Unreal City - Il Paese del Tramonto. 2015 Italy

For Unreal City's debut I spoke about how the album was an excellent representation of the Italian progressive rock genre: "The style by itself allows for various interpretations of the same song over multiple listens. That's the beauty of it - there's so much to digest, each listen has its own rewards. And you will for certain get your money's worth with Unreal City, an album chock full of twists, turns, and great invention."

On their third and (so far) last album, Frammenti Notturni, I added: "Unreal City's 3rd album certainly pushes all the right buttons for the Italian prog rock style. Many shifts in tone and pace, impassioned vocals in the local language, and complex compositions. All that said, Frammenti Notturni seems a bit flat, and the instrumentals can be stilted. Not sure where to point the blame, as there's no real obvious flaws."

Which gets us to the middle child, an album I bought upon release but didn't pen any notes. As you can see from the two scribblings above, it's clear Unreal City are a participant of the Italian progressive rock virtual community. And Il Paese del Tramonto is no different. While it may have that prog-by-the-numbers feel, the album's abrupt transitions are very welcome, perhaps reassuring. I'm not sure why their third album never resonated. I tried on multiple attempts, but ultimately sold it. Fortunately that's not the case here. Maybe the band had reached their creative limit and it had become routine versus exciting. Unreal City have been silent for some time, and their last album is now six years in the rearview mirror. Perhaps this long break will reignite their creative juices. Regardless, Il Paese del Tramonto continues to earn its shelf space. My rating remains the same, now validated.

Ownership: CD: 2015 AMS. Wonderful mini-LP / papersleeve design. Comes with lyrical booklet as well. Never pressed on vinyl.

4/4/15; 11/19/23 (new entry)

Alco Frisbass. 2015 France

At first I wasn't so sure this is something I needed to hold onto. Alco Frisbass' debut starts off with more than a whiff to the avant prog genre. There's ties to genre champion AltRock here, and the circus themes point to groups like Miriodor. But then the duo begin to add many soft touches. There's a soft jazzy undertone that I find very appealing. There's also some odd musical combinations here, and when one sees that Thierry Paysson is involved in the background, it begins to make sense. There's a touch of the Medieval and other later historical references (witness the cover). As the music continues on one could make the conclusion that this is Minimum Vital playing the instrumental music of Caravan. Certainly more Canterbury influenced than avant prog or Paysson's outfit. The keyboards are more vintage than modern hence offering up sepia tones versus brassy digital irritants. Clearly repeat listens will go a long way to securing memory space. Alco Frisbass strikes a fine balance of old and new, unusual for modern bands. My initial rating was correct, I just had doubted it. No more. Keeper.

Ownership: CD: 2015 Fading. Tri fold digipak purchased upon release.

5/24/15; 11/7/23 (new entry)

Baron - Torpor. 2015 England

Torpor starts off in a very intriguing way with trippy Hammond organ. Cool - retro prog, one of my fave subgenres. And Baron is made up of guys who also play in Diagonal, another band held in high esteem here at casa UMR. But wait. What is that vocal style that just entered in? Sounds like the more serious groups of the early 80s English post punk movement like The Cure and Theatre of Hate. Now we really have something odd going on here. And that incendiary fuzz guitar break at the end of this revelatory opener reminded me of Wolf People, probably my favorite group of the 2010s. What the heck is this?

And so it goes for eight wonderful songs. 'Stry' has an incredible buildup that delivers some wonderful power chords and wailing solos. This is one of those albums I'm not sure I would have been attracted to upon release. But now that I've gathered some context of the x-wave movement from my own era, I have a deeper appreciation of an album such as this. In general, the ratings on Torpor are mediocre to low. I don't think the album has found the correct audience yet. A different viewpoint is needed if coming at this from a progressive rock mindset.

Ownership: CD: 2015 Svart (Finland). Recent online acquisition (2023). Digipak with booklet.

6/29/23 (new entry)

Elephant9 with Reine Fiske - Silver Mountain. 2015 Norway

For the opener ‘Occidentali’, take 1969 era Pink Floyd, King Crimson, and Soft Machine. Roll them up tight in a ball, and then have Wolfgang Dauner’s Et Cetera play that imaginary music. Get your attention, did I? Not sure I’ve ever heard those 4 names tossed together in the same breath. This is followed by a Stevie Wonder cover tune, as driven by the same above parameters. OK then. Not that you’ll actually recognize the tune, as it’s about as psychedelic interpreted as it can possibly get. There’s also this strange 1971 vintage Tangerine Dream quality about these two compositions. Like a long form ‘Ultima Thule’ if that makes sense. As the ladies of HGTV like to often say, these 2 songs are ahh-MAY-ZING. ‘Abhartach’ is a bit too much though, and ear fatigue begins to set in. It reminds me of those modern Japanese bands where they never seem to know when to quit. Redlining it all the time is tiresome. Though experience tells me there's a contingent of those who feel "too much of a good thing, is a good thing", so you'll probably love this track too. ‘Kungsten’ starts out similar, and it’s time to find the fast forward button. But by the 7 minute mark, the band slows it back down to atmospheric keyboards,  psychedelic moods, and jam sequences. This is clearly where Elephant9 shines, on this effort anyway. The last 2 minutes brings back the energy of the prelude, though its placement here is far more effective. Finale ‘The Above Ground Sound’ recalls ‘Occidentali’ mixed with ‘Kungsten’. Once again Dungen’s guitarist Reine Fiske is on board, and his decidedly acid guitar tone adds much to the overall psychedelic stew. Vintage keyboards, primarily organ, electric piano, and mellotron, are still the focus here. Overall, Silver Mountain is certainly Elephant9’s most experimental album to date, though no less worthy. Four albums in, and Elephant9 have yet to disappoint. They are by far, IMHO, the best band on the Rune Grammofon label.

Ownership: CD: 2015 Rune Grammofon

3/26/17 (new entry)

Avatarium - The Girl With the Raven Mask. 2015 Sweden

On paper, I could describe this as Candlemass meets my Post psychedelic, proto progressive with female vocals list. Fronted by the talented Jennie-Ann Smith, it comes as no surprise her influences are similar to the ones in that listing. The classic RnB, soul, and early rock singers. And it certainly doesn't hurt that she (wife of guitarist Marcus Jidell) is a stunningly beautiful woman, who could still go down the runway as she approaches age 40. And the fact that Ms. Smith isn't into metal much at all, promises a great contrast in style. Especially when you consider trusty organist Carl Westholm is on board. So Candlemass meets Goliath or Room or Julian's Treatment? Oh my heart be still!

Sigh. What we get is a Candlemass album with a talented singer that sounds like she's from 1970. Still not the worst idea I've ever heard, and that alone makes the grade here. I've been a fan of Candlemass since Epicus DM, so I can live with a new album under a different moniker. This is hardly the first time Candlemass has blended keyboards into their sound. That is, if you can hear them. I have to laugh at the thought of the classic Jon Lord / Ritchie Blackmore battles. If that's what is supposed to be happening here, then Jon Lord would have been knocked off his horse in the first 10 seconds and hauled away half dead.

Edling is playing it too safe here. He's in his comfort zone and feeding red meat to his audience. Jennie-Ann Smith often times seems compelled to sound like a female Messiah Marcolin. I would have preferred more development within the compositions, and perhaps break out some new styles and genres. Not in a mishmash way, but rather blend them together in the same way the 70s masters would do. The potential here is enormous. But for now, I can accept Avatarium as the new name for Candlemass.

Ownership: CD: 2015 Metalville (Germany). Jewel case. 12 page booklet with lyrics, photos, and recording details.

2/25/17 (new entry)

Spettri - 2973: La Nemica dei Ricordi. 2015 Italy

Apparently Spettri were formed in the year of our Lord 1964. Coincidentally, that's when yours truly was born. And since I'm no spring chicken, it wouldn't be a stretch to then figure these guys are all in their early 70s. Of course, their founding was probably at age 12 with a teen beat band named The Specters. Details are scarce. But I don't want facts to get in the way of a good story, so I need the plot to stay on this 70s thing. It's a key number. As in 1973. Or, as the band suggests, 2973. Most bands that reform from the 1970s seem to have this irrational desire to be relevant in today's music culture. There's something just silly about watching old guys perform on "laptop". Spettri avoids that trap, and manages to obtain hipster status with a bonafide Italian retro prog classic (one would presume by pure happenstance). Time has stood still as the band - and yes, mostly with original members intact - has created an album that would have stood tall in 1973 much less 2015. All the hallmarks of the scene are present: Hard rocking guitar with massive breaks, crunchy organ and soothing mellotron, creative rhythms, and gravelly impassioned vocals sung in the native tongue. The compositions are complex, melodic, and memorable, perfect for repeated listens. As one gentleman remarked in his review, this really is a comeback out of nowhere. One begins to wonder about time travel and phenomena of that nature.

Spettri have created an album that needs far more attention than it's obviously received to date.

Ownership: CD: 2015 Black Widow

9/23/16 (new entry)

VIII Strada - Babylon. 2015 Italy

VIII Strada are an Italian prog band trapped in a power metal body. Or are they a power metal band trapped in an Italian prog body? Hmmm. Either way, I've more or less described the album for you. And no, it's not prog metal either. The Italian vocals and sophisticated structures point to their progressive rock heritage. The melodic songwriting with choruses and (slightly) metal tone give them the power metal edge. I'd say they are 65% prog / 35% power metal. Not that genres only matter, but it does give some guidance at least. Oh - yes - the music is quite good actually. There's a mid 70s vibe to their melodies that I find highly appealing. Personally I would wish for more of a "retro prog" feel, but who asked? Nobody. For those who like "fusion" restaurants, and I don't mean jazz.

Sold the CD (2021)

9/9/16 (new entry); 10/10/21

Grey Mouse - Twisted Tango. 2015 Russia

I first ran into Moscow's Grey Mouse on the excellent Psychedelic World Music compilation from Trail Records a few years ago. The opening track is odd, with banjo used as an atmospheric backdrop and slabs of metal fuzz overload. As such, it comes across as some strange stoner band from West Virginia, awaiting their chance to audition for the remake of the movie Matewan. After this, the band get down to what they do best: Central Asiatic ethnic music meets psychedelic space rock - with female vocals. Somewhat like a meeting of Vespero and Ole Lukkoye. If the exotic ex-Soviet lands of Kyrgyzstan, Uzbekistan, and Turkmenistan mixed with the Western concept of high flying space rock appeals to you, then no doubt Grey Mouse will be a must listen. Perhaps a bit more exciting dynamic changes within each track will take Grey Mouse to the level of Masterpiece. They have it in them for sure. Let's hope they continue from here.

Ownership: LP: 2015 Cosmic Eye 

8/2/16 (new entry)

Sacri Monti. 2015 USA-California

Sacri Monti are a new band from the San Diego area (north near Carlsbad), who play a very aggressive form of heavy psychedelic music. The reality is no one actually performed with this energy in the late 1960's, maybe Blue Cheer at the beginning, but this is far more focused and pertinent. Perhaps filtered even. And while you know Sacri Monti has digested the "stoner" genre in total, they somehow manage to avoid all the pitfalls that befell lesser groups who have tread similar paths. The guitars are heavy on the wah pedal, and the organ is thick as molasses. Killer solos, and compositions that actually seem to be... well... composed. There are no "slabs of fuzz distortion" or "vocals on the 6th whiskey" here. Just south of that actually, which is why it works so well. It's borderline Monster Magnet, but then they reel it back to the year 1970 just in time. "Just in time". Yes, that. Great start and I'm most curious what they come up with next.

Ownership: CD: 2015 Tee Pee

7/28/16 (new entry)

Moonwagon - The Rule of Three. 2015 Finland

The Rule of Three, is appropriately enough, Moonwagon's 3rd album. Picking right up from Foyers of the Future, the album starts off more geared towards broad strokes and atmospheric space rock. This goes on for the opening 3 tracks, with 'The Infinite Pattern' being the highlight with its strong melodic content and various meter changes. 'Run to the Sun' recalls the 90s neo psych movement, and  is the only track to feature vocals (in English). 'Skylines at Night' seems almost like a homage to the late 70s French and German guitar oriented electronic scene, with soaring guitar leads, steady beats, and a heavy synthesizer presence, perhaps like Christian Boule's Photo Musik, for example. This leads to the final epic track, where we get the payoff for the time invested. Mostly an old school early 1970s Kosmische Kouriere trip with echoed electric piano, scattered drums, acid guitar leads, and moody synthesizers. The mid section follows - but more towards the jumpy Quantum Fantay variety of Ozric Tentacles, and finally finishes with an almost Zeuhl like bass riff with atmospheric Rhodes electric piano over the top. Not like anything else I've heard prior, though still quite familiar. Superb. A new direction for the band perhaps? We can hope.

Ownership: CD: 2015 Presence

1/15/16 (new entry)

VAK - Aedividea. 2015 France

The palindrome named Aedividea CD combines VAK's first two EP's (2012/2014 - minus one track 'Rheet') into one splendid Zeuhl offering. VAK blossoms from the Eskaton branch of the Zeuhl tree. And any time that great band is even whispered as an influence, Magma fans everywhere should be rushing out to obtain their very own copy. And the abundance of flute gives off more than a whiff of Dun. Wow, this is the good stuff right here. Another great find from the specialty label Soleil Zeuhl!

Ownership: CD: 2015 Soleil Zeuhl

12/2/15 (new entry)

Hills - Frid. 2015 Sweden

Frid is the 3rd studio album from this fine space rock / Krautrock band from Sweden. Overall, this is a fairly conservative effort. Meaning... Hills seems all too content to play to genre norms, including motorik styled beats, and fuzz guitar explosions. The band is so rigid in their structure, if would appear they might break in half if they threw in an actual meter shift, or a completely new idea. The beauty of the original Krautrock scene was the escaping of expectation, and blowing minds with exploration. Tonality and color continue to be challenges for the band, as they've never replaced the warmth of the flute from the debut. Sitar is a nice inclusion, though it's unclear who plays what, since the album lacks any kind of documentation.

Despite all these minor gripes, I'm predisposed to liking music such as this, which is probably the only reason I rate it as high as I do. I will submit though, that Frid is a slight improvement on the even more rigid The Master Sleeps. The highlight for me is the ending of 'National Drone' which segues nicely into the superb 'Anukthal is Here'. This is as close as Hills has gotten to their own early 70s native music scene like Algarnas Tradgard and Flasket Brinner. And 'Och Solen Sänkte Sig Röd' won me over on the third straight listen (and 3rd beer). Sometimes it takes that effort...

Ownership: CD: 2015 Rocket (UK)

10/8/15 (new entry)

Ole Lukkoye - Dyatly. 2015 Russia

Dyatly is Ole Lukkoye's 7th studio album (not counting the various compilations), and their first one since Kumeneira over nine years ago. And for me, this is the first Ole Lukkoye album I've heard since Crystal Crow Bar, nearly a generation ago. And it's probably been that long since I last heard this band at all, but my recollection was that Ole Lukkoye played a modern space rock style similar to Ozric Tentacles, with copious amounts of Central Asian indigenous music, somewhat like Korai Orom (Hungary) or the modern Russian band Vespero. But Dyatly is definitely more geared towards a mix of electronica and folk. The kind of folk one might hear on an Atman or Magic Carpathians (Poland) album. And it is here I learn of a new genre, but one I wholeheartedly agree with: Folktronica. Wikipedia defines it as such "a genre of music comprising various elements of folk music and electronica, often featuring samplings of acoustic instruments—especially stringed instruments—and incorporating hip hop or dance rhythms".

And yes, Dyatly definitely projects this club like atmosphere. Chill out music for nomadic tent dwellers on psilocybin.

Given my initial expectations of Ole Lukkoye's sound, 'Kommuna Ra' was a bit of a rough start for me. I kept waiting for the space rock parts, but they were never to arrive. Perhaps it wasn't the best way to start the album, but then again, it's possible I've been way too out of touch with the evolution of the band. But by the title track, I was completely absorbed. This is the highlight for sure, with so many ethnic sounds and psychedelic trimmings, I felt myself being swept away to another world. When 'Bela Dama' opened with the female vocals in an almost prayer like chant, I fully expected to be blown into orbit. But here they chose to introduce the club beats, and it suddenly was all too familiar. But then again, Ole Lukkoye are from the (relatively) western European city of Saint Petersburg, which is a long way from the music the band is emulating. 'Just Wind' continues in a similar manner, at times reaching the highs of 'Dyatly'. The album closes pleasantly with 'Veni, Vidi, Vivi'. And at only 4 minutes, it occurred to me that this is one of the problems with the album: The other songs are just too long (all between 14 and 18 minutes). Perhaps a nice mix of 10 different compositions would have made for a better offering.

All in all, a very solid work. One that has me excited to revisit the Ole Lukkoye albums that I already own. This album comes highly recommended to those who would like to hear a band like Atman take their sound to a psychedelic night club... at 2 in the morning.

Ownership: CD: 2015 Trail

8/3/15 (first listen / review / new entry)

Eldberg - Par er Heimur Hugans. 2015 Iceland

Eldberg returns 4 years later from their debut with yet another stunning retro prog album, with excellent compositions and thick analog sounds, especially in the keyboard department. And.... they continue to bring forth epic tales sung in beautiful Icelandic. For those who insist on understanding the words, then Eldberg is not likely to be for you, unless you're fortunate enough to have spent a vast amount of time in Iceland itself. Personally, as someone who enjoys hearing music sung in the native tongue, I appreciate the vocals as yet another musical instrument, and the singing provided is well done here. In many ways, Eldberg is the second generation of the obscure Norwegian band Octopus ("Thaerie Wiighen"). Fine with me. It's not like the world is filled with albums such as this. After multiple listens, I'd say Eldberg has improved upon their already excellent debut. While they grade out about the same, the band is inching closer to world class status. I already look forward to a 3rd album from them!

Ownership: CD: 2015 Mylodon

5/2/15 (new entry)

M-Opus - 1975 Triptych. 2015 Ireland

It's about time my brethren in Ireland got into this prog rock thing (Hayes is an Irish name for the record. Then again my Ma is 100% pure Kraut and my Pa was a Celtic mutt. But hey! I have a story brewing here...). Take away the Ulster based Fruupp and the book on Irish progressive rock gets thin in a hurry. So it appears M-Opus discovered Supply, Demand, and Curve did they? Oh - you don't know who I'm talking about? Well, then... In any case, M-Opus goes much further than either band mentioned above, way into the depths of creative progressive rock, as evidenced by the 33 minute 'Different Skies' with its different tones, colors, styles, shifts, and food groups. Much attention has been paid to period instrumentation (keyboards being the most obvious) and compositional style. I'll say this to every band who insists going back 40 years in time to prove some kind of point I GUESS: You have one fan right here. And... keep going! Please.

Ownership: CD: 2015 Rude Chord

5/1/15 (new entry)

La Coscienza di Zeno - La Notte Anche Di Giorno. 2015 Italy

Given La Coscienza di Zeno's (CdZ) immense potential, I went forward with their 3rd release La Notte Anche di Giorno sound unheard. Or as we collectors like to say "auto buy". And the result? Well, unfortunately, this band continues to sit on that cusp between very good and excellent - and this time I rounded down instead of up. On the plus side, they did add a violinist full time which adds much to the melody and atmosphere department. Alessio Calandriello continues to belt it out with the best of them, and his voice is truly something to behold. I'll also give them points for supplying more textures and color while he sings, rather than sit back and be content with a simple rhythm. All this sounds like a distinct improvement on Sensitivita. And it is, so what exactly is the issue here? The songwriting. CdZ have this nagging desire to paint with broad strokes when delicate intricacies are needed. There are two long suites this time. The opener is Giovane Figlia, and I was at first quite disappointed in the direction, though I was stricken by the melody. With CdZ, I get a sense of commercial styled pop music at times when the band goes for these simpler structures. Then came part 3: Libero Pensatore, and suddenly I was mesmerized, proving to me that CdZ really are force to be reckoned with. From there through the remainder of the suite, I was captivated with the brilliance of Domenico Ingenito's violin, Calandriello's voice, and the analog/digital keyboards/piano of Luca Scherani. To me, it sounded like the very best of Sithonia (a UTR favorite) updated for 2015 (or 1973 lol). The melody line is sublime, and no one can sing it better. Going into suite number two, I was convinced this would be CdZ's finest album. But I was let down, and the return of the broader - almost Pink Floyd like - soundscapes and slow pompousness returned. The overall effect is maudlin, not joyous, or even introspective. It's not the right sound for the band in my estimation. In reading other reviews, I fear that I'm in the minority here. Let me be absolutely clear though: I like this band and I like this album. But I know they can do better (at least for my tastes, so take that for whatever it's worth). The beauty of progressive rock is that it can be played many times over and new results will emerge. For better or worse. 

Former ownership: CD: 2015 Fading. Tri-fold digipak

3/27/15 (first listen / review / new entry); 2/18/24