparison. It's atmospheric electronic music of the blip-bleep variety, but very well done. Apparently Lagin, Lesh, and Garcia would perform music like this during interludes of their concerts from 1974. Definitely an academic left turn for a band with no such desires otherwise. Great thrift shop find, though I don't need to keep this. As noted elsewhere, I'll eventually build out a Grateful Dead page and include this. (7/20)

* - Keeping for the collection

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)