Univers Zero ~ Belgium

Ceux Du Dehors (1981)

I was surprised to learn that I haven't covered a single Univers Zero album in UMR. I had really tired of the band in the last 20 years, and sold off all the later titles starting with Heatwave and ending with Clivages. But I kept their classic 2nd through 4th albums, of which this represents the middle. So might as well get started here, an album I haven't heard since the 90s I'd submit. If any of the other Univers Zero albums walk back in here, I can readdress them at that time.

It starts off in a hellish mode, chamber music for the 5th rung. I had forgotten that there was mellotron here, an instrument that I would never associate with the music of Univers Zero. Once the music settles down, the mood only goes darker. Game of Thrones styled classical music, 30 years before the fact. Definitely not an album to pick up ones' spirits (well, I know a couple of guys who do get excited at hearing this). This is sit down, take a deep breath, and lower the lights music. Just make sure there is some light. 

I definitely appreciate the album more when they incorporate rock elements (especially on 'Combat'), though that certainly isn't their main premise. I'm not sure avant prog is really the right genre for Univers Zero. They've been shoehorned in for a lack of a better tag. When I was in my 20s, they were called RIO, but that was even more vague given that it was never meant to be a genre, but rather an attitude. Chamber rock isn't much better. Give them credit, Univers Zero is unique within the musical landscape.

Subscription copies came with an additional one sided 7 inch, that was later added to the CD reissues ('Triomphe Des Mouches'). It's similar to the shorter and darker tracks on the album proper with some martial percussion.

I'll probably never be the world's foremost Univers Zero fan, but I can appreciate greatly what they're doing. Variety is good for the collection. I'll probably hang onto these three, which I've had forever, and likely stop there. More to come.

Ownership: 1981 Recommended (LP). Acquired in 1992.

1992; 3/8/26 (review)

Also own and need to review: Heresie; Uzed; Crawling Wind

3/8/26 (new entry) 

Quantum Fantay ~ Belgium

Oneironauts (2024) 

I keep saying I'm not going buy new albums in styles I already have well covered in the collection, especially by bands that I own eight albums from already. But I was in the right mood, and Quantum Fantay were one of the highlights of the last decade, so why not order one more on last call? Besides it's been five years since their last album, telling me they might be more energized and creative this go round. Interestingly enough they open the album just as they did on their last Yemaya Orisha, where I stated: "The opening title track could be considered "typical" (but still very good)". What I mean by typical is their patented Ozric Tentacles interpretation of space rock. Though unlike the prior album, they didn't open the flood gates on the second track. At times I felt the music to be too formulaic. But as the music kept spinning, my head continued to bob and I found myself getting immersed into their fiery brand of space rock. The title track even borrowed a couple of riffs from the almighty Bridges of Kukuriku. Quantum Fantay are to be credited for keeping their compositions from wandering off into the weeds, and always keeping an eye on melody. The elaborate ornamentation of sequencer based electronics and synthesizers space gazing add the proper atmosphere. Rhymically, Quantum Fantay often move beyond 4/4, and get complex at times. Such a great band really. Will this be the last album I buy from Quantum Fantay? I say yes. But that's what I said last time (two years to the day, in fact). 

Ownership: 2024 Progressive Promotion (CD). Acquired in 2024.

11/24/24 (review)

Yemaya Orisha (2019)

Quantum Fantay proved to be one of my favorite bands of the 2010's, perfectly capturing everything I like about the Ozric Tentacles sound. They filtered out the reggae and lengthy ambient pieces, while going for the throat on high octane space rock. Yemaya Orisha is their 8th, and to date, last studio album. I've captured six of the prior seven already here on UMR. By now I just have too much of this kind of thing, and I'm weeding some out. But I'm not sure though if any of the Quantum Fantay's will be touched. The opening title track could be considered "typical" (but still very good) and I was thinking this may have been one purchase too many. But 'Mami Wata' packs a wallop, and hits all their trademarked qualities: Ferocious guitar chords, flute melodies, synthesizers galore, and insane rhythmic work. They maintain this pace on 'Riddles of the Sphinx'. By now the last two tracks could be country and I wouldn't care. But of course they're not - just more Quantum Fantay goodness. It's likely I stop here with the band (nope - see above) - presuming they continue - unless it's essentially given to me. But what a run they had for 15 years.

Ownership: 2019 Progressive Promotion (CD). Triple fold-out digipak with excellent digital art. Acquired in 2019.

7/12/19; 11/24/22 (review)

Dancing in Limbo (2015)

Quantum Fantay have always been a Masters Class course at the Ozric Tentacles University. And on their 6th studio effort, Dancing in Limbo, yet another thesis has been proposed and accepted. So much so, that the professor himself - one Ed Wynne - even guests on the album! If you're the sort that appreciates Ozric Tentacles most in full blown space rock mode with fiery guitar solos and fluttering flute, meanwhile constantly twisting and turning with jumpy rhythms, then Quantum Fantay will certainly blow your socks off. I'm of that sort, and my socks are missing. Dancing in Limbo earns Quantum Fantay yet another "A".

Ownership: 2015 Progressive Promotion (CD). Acquired in 2015.

11/4/15 (review)

  

Terragaia (2014)

So exactly how would Quantum Fantay follow up the brilliant Bridges of Kukuriku? It would take four years to find out, but the band has finally reappeared with Terragaia, and the CD (that's right - a CD - remember those?) is housed in a fine triple fold out digi-pak. I would say that Quantum Fantay have found themselves back to their roots of Ozric Tentacles' inspired space rock. Unfortunately, there aren't any of the hair raising, head turning moments of the last two albums to be found. However, let's not get carried away and start pointing fingers as if this is some kind of failed effort. Hardly. The music here is as brilliant as Ugisiunsi, but with a distinct Middle Eastern and Chinese theme running throughout the melodies (and some snippets of Caribbean and Celtic music too). There's so much to admire about Quantum Fantay in the studio - and their variation of the Gong's You era is as fine as anyone as ever realized, including Ozric Tentacles themselves. So what you have is the usual fiery guitar solos, flute overlays, bubbling synthesizers, and hyperactive rhythms that you expect - and want - from the genre. Quantum Fantay are money, man.

Ownership: 2014 Progressive Promotion (CD). Acquired in 2014.

6/27/14 (review)

 

Bridges of Kukuriku (2010)

I've been a fan of Quantum Fantay since their first album. All are very good variations on the Ozric Tentacles sound. But I wasn't prepared for the greatness that is Bridges of Kukuriku. Everything about this album is exponentially better than prior efforts (and that's saying something). Whether it's the production (listen to the panning from speaker to speaker as if Dieter Dirks himself took the controls), the instrumental interplay (crisp and tight), the energy level (extremely kinetic) - or just the general exoticism surrounding the compositions. And this has real melodies, something you can actually latch onto and remember, rather than just a technical exercise in musical theory. The amazing transition from 'Follow the Star' (track 2) to 'Shiver Moments' (track 3) and the subsequent blitzkrieg of said track practically gave me a stroke. Music like this is truly exciting, as you never know what will happen next, and yet it still rocks hard in a psychedelic way. Ozric has never come close to fully realizing an album like this. We're in the rarefied territory of those Finnish groups Hidria Spacefolk and Taipuva Luotisuora. This album is absolutely brilliant and will most certainly be considered one of my personal favorite albums of the entire 2010 decade.

Ownership: 2010 Bassick (CD). Acquired in 2010.

12/29/10; 9/14/12 (review)

  

Kaleidothrope (2009)

After the great success of Ugisiunsi, Quantum Fantay return with Kaleidothrope...  ...and serve notice that they are serious and are here to stay. The jumpy sequencers, fluttering flute, hyperactive rhythm section, and - best of all - pyrotechnical psychedelic guitar work, are here in abundance. All of this while never forgetting that melody is truly important to a great composition. Not to mention the constant shifting of themes, meters, and dynamics. Final track 'Telepathy' is a monster and needs to be heard by all. And to think they would actually improve on their next album. Wow! If there's a criticism of Quantum Fantay, it's that they veer too close to Ozric Tentacles. And while that may hold true, one should know that it's more like Ozric extract: All the good stuff is filtered in while leaving the chaff out.

Ownership: 2009 Shiver (CD). With DVD. Acquired in 2010.

2010; 9/14/12 (review)

  

Ugisiunsi (2007)

While the debut Agapanthusterra could be considered another Ozric album, the sophomore effort Ugisiunsi utilizes to a greater extent other music vehicles like flute (in more abundance than the debut), sequencer based electronics, and haunting wordless female voice, thus adding color to the usual guitar / keyboard rave-ups. The guitarist (from Srdjan 'Sergio' Vucic, in his only stint with the band) adds some metal crunch at times, recalling the Dutch group Kong. And the solos are Ed Wynne-esque in their intensity. Like Hidria Spacefolk (Finland), Quantum Fantay also display a penchant for progressive rock themes and complexities – something that Ozric did more frequently in their past with songs like ‘White Rhino Tea’. Tracks like 'Snowballs in Ghostlands' show Quantum Fantay were capable of writing beautiful melodies as well - moving beyond the usual "if you can't find it, grind it" mentality. At this point in their career, Quantum Fantay looked to be a major force in the space rock circuit. And as it turns out, they ended up being just that.

Ownership: 2007 Pete's Mushroomland (CD). Acquired in 2008.

2008; 9/12/12 (review)

  

Agapanthusterra (2005)

Agapanthusterra is Quantum Fantay's most Ozric Tentacles-like album - right down to the reggae bits. That said, the compositions are entirely unique and offer one more perspective of an already great formula. On this debut, Quantum Fantay were a four piece with synthesizers, bass, drums, and flute. Guitars were performed by a guest of the band (who would later join as a full time member on their 3rd album Kaleidothrope), but despite this designation his participation here remains a centerpiece to their overall sound. Best tracks are the heaviest rocking pieces 'Lantanasch' and 'Chase the Dragon'. Worth noting that the final track 'Amoevha' is hidden and not listed on the CD itself.

Ownership: 2005 Pete's Mushroomland (CD). Acquired in 2008.

2008; 9/11/12 (review)

Also own: Tessellation Of Euclidean Space

9/11/12 (new entry)

Recreation ~ Belgium

For Music or Not Music (1972)

On Recreation's second album - For Music or Not Music - the music takes a decidedly creative turn while adding guitar to the mix. An all-over-the-map type release, totaling 15 tracks, that reminds me some of Aphrodite’s Child’s 666 album, minus the pop songs. The quirkiness and overall demeanor recall some of the earlier work by Supersister. Like the debut, this is entirely instrumental.

Ownership: 1972 Barclay (LP). Gatefold.

2006 (review); 1/27/10

Don't Open / Recreation (1970)

---2006

The debut by this Belgian trio is a kick – somewhere between the avant space psych of Group 1850, the rigid metronomics of Egg, and exploito organ-led covers of classic psych tracks. Great fuzz bass and go-go organ sounds throughout.

---6/8/22

And really not much to add here. Side 1 contains the originals and Side 2 are the covers. However it should be noted that even though these latter tunes are very well known (for example The Mamas and Papas' 'California Dreamin''), the arrangements as found on Recreation are barely recognizable, making it that much more interesting.

Originally released in their native Belgium on the Triangle label as Don't Open. I prefer the German cover, so I splurged for it. 

Ownership: 1970 Bellaphon (LP)

2006 (review); 6/8/22 (update)

6/5/24 (new entry)

Esperanto ~ Belgium ~ England

Last Tango (1975)

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

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

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

2002; 4/25/23 (review)

Also own: Danse Macabre

4/25/23 (new entry)

Abraxis ~ Belgium

Abraxis (1977)

---11/18/09 

Formed by members from the band Cos, this album is a cross between flute jazz, Canterbury inspired fusion, and 70s funk. Somewhere between Chris Hinze, Cos, Cortex, and Herbie Hancock is where you'll find the sound of Abraxis. Flute drives the melody and solo lines, but there's plenty of introspective piano sections as well. Which play nicely against some of the ferocious electric guitar. A nice discovery on the always surprising IBC label.

---4/11/21

Well, that does pretty much sum things up. I really appreciate the strong melodies here, along with the rougher instrumental edges. This is an album that grows in stature with each listen.

Ownership: 2019 Replica (LP). Not a particularly great reissue. They "do the needful" by producing the album (with good sound, likely from vinyl) and original cover. But it's lazy without any written input from the band, or any other extras. The entire liner notes are on the hype sticker.  Acquired in 2021.

Not reissued on CD as of 3/12/26.

11/18/09 (review); 4/11/21 (update / new entry)

Present ~ Belgium

Certitudes (1998)

It was sometime in 1985, while visiting my favorite underground record store in Dallas (Record Gallery for those that were there), that I first discovered Le Poison Qui Rend Fou. Everything about it was new to me - the album, the band, the label (Cuneiform), and the music (what later would be dubbed avant prog). For me it was a new kind of complex progressive rock, and one that captured my 20 year old mind's imagination greatly. Unfortunately that seemed to be about it for Present. I later learned about their considerably more obscure debut (at the time) and their association with a one Univers Zero, a group I began to seek and collect as well. Present did pop up here and there in the next decade performing music that was not necessarily "Present-like", including the rather interesting Live blues rock album (see below). So it was with much excitement that Present returned to form on 1998's Certitudes. This was the sound of Le Poison Qui Rend Fou moved forward. The complex layering, the haunting vocals (male instead of female though), the pounding piano, the searing electric guitars, and the impossible rhythms. This is the Present I first discovered and loved. The primary problem with a band such as Present is the music isn't particularly memorable. When one thinks to pull out an album such as Certitudes, the mind goes into this jumbled mess. Knowing that yes, this is sophisticated music, and the instrumentation is correct. But memorable melodies and passages? No.

But Certitudes is special to me for another reason, beyond the return to my mid 80s exploratory years. One fine evening in May of 1998, the band performed live in what was then our current hometown of Denver. At that time I'd been married for just over a year. My wife, never one to embrace the music I enjoy, was still open minded about going to concerts and trying different things. I took her to this Present concert. It was an incredibly intense show resembling the Certitudes album (and with local Denver mover and shaker Dave Kerman on the drum kit, replacing Daniel Denis). During the show, while I was certainly enjoying myself, I began to really worry about my wife, as I suspected it was just too much for her young and untrained ears (fortunately we brought ear plugs). After the show, I asked her what she thought. She said it was really good, very different and intense, but she really appreciated the effort and the authenticity of the band. Wow! Fast forward 22+ years, just as I was to pop this into the CD changer (for the first time in the same 22 years), I asked her if she remembered the concert. She did and recollected pretty much the same sentiment. Again, I was surprised, as it's hardly been a Happy Hour discussion topic. Funny though, she wasn't clamoring to join me on the listening session. 

And for all the reasons above, this is why I tend to revere Certitudes as one of Present's best efforts.

Ownership: 1998 Cuneiform (CD). Four page booklet with band photo, lyrics, and recording details. Acquired in 1998.

1998; 9//05; 12/14/20 (review)

Triskaidekaphobie (1980)

Only a European band whose roots are clearly planted in the Rock in Opposition movement would name their album after the fear of the number 13 - in French of course. Perhaps the listener will have the same fear as they are greeted with rhythms performed in 13/16. Present's debut is a hellish music where the blueprint is clearly Univers Zero, who are a direct parent on the ancestry chart. A blueprint that is dragged through King Crimson's 'Fracture' for the ultimate bad trip. Bad trip as translated in the avant prog language I mean.

Ownership: 1980 Atem (LP). Acquired in 2026.

First copy: 1989 Cuneiform (CD). With Le Poison Qui Rend Fou. Acquired in 1989.

1989; 11/4/15 (review)

 

Present Live! (1996)

An interesting live album from Belgium's Present. Sounding more like a psychotic blues rock take on their first two albums, the music has a rawness and deep soul missing from their studio works. Present always sounded to me like a typical mathy, ultra precise, avant prog unit. Here, they sound a bit messy, and even gives into the odd guitar jam, just the kind of dirty soot the band needs. I've had this CD since it first came out, and never held it among the finest of their works, but I'm hearing it in a whole different light this go round.

Ownership: 1996 Cuneiform (CD). Acquired in 1996.

1996; 6/12/16 (review)

Other notes from 2023

High Infidelity (2001) Carbon 7. Present are one of the bands in the avant prog genre I really enjoy. I continue to own five of their first six albums. This title (their 7th) was one too many, however, and I stopped collecting any further Present albums from here.

Also own: Le Poison Qui Rend Fou; No. 6

6/12/16 (new entry)

Pazop - Psychillis of a Lunatic Genius. 1972-73 Belgium (archival)

Two different archival recording sessions, though both are similar musically. The namesake album is from 1972 and is about 26 minutes in length - more like an EP. The 1973 recordings, later reissued as simply Pazop, is about 35 minutes. The music rounds up the usual Continental European suspects in the Zappa/Canterbury genre like Cos and Moving Gelatine Plates, and on the 1973 album, I was reminded of a band not normally associated with this kind of music: Kornelyans - Not an Ordinary Life.

Ownership: CD: 1996 Musea (France). Jewel case. Usual great 90s Musea archival issue with complete historical liner notes. 

I bought the CD online when it first came out. 20 years later, the convenient and essential CD has fallen out of print, and you can now buy the album as two separate LPs - each a brick - without any extras and likely sourced from the CD anyway. Why not release as a double LP? What, and miss out on getting $40 retail + exorbitant shipping costs (360 grams!) for each? How the mighty have fallen. Not for me.

4/22/20 (review / new entry)

Shampoo - Volume One. 1971 Belgium

Shampoo were a band from Belgium, who released this one album before dispersing. Though not as revered as many other bands from this classic era, they just happen to play in my personal favorite style. That is to say - jazzy psychedelic progressive rock. Shampoo are in the same genre as Hot Rats era Zappa, Moving Gelatine Plates, Xhol Caravan, and Mad Curry - the latter of which the band obtained the majority of its members from. Throughout, you'll hear plenty of sophisticated ensemble work, with energetic solos (love the electric sax work), and psychedelic dreamy vocals. Not all is a success (the opening straight-up psych track; the overlong drum solo on Side 2), but still worthy of your attention. Overall it's a product of a much missed period in music history.

LP: 1971 Motors (France). Day-glo pink gatefold cover. Online acquisition (2000)

There's some disagreement on the date of release. Here's what I wrote for Discogs: "Looking at our LP copy. There's a stamp inside the gatefold: 17 Nov. 1971. There's also a sticker on each label side: JB 17.11.71. Have to presume that was the receipt date for the original owner (we purchased this copy in 2000). 1971 is also a date used by many other sources going back before the internet (not all sources of course). These data points have lead to the change here. There is no date on the LP itself. We're not seeing any corroboration for the 1972 date on this entry, so moving to 1971 unless other concrete data emerges." (1971 was later corroborated by another user).

Recently learned (6/5/24) that this album was reissued on CD by a legit label called HKM.

2000; 8/2/09; 9/14/19 (new entry)

Womega ~ Belgium

A Quick Step (1975)

Womega were a band from Eastern Belgium, near the Dutch border. They released this one fascinating album called A Quick Step, and nothing has been heard from them since. In a nutshell, the album could be characterized as an all-over-the-map type release.  But - here's the interesting part - all within the confines of what normally constitutes progressive rock, rather than the usual kitchen sink mentality that represents all facets of music in general. Presented here are pomp, Canterbury, proto, symphonic, fusion, and Zappa styles. Considerable amount of mellotron and flute are apparent, in the most unexpected places. Some parts are more simplistic, giving it a radio friendly sound, and then followed by something entirely difficult and complex. If looking for comparisons, other Northern European progressive rock bands come to mind such as Pantheon, Dr. Dopo Jam, Shampoo, and Nine Days Wonder. And heck how about a little American Blue Oyster Cult too. Maybe a little too diverse for its own good, but undeniably fascinating!

Ownership: 1975 Skruup (LP). Booklet containing liner notes, lyrics, and full instrumentation credits. 

11/19/07 (review); 2008; 3/16/19 (update / new entry)

Hypnos 69 - The Eclectic Measure. 2006 Belgium

There are very few bands with a stoner rock past that can really let go of that sound. They usually sneak it in here and there - a slab of fuzz, a studio-phased yell, or some throbbing bass and pounding 4/4 drums. But not Hypnos 69. When they ditched it to go all-in for an early 70s retro prog sound, the band never looked back. I haven't heard (to date) the predecessor The Intrigue of Perception, but it's apparent the band's metamorphosis happened there, as their debut most certainly is stoner rock.

Hypnos 69's sound draws heavily from the vaults of 1971 Europe, especially the UK. And while you'll often read that King Crimson is the primary influence (I think the addition of woodwinds adds to this idea), the only track where it's painfully obvious is 'Ominous (But Fooled Before)' - a composition that borrows some ideas from KC's first two landmark albums. Perhaps surprisingly, it is also my favorite song on the album, despite the similarities. Overall though, if the Vertigo Swirl roster of bands from 1971 to 1973 hold your interest, it would be hard to imagine The Eclectic Measure not (pardon me) measuring up. Maybe not quite the same stunning emulation as later upstarts such as Diagonal and Astra, but that's the ballpark we're talking about here.

Ownership: CD: 2006 Elektrohasch (Germany). Jewel box with lyric booklet. Acquired in 2010.

2010; 6/26/18 (new entry)

Solis Lacus ~ Belgium

Solis Lacus (1975)

Solis Lacus' sole album is a mix of deep grooves and sweet melodies, which is the blueprint for the mid 70's instrumental jazz rock scene. One could easily see Solis Lacus operating as the 4th Placebo album. Though by 1975, some of the rougher edges have been smoothed over, and it's not ever going to win any underground awards. But it definitely serves well for 70's styled "gettin' in the mood" with plush coaches, wood paneled walls, and shag carpet. Trumpet and saxophone lead the solo parade, while band leader Michel Herr provides the Fender Rhodes and monophonic synthesizers. This is the right music for the right time.

The LP was surprisingly reissued twice in the late 70s and early 80s by different labels.

Ownership: 2012 Heavenly Sweetness (CD). Tri-fold digipak with photos. Includes a booklet with liner notes in English and French with more photos. And further on, as the band members each reflect back on the album, the notes this time are in French and Flemish. Acquired in 2018.

4/22/05; 2009; 1/6/18 (review); 9/24/26

1/6/18 (new entry)

Cos ~ Belgium

Viva Boma (1976)

Cos' second effort is a bit of an odd duck. As an opening move, the humorously titled 'Perhaps Next Record' starts off with a short primitive mid 1970's electronics piece in the Gottsching / Pinhas mold. This is followed by yet another short piece, this time the title track, a tribal African rock work, a style which had gained some popularity in the Northern European underground during this era. Then starting with 'Nog Verder', new keys man Marc Hollander (later to form Aksak Maboul) pulls out his trusty old Farfisa, fuzzes it all out, and basically we now have introduced early Soft Machine into the mix. And yes indeed, this is the album where Cos went whole hog (hippo?) for the Canterbury thing. Once Pascale Son brings forth her unique enunciated scat vocals onto the mix, it finally become clear that this in fact a Cos album after all. Meanwhile none other than Marc Moulin is at the control desk, and oh most certainly he was an influence. There's no escaping those Placebo like deep jazz grooves. And that's your story line for Viva Boma. Somewhere between Postaeolian Train Robbery, Placebo, and National Health, one will discover this album under the blanket. It's a bit rich in sound, not overly deep in thought, and the type of album that's instantly enjoyable for even your dinner party guests.

Ownership: 1997 Musea (CD). Historical liner notes. Four bonus tracks.

8/29/97 (acquired); 3/11/17 (review); 11/7/25

Postaeolian Train Robbery (1974)

Cos' debut from 1974 comes after many years of performing and writing, and as such, is a very mature opening move. The group's background, and home base as it were, is definitely from the jazz school, though they had recently broken into rock forms - influenced by the French groups Magma and Zao, and fellow countrymen Arkham. It is Zao where you find the closest comparison, though Cos are not Zeuhl in the slightest, and Canterbury is an easy backup reference, though not entirely accurate either. Truth is, Cos were their own thing, always a trait worth admiring. Pascale Son (wife of bandleader Daniel Schell) strictly sings in the scat style, where enunciation, intonation, and pitch are key to the composition. The tracks are all well composed, and thought out, and played to perfection. And it rocks out especially towards the end of the disc. Not a weak moment to be found, though it does lack the extreme highs a masterpiece calls for. All the same, an exquisite work for fans of progressive jazz rock.

The predecessor group to Cos was Classroom, who contribute four tracks to the Musea CD. These compositions are clearly more indebted to jazz, but are certainly the same type of band in a non-rock setting.

Ownership: 1990 Musea (CD). Booklet with historical liner notes. Four bonus tracks as noted above. The CD omits 'Karbok', apparently a more commercial effort, because of bandleader Daniel Schell's objection to it. The cover art is the second original cover as originally released by IBC. 

1991 (acquired); 3/7/10; 10/12/15 (review)

10/12/15 (new entry)

Kosmose - Kosmic Music From the Black Country. 1973-1978 Belgium (archival)

I've been sitting on this double CD from Kosmose for a few months now (I bought it based on a recommendation from UMR's good friend Achim from Germany). The CD is well over 2 hours of music, and could have been released as 3 separate albums. I knew it would take a focused listen - one with a lot of patience. I had to dedicate a single night to it. As Kosmose member Alain Neffe says "We were using improvisation techniques drawn from avant-garde jazz, but with a rock sound, and an electronic sound, experimental, noise based...". If this rings familiar, then yes indeed, it is very much the philosophy of the original Kosmische Krautrock sound. We're talking 1970 era Tangerine Dream here. Where everything and anything was possible - and it's all extremely psychedelic. At that point even Pink Floyd stopped going in the late 1960s.

Perhaps the oddest aspect of this release is the time and place. The recordings come from 1973 to 1978 (dates unknown mostly, only the 'Eighth' song is specifically placed at 1977), though it sounds a few years earlier than that might imply. And Belgium has no such history of freaked out psychedelic music like this, especially from the French speaking Wallonia section. Of course its neighbors do - France and the mother country of Krautrock naturally enough. Kosmose were also using film techniques to create the entire experience as one might expect from the Zodiac Free Arts Lab in Berlin circa 1969.

Really an extraordinary historical aural document, though not exceptionally great. For those who are predisposed to the earliest incarnation of experimental Krautrock, this archival album comes as an assured recommendation. Everyone else might need a bit of indoctrination first. It is not an easy listen admittedly but does get better as it goes, primarily because the album requires a mindset change - that does/will occur over the 2 hour length. Without the proper background, I would probably be the first to raise my hand and complain. But if curious to tackle further, I would suggest you have taken in (and accepted) albums like Tangerine Dream's Electronic Meditation, Annexus Quam's Osmose, Amon Duul II's Phallus Dei, Xhol Caravan's Motherf*ckers & Co, Can's Tago Mago, and Organisation's Tone Float first, then digest this monster of a set. Conditionally recommended to those who love this sort of avant garde psychedelic reckless abandon. I do.

Personal collection
CD: 2015 Sub Rosa

The packaging is an excellent 2 CD digi-pak set from Sub Rosa. And priced competitively. Comes with a full set of liners (in both French and English), photos, track instrumentation, etc... Incredible value really. The double LP set includes tracks ('Second' through 'Eighth'), but leaves off 'Ninth' through 'Twelfth' from the CD (there is no 'First'). So there's roughly 50 more minutes on the CD version. That's a significant loss too, so bear that in mind vinyl collectors. You may want both!

Last listen: February 5, 2016

Irish Coffee. 1971 Belgium

Irish Coffee's debut is practically the definition of the Continental European rock sound of the era. Heavy guitar and Hammond organ are the main instruments, while the English vocals are delivered in a forceful gruff style. The music is deceptively complex, and a casual listen will likely result in labeling the album as "hard rock" and it definitely rides that fence. Tracks like 'Can't Take It', 'When Winter Comes', and 'Hear Me' pack a lot of ideas and meter shifts into their sub 5 minute time frames. The single tracks are indeed more straightforward, and the last recordings come from 1974 where it appears the band hadn't progressed at all.

Ownership: CD: 2007 Thors Hammer / Garden of Delights. Full historical liner notes, new photos, scans of all their singles (and all 7 extra singles are here as bonus tracks), and great sound. 

My first taste of the album, along with dozens of other people I'm sure, came via the Voodoo CD reissue (1992) which I picked up sometime in the 90s. Over the years, this reissue had been tagged a pirate edition, but I was pretty certain it was legit. And sure enough, the band themselves reissued it in a limited edition (Voodoo was an early name for the band). It featured 7 bonus tracks and a small history. Naturally it vanished into various collections over the years, and the bootleggers hit the market hard. 

Fortunately Garden of Delights came to the rescue (under their non-German Thors Hammer moniker), and this is the de facto reissue. Here we learn of the authenticity of the original CD (but points out one glaring recording error), as well as confirming the original LP release date as July 1971 (I still see 1972 appended on some discographies). It would be great to get an original, but that's not likely to ever happen. While I think it's a great album, I don't think it's worth four figures honestly (and yea, I do think some albums are worth that - personally speaking of course).

8/20/14 (review / new entry) 

Mad Curry ~ Belgium

Mad Curry (1971)

Mad Curry is a superb early jazz infused progressive rock album with organ, electric saxophone, and witchy female vocals that is distinctly European, and of that era. Earth and Fire, Sandrose, Julian's Treatment, Fusion Orchestra, and Circus 2000 are all good reference points here. Fellow Belgian band Shampoo as well, more so with the jazzy disposition. 'Music, The Reason of Our Happiness' is just flat out one of the all-time great progressive jazz rock tracks.

Ownership: 1971 Pirate's (LP). Housed in an extraordinary poster cover. 

Still no CD reissue as I update this on 2/21/25.

1996 (first listen); 7/19/09 (review); 3/4/14 (new entry)

Lagger Blues Machine. 1972 Belgium

Lagger Blues Machine's sole studio album is right in my wheelhouse for European instrumental progressive rock (there are some sporadic voices here and there, but hardly a vocal album). There's a jazzy base to the rhythms, with constant twists and turns, along with plenty of colors provided by the variety of keyboard, sax, and guitar tones. Nothing sits still too long, and all of the sections focus on composition and melody rather than on lengthy, or worse atonal, soloing. This is a must have if you enjoy the Canterbury bands like Soft Machine and Moving Gelatine Plates, along with Frank Zappa's Hot Rats and all its followers (which were usually Continental European). One of Belgium's best albums for certain.

Ownership: LP: 1972 CBS. Single sleeve. Online acquisition (2004).

Former ownership: CD: 1994 Mellow (as The Complete Works). Jewel case with Tanit Live as bonus tracks. 

LP: 2012 Veals & Geeks. Single rough paper sleeve. The cover art is blown up too big, and it's out of focus. The vinyl is one of those bricks with very poor sound, and the mastering is worse than the Mellow CD. No history though apparently their CD version does have it.

My introduction to this album came via the Mellow CD. 

My introduction to the band Lagger Blues Machine was Tanit Live (1970), a posthumous album released in 1988. It's a miserable sounding recording and isn't worth a separate release.  

For those of you who have only heard the reissues: They are all muffled and sound pretty horrid. The original LP (even in the VG condition that I own) is considerably clearer than any of the reissues. Like Soft Machine's Third, it isn't a great sounding album to begin with, but the original vinyl absolutely destroys the Mellow CD, or even worse, the Veals & Geeks LP. 

1995 (first listen); 3/7/10; 1/16/14 (review / new entry)

Flyte - Dawn Dancer. 1979 Netherlands-Belgium

Flyte are originally from Breda, a Dutch town that borders the Flemish regions of Belgium. As such, they are a mixture of both countries. But musically, they might as well be from Cincinnati, and would have been a perfect addition to my Midwest USA list. All the tracks are between 4 and 6 minutes, with that unique combination of commercial aspiration and complex progressive composition. The heavily accented English vocals won't push Flyte to stardom, but one can't help but admire the effort. So while fellow countrymen Lady Lake knew to keep their mouth shut for the most part, Flyte went for broke. So in the end you get progressive AOR music with badly accented vocals - and a lot of mellotron. Ehhh - why not?

Ownership: LP: 1979 Don Quixote. Single sleeve. Recent online acquisition (2013). This replaced the Si-Wan reissue which was my introduction to the album. The Si-Wan version is a gatefold, which is a nice touch.

1994; 2009; 6/15/13; 9/8/13 (new entry)

Placebo - s/t. 1974 Belgium

This is my personal favorite of the three Placebo albums. Here the grooves go deeper, and the solos are more intense. Best of all the compositions are, to a greater degree, more unique.

CD: 2011 P-Vine (Japan)

Placebo - 1973. Belgium

The 1973 album continues in the same vein as Ball of Eyes, though it's definitely more funky and head boppin' than the debut. And the real ear grabber is the superb Moog soloing by Marc Moulin. Strangely, the album finishes in a completely different direction. The next to last track is more towards straight jazz and the closer has more in common with Electronik Musik, than anything one would associate with Placebo. I thought the sophomore effort surpassed the debut, and from what I could tell, many considered it their best. However, my vote goes to the 3rd and last album. To be continued...

CD: 2011 P-Vine (Japan)

Placebo – Ball of Eyes. 1971 Belgium

Marc Moulin's three Placebo albums are the "Holy Grail" for the rare groove crowd, a sector of music fans who love that unique 70s style of cool. The beat and the mood of the sound are key.

For an album from the 1971 jazz scene, Ball of Eyes is remarkably focused, without any experimentation or free jazz moments which were still in vogue during that time. Not edgy like same era Miles Davis, Wolfgang Dauner or even other rare Euro groovers like the Sunbirds. In fact when I first heard it, I was certain it was from 1975 or later. The horn charts are all very well done and they do catch that certain 70s spy groove. It's all a bit too laid back for me to consider it a 5 star masterpiece, but its wide appeal is undeniable.

CD: 2011 P-Vine (Japan)

Original LPs are off the charts expensive, and I personally wasn't aware of Placebo until the last 6 years or so. After obtaining CD-R copies and pleading for a reissue on the CDRWL, we were all rewarded last year with fully authorized Japanese mini-LPs from P-Vine. Ball of Eyes in particular benefits from the format, given that the original features a cool gatefold cover.