2024 Prog Journal Vol. 3 - Complete

Sezione Frenante - Metafora di un Viaggio. 2014 Ma.Ra.Cash (CD). Collection revisit (Dec). Sezione Frenante are one of a handful of groups who performed live in the 70s before disbanding without any recorded output, only to reform in modern times and release one album or more. The returns are mixed on these bands, some having adapted better than others. Sezione Frenante sits in the middle of these type of groups. On the one hand they do have those impressive breaks that makes the genre so special. And it's prog rock all the way, no silly attempts at pop stardom. On the other, there's this nagging feeling they relied too heavily on modern instrumentation and production techniques. One starts to wonder "what could have been?" in their initial incarnation. As I immerse myself deeper into the contents, I hear a strain of neo prog that I hadn't noticed before. Which isn't necessarily a bad thing in my world. Fortunately they maintain the Italian language (and sung very well by newcomer Francesco Nardo) keeping it out of the Genesis clone discussion. Gosh, if I already didn't own shelves full of this kind of prog from Italy already, I'd keep this. But downsizing is in full force, and this one never resonated with me at any level except academically.

Hopo - Senti. 1992 Anthology (1982) (CD). Collection revisit (Nov). As noted on the Mo.Do. post, the amount of progressive rock albums coming from Italy were almost non existent from 1978 to 1986. Senti is one of the rare albums to get out, and you can tell there was no "movement" left in Italy for a group such as this to build and learn upon. The album opens with a synth pop number, pretty good for the style, but irrelevant to rest of the album. Otherwise it's classic Genesis styled prog with plenty of homestyle cookin' like PFM and the rest of them. Overall it's fairly simple and amateurish. One of those their heart was in the right place, but they weren't quite ready for prime time. The longest songs (2 and 6) are also the most interesting. Bonus tracks are essentially a live concert of the same music save one track called 'Mister Rock' which is about all you need to know there. No variations on a theme, and the recording isn't great to begin with. Overall a fine work, especially for its time in history, but Italy has so much more to offer.

*Pocket Size Sthlm - Immortality: Cleaning the Mirror Volume 2. 2018 Mill Hill (LP). Collection revisit (Nov). Pocket Size is a band that I got in on the ground floor with and dutifully documented their first two albums enthusiastically. A year after the release of this album, their 3rd, Peter Pedersen reached out to me direct to see if I was interested in purchasing the LP's since he was going to be in the USA. I said sure, and I ended up grabbing all three. The CDs of the first two are just small slip cases, so I included them with the LP's of the others. He was also going to send me the CD of this title, but he forgot I think. No big deal. In any case, my initial reaction to this album wasn't as positive as the other two, and I didn't take any notes. So now some five plus years later, let's dive in. The album was recorded live in 2016 in front of what sounds like four people. As with their other albums, this isn't a solo endeavor but rather a full band effort. An early 70s instrumental prog mixed some space rock jamming is what you can expect here. There's a touch of the jazz rock style as well. I think this may have been one too many cleaning the mirrors for me. Not getting the same vibe as I did out of the other two. Also not very Swedish, more generic in terms of region.

*Bo Hansson - Music Inspired By Watership Down. 1977 Sire (LP). Picked up for $5 at a record store in Albuquerque (Nov). This is one of those albums I'd heard back in college in the middle 80s, liked it, but never bought a copy for myself. I could say that about all of Hansson's catalog actually, only picking up Magician's Hat recently. Hansson's style of highly melodic organ based instrumental progressive rock has really aged well for me. Classic Mike Oldfield seems to be more of an influence than prior, especially considering the electric guitar presence, and that can only add points to the score. The guitar, incidentally, is provided by none other than Kebnekaise legend Kenny Hakansson. The album was released in Sweden as El-Ahrairah. 

MediaBanda - Dinero y Terminacion Nerviosa. 2007 private (2xCD). Collection revisit (Nov). MediaBanda's second effort (post Fulano) is an overwhelming 90 minute work filled to the brim with ideas. One has to admire the sheer will to produce such an opus. The music ostensibly belongs to the avant-prog genre with its quirky and densely written charts. High pitched female vocals, often wordless, point to the Cos / Northettes school of Canterbury. The music is mostly of a happy nature, and there's clearly a tilting towards jazz here (especially on 1.6), smoothing the clinical edges that avant-prog usually brings. With so much time at their disposal, MediaBanda gave into the temptation to experiment recklessly in the studio, providing plenty of uncomfortable listening moments (1.4, 2.6, parts of 1.6 and 2.1). Seems to be a typical reaction by avant-prog bands that sense they may be too uptight, and so they go too far the other way and completely relax any kind of musical standard. Better off just doing a heavy psych jam really. The only real curveball here is the final track which starts out in Eddie Van Halen mode before launching into a complex hard blues rock number, sounding more like Present than Miriodor. Overall, as I've mentioned many times prior, admiration is not the same thing as appreciation. I know academically this is a well crafted effort. Doesn't mean I necessarily want to hear it though.

*Artsruni - Cruzaid. 2002 Musea (CD). Collection revisit (Oct). Right from the first few notes I was reminded of Asia Minor, a band with roots from nearby Turkey (historically speaking, probably not a welcome comparison, but if music is the language of peace, perhaps it is). Flute and guitar lead the instrumental parade, with the former providing most of the melodies. Artsruni is the last name of the guitarist, and his style pulls away from the 70s and brings in a modern sound, including pig squeals. Perhaps to its detriment. Other guideposts here would be Solaris and, of course, Camel. Fascinating booklet that details the rise of Armenia and its ties to the Crusades and Christianity. Mostly lost, no doubt, to the pagan West audience the CD was sold to. Unfortunate.

*Anacrusa - Fuerza. Rayuela (CD) (1979). Collection revisit (Oct). An unusual conclusion from this fine Argentine band. They started their career primarily as an indigenous folk troupe and eventually emigrated to France. While there, they added more rock elements to their recipe, giving them a progressive rock and world fusion flair. Fuerza takes this concept even further and adds orchestral touches. Given their highly melodic structure to begin with, along with Spanish female vocals, the album sounds more like something Burt Bacharach or Sergio Mendes might come up with. But with odd bursts of psychedelic guitar, making the music that much more intriguing. In reflection, there really isn't a comparison for Fuerza. This uniqueness makes it a collection mainstay. I did originally own the Argentina LP of this but sold it off many years ago when the CD came out. This CD is sketchy at best, but suffices for what I need from the album at this late stage.

New Triumvirat - Pompeii. 1977 Capitol (LP). From the Rocky Mountain record show for one dollar (Oct). I remember being offered this for a couple of bucks back in college in the 80s, but instincts told me to avoid. Now it's depreciated half from that large sum, and so why not try it? And my instincts proved correct - again. The first side seems like a rewrite of ELP's Trilogy with emphasis on the lesser ideas from that album. Side 2 is better and has a couple of compositions mixing in fusion to its advantage. But they are fleeting. Then there's the awful balladry, not even close to playing to their strength. I guess I'd still say it's a good album, but I don't see any reason to go past the first triumvirate of Triumvirat albums.

Jethro Tull - Songs from the Wood. 1977 Chrysalis (LP). From the Stanley record show in Denver (Oct). Still catching up on Tull albums I missed in my past. This album has a very strong reputation, and in fact RYM rates it higher than any Tull album except Thick as a Brick and Aqualung. According to the current ratings, it's only a hair better than Stand Up and Minstrel in the Gallery. I just don't hear it. To me this is very much a folk rock album with scant evidence of the prior Tull sound. It starts out fine, but there are many stretches of pure folk rock. Which by itself doesn't mean it's not of a high quality, but it certainly moves away from my interest area.

David Cross - Testing to Destruction. 1994 Red Hot (CD). Collection revisit (Oct). This CD was one of those recommendations from Audion back in the day and I probably picked it up via their Ultima Thule mail order channel as well. Every few years it floats its way to the bottom of the stack, and I hear just enough each time to keep it. Never took any notes for no good reason other than my usual laziness. Now we're eight years on from that last save listen, let's see if things improve. Cross is an interesting character in that he's most known for his violin work with King Crimson in the early to mid 1970s. Then he mostly disappears and doesn't get his solo career going until he's in his mid 40s. One that continues to this day, even though he's about 76 years old. So for a guy who was in his middle age, Testing to Destruction showed he still had a lot of energy to burn. This isn't some low key instrumental album nor is it a pathetic play for a long forgotten radio style. It's an aggressive form of jazz fusion, not too far from those groups Michael Shrieve was playing with in the 90s, especially his collaborations with Shawn Lane. Djam Karet would be another reference. There are odd vocals here and there, only to confuse things it seems. For the era in which it was released, getting anything like this from a former "Big UK prog band" member was something to celebrate. But a clean sober listen reveals not that many great ideas, and lots of experimentation looking for a trademark sound. One he could not find here. Sure it's very good, but it's not next level. Time's up for Testing to Destruction at Casa UMR. Almost made it 30 years here though.

Attila Kollar - Musical Witchcraft. 1998 Periferic (CD). Collection revisit (Oct). As noted on UMR prior, I find Solaris one of the greatest of the 80s and early 90s progressive rock bands. And it was only last year that I revisited Musical Witchcraft II which enjoyed a +1 listen. So going into my revisit session with his solo debut, I figured this would be a perfunctory listen and up the rankings the album would go. But that wasn't the case. Much more sterile than his follow-up, and one can notice some of the pitfalls of Nostradamus showing up here as well (both were released near the same time). The compositions don't possess the usual magic (so to speak) that Kollar usually brings. Given that his second album was much more accomplished it appears he recognized the flaws here as well.

* - Keeping for the collection

2023 Prog Journal Vol. 2 - Complete

Indexi - Modra Rijeka. 1978 Jugoton. I purchased the 1995 CD not long after release, but sold it some years after since it was going for good money back then (and apparently even more today). I recall being somewhat mediocre on its contents. I ran into this title recently and thought I should check it out again. There's not a whole lot of prog coming from Bosnia, and Modra Rijeka definitely fits the usual Eastern European mix. That of folk rock, crooner, and all-out symphonic progressive. Could have been from East Germany or Czechoslovakia, minus the language difference. Niemen comes to mind here too. The instrumentals work best, naturally. Well I can see why I let this go, but I do like it. Won't obtain it again though. (Dec)

Taurus - Illusions of a Night. 1981 Multi. Speaking of the old days, here was a CD I had the opportunity to buy in the earliest days of the medium (1989). I wasn't convinced it was something I would like, and money was still very scarce back then, so I chose not to get it. 35 years later, I still haven't heard it. Let's see what I missed? Well it's certainly not something I would have embraced back then. But today I have a soft spot for these "proto neo" bands. What did I just say? Well anyway, you know what I mean. Very Dutch. Like a more poppy Rousseau I suppose. Yes seems to be on their collective minds too. The English vocals are a bit strained, but I do like the guitar and organ work. The mellotron is for background rather than being a critical component. Rhythmically uninteresting as well. (Dec)

First Band from Outer Space - We're Only In It For the Space Rock. 2005 Transubstans (CD). Collection revisit (Dec). As with electronic music, I have way too much space rock. I have a strongly favorable review of their second album and there's mention of flute and even Swedish vocals. I suspect those are the magic ingredients needed to maintain interest here. This is their debut and it's pure Hawkwind worship at this point. And sure enough the last track possesses the fine counterpoint that the flute brings, and represents the album's best cut. A day late and a dollar short though. Solid album for certain, but I have enough it, so it can go.

Happy the Man - The Muse Awakens. 2004 InsideOut (CD). Collection revisit (Dec). Tri-fold digipak. One of those albums I dutifully picked up near the time of release, listened to once, thought it decent, and filed away. I had no memory whatsoever of what it sounded like. The Muse Awakens was met with initial enthusiasm from the "prog audience" (presuming one ever existed) and it's easy to see why. Essentially Happy the Man took the formula of their first two albums and brought it to 2004. On reflection, that's all this is. Nothing really groundbreaking or inspiring, just a watered down version of Crafty Hands without the goosebump inducing melodies. It's still a very good album, but not enough for me to hold onto. I have enough of the real deal. Much is made that it would have been better had the lead composer and keyboardist Kit Watkins been involved. I don't agree. It's not like Watkins was releasing prog classics in this era. Perhaps the original synergy would have been there, but we'll never know. As for reunion albums, it fits in the middle - not an uninformed try at being hip and relevant, nor a band who still had a creative fire burning that needed an outlet.

Catapilla - Embryonic Fusion. 2022 Sunbeam (1970). Fascinating archival release from the good folks at Sunbeam. Featuring Jo Meek (sister of Anna) this is a completely different version of the band than the one that debuted a year later. That album is a pretty tough listen (for me at least) given its free jazz structures and the histrionics of Anna Meek. On Embryonic Fusion (no relation to the side long track on the debut apparently), I was quickly reminded of Julian Jay Savarin, which of course makes sense given Lady Jo Meek's presence. It's all about the Meek girls apparently. Musically it ties closer to the earlier Julian's Treatment with its Jefferson Airplane psych influence. Nice saxophone as well, and mostly in control with occasional bursts of skronk. A couple of folk tunes too. Very much a worthy find, though the tapes aren't in the best shape. Not something I need for the collection but would recommend it for sound-tolerant listeners building up their prog lot. (Nov)

The Vocokesh - All This and Hieronymus Bosch. 2007 Strange Attractors (CD). Collection revisit (Nov). The Milwaukee based collective of F/i and The Vocokesh were always an extreme bunch, taking space rock to its logical conclusion. At first I thought I might keep this one, as it's relentless in its pursuit of maintaining a high degree of intensity. But over time I was worn out, as these albums often tend to do. They don't have a lot of ideas, so they make up for it with grinding through the next jam. This is a very good example of the style, but once again, I just have too much of it. 

Collegium Musicum - Continuo. 1998 Opus (CD) (1978). Collection revisit (Nov). Despite featuring three long tracks, Continuo is a much more conventional release than what the band had released prior. Take same era Emerson Lake and Palmer (side 4 of Works Volume 1), but with room to jam, especially on a new weird sounding synthesizer. The vocals are subpar but otherwise the music isn't hard to listen to, especially for organ fans. Certainly a decent work overall, but not enough to distinguish itself and maintain room on the shelf. I can let it go.

Amygdala - Complex Combat. 2008 Soleil Zeuhl (CD). Collection revisit (Nov). Bought this not long after release, and my memory had it as an aggressive type of Zeuhl, somewhat typical of the Japanese branch. On this first revisit some 15 years later, that wasn't really the correct conclusion. Amygdala play a decidedly energetic form of avant prog with Zeuhl trimmings. This is exactly the type of music I've lost complete interest in. A lot of notes, rigid structure, and edgy instrumentation. And no tunes. The music seems to be created by a computer. For the genre though it's still a fine album, so if your tastes run that way, Complex Combat comes recommended.

*Bo Hansson - Magician's Hat. 1973 Charisma. From the Denver record show (Oct). Hansson's albums used to be ubiquitous in the used bins during the 80s (not so much anymore), so I had a chance to hear all of his classic 70s works back then. My grades are useless and I plan to zero them all out until I revisit each. I had no foundation with Swedish prog, and that would apply to 99.5% of Americans I'm sure - to this day. Why Hansson's albums sold much copy in the States at all remains a mystery. Though it probably helped he played on Tolkien themes, which had a cult following even then. The original came out on Silence and sounds very much like their stable of bands at the time, notably Kebnekaise and Flasket Brinner - all contemporary cronies of Hansson. A beautiful instrumental album with tons of vintage keyboards, flute, electric guitar, and superb Swedish folkloric melodies. I had planned on buying all of Hansson's albums as I found them in the wilds, but they haven't surfaced (or they're too expensive). Eventually they will though.

Aviator. 1979 Harvest (UK). Another inexpensive Dr. Boom pickup (Oct). Nice original UK copy. I thought I might really like this title as it seemed to be another "proggy AOR" type album from the late 70s that I've been digging of late. Its reputation is pretty solid too. However, this one is a bit too radio friendly for my tastes and I'm not fond of the smooth jazz style of the saxophone. It does finish strong however. Thought about keeping it, but there's no more room anymore for albums like Aviator.

*Manfred Mann's Earth Band - Solar Fire. 1978 Bronze (Germany) (1973). How I got this far in life without hearing Solar Fire is something of a mystery. Though Mann is rarely mentioned in progressive rock circles, he most certainly should be. This is just as much of-the-genre as any obscurity coming out of Europe during this era. Mellotron, synthesizers, loud guitar, and complex compositions. The album is common as spit here in the States. Usually fairly trashed though. This beautiful gatefold import edition is the nicest I've seen. Grabbed from Dr. Boom here in town for a thrift shop price. (Oct)

Rinnesya. 1995 Double Trap. Collection revisit (May). This is from the Japanese school of all-intense, all-the-time instrumental progressive rock. Very much like Bondage Fruit, Koenji Hyakkei (though not Zeuhl), and Pou Fou. I was thinking the other day that I do like some bands in this space, especially Happy Family, so it would appear they're missing an emotional component that resonates. If the term "brutal prog" gets you excited, I would definitely recommend this album. It's very obscure but not unattainable.