Release Music Orchestra ~ Germany

Vlotho 1977 (2022)

Release Music Orchestra is one of the very few bands where I've documented my collection in full. For those that I own more than three albums that is to say. Vlotho 1977 is a newish archival document that just arrived here for the first time. Might as well keep the momentum and get right to it.

Let's start with my thoughts from the Umsonst und Draussen festival album itself: "Release Music Orchestra is a relative big name, and this is their first appearance for the free concerts (on LP - they were there for the '76 festival too). Only Kraan is missing at this point! Here, they offer a slow and atmospheric jazz piece." That piece is 'Sonntag' and is track 5 here.

As with the Bremen 1978 show, Release Music Orchestra is far more attuned on Vlotho 1977 to the original premise of the band than what showed up on their later albums. As for the material, only half of the songs appeared on their studio albums, and all of them have been extended considerably from the originals: 'Sundance' (from Get the Ball), 'Torso Im Summerwind' (Garuda), and 'Up By The Riverside' (Beyond the Limit, which hadn't been released by the time of this concert). And the aforementioned 'Sonntag' was released as is on the Vlotho 1977 compilation. The opening new song 'Rico' sets the tone, and pace, with some frenetic drumming before launching into the patented RMO jazz fusion sound. This song was also on the Brain Festival 1977 album, but this version is different.

The extended sections generally allow for more soloing, mostly from saxophonist Gunther Reger, which can get a bit pitchy at times. I found Rurup's keyboard and synthesizer solos more pleasing. Wolfgang Thierfeldt's drumming is quite energetic, and I suspect he met his calorie burn goal for the day.

The final track is a 16 minute jam titled, appropriately enough, 'Free and Outdoors 77', which is the English translation of Umsonst und Draussen. Bassist Frank Fischer shines the brightest here. In conclusion, a very fine archival document from a band that has still been neglected in the reissue market all these years later.

Ownership: 2022 Garden of Delights (CD). Booklet with historical liner notes and photos. Acquired in 2025.

9/25/25 (review) 

Life (1974)

I've recently written about the second and third RMO releases, but what about their debut? It's different in that it's a live effort, something the band states it wanted to do to capture their energy ("tension and electricity" as they put it). Coming fresh off their former work, under the Tomorrow's Gift moniker, Life has a similar jazz focus, but is geared more towards the upcoming fusion movement. Given the lack of any memorable melodies, I find Life harder to get into than their next two albums, which puts me in the minority camp. However, a couple of repeated listens convinced me Life is at the same level, just a less immediate sound.

Ownership: 1974 Brain (LP). Gatefold cover with full recording details in the center (in both German and English). Life is generally considered the first album on the green label that does not have the word Metronome underneath. However it does still have the word on the cover, and this would be the last album to feature that. Acquired in 1998.

1998; 6/17/21 (review)

Get the Ball (1976)

On RYM, they have a feature called "Discussion" that is embedded within each album's page. It will show if that specific album has been referenced directly (via link) in a specific thread by one of the contributors. What's most interesting about Release Music Orchestra's third album Get The Ball, is the title of the three threads it has been mentioned as a part of (as I write these notes): 1) "Funky Krautrock"; 2) "Synth-Oriented Krautrock"; 3)"Gimme More Jazz Fusion Like..." That folks, is my review of the album right there.

RMO is clearly moving away from their Canterburyish sophomore release Garuda, and heading more into the trendy funky fusion waters of the era. On paper, that sounds like a potential disaster, but in the hands of the veteran RMO, it all comes together nicely. Some fantastic Rhodes and synthesizer work can be heard, and the rhythm section is always on point and edgy. The female vocals only add to the vibe. A very consistent album, where every track could be considered excellent.

Ownership: 1976 Brain (LP). Acquired in 2018.

2010; 9/21/18 (review)

Garuda (1975)

Release Music Orchestra is Tomorrow's Gift version 3.0 and Garuda is their second album under this moniker. By this time, the band are a well oiled machine, and they mix expert musicianship with strong melodies and complex compositions. The title track is sit-up-and-pay-attention worthy, and is a strong Canterbury styled tune similar to Hatfield and the North at their peak. When Release Music Orchestra catch a groove, the results are divine. There are five fully realized compositions on Garuda, and five "Zwischenspiel's", which translates to interludes. Each member gets a short 30 seconds to a minute to improvise. While not exactly on the same level of Yes' Fragile, I do prefer the efficiency. Of these, I thoroughly enjoyed Manfred Rurup's (keyboards) and Margit Haberland's (vocal) contributions. Overall I'd submit that Release Music Orchestra are a bit more jazzy than other German followers of the Canterbury sound such as Brainstorm and Tortilla Flat, but they would still have to be considered pioneers in the upcoming Kraut Fusion movement that was to dominate the landscape in the next few years.

Ownership: 1975 Brain (LP). Acquired in 1999.

1997; 1999; 7/11/18 (review)

Bremen 1978 (2004)

Live recording from their Beyond the Limit years. Way more stretched out and improvisational than the album proper. Takes a bit to get going, but once they catch the groove, they zone out into an earlier and more pure era of music. No more sunny skies, fake smiles, and bad teeth. This is Kraut Fusion for the Umsonst und Draussen set.

Ownership: 2004 Garden of Delights (CD). Booklet with historical liners. Acquired in 2017.

8/6/17 (review)

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None of the RMO albums have been reissued as I update this post (4/28/26).

8/6/17 (new entry)

Mushroom ~ USA ~ San Francisco, California

Joint Happening (2007)

This was to be the last album I picked up from Mushroom, a long running band from San Francisco that continues to this day. Technically listed as Mushroom with Eddie Gale, the latter provides trumpet and is a key component of this album's sound. I had a very high rating on this from my only listen upon release. I'm curious if it holds up some 18 years later. 

The opening track 'Peace' by itself is something to take notice of. Sounding every bit like Tangerine Dream's Phaedra, complete with flute mellotron. Then Eddie Gale provides the Miles Davis styled muted trumpet layered on top. Bitches Brew meets Rubycon is a cocktail I'll drink all day. Track 3 is Mushroom at their Krautrock deep groove best. Laying down the Can groove with flute, trumpet, piano, organ, and whoever else wants to jam on top. It can get intense at times. At 18 minutes, it's the centerpiece of the album. It isn't until the sixth cut 'Our Love' that the psychedelic guitar kicks in. This leads to the other lengthy track and closer 'The Spirit'. Similar in construct to the third song, it's band leader and drummer Pat Thomas laying down a repetitive groove and letting the others jam on top. On this cut the music has more of an Embryo feel minus the rhythms which remain firmly in the Can camp. 

Joint Happening is a tough album to categorize. The instrumentation and loose feeling belong to jazz. The hypnotic groove and psychedelic nature are more space rock oriented. I probably did have this one a half star too high, only in that the tree could have used some trimming. Where to trim? That's the tough question and why jazz improv is jazz improv. Great album all the same.

Ownership: 2007 Hyena (CD). Booklet with recording details. Acquired in 2007

11/11/07; 8/25/25 (review)  

Cream of Mushroom (1998)

The hype sticker on the casing states "Debut CD from Mushroom with Krautrock, psychedelic & jazz fusion influences. Their sound is similar to Tortoise, Miles Davis, Can, Soft Machine." And with that Mushroom threw down the gauntlet. This was in the early days of the American Krautrock revival, and where better to start than San Francisco. Of course only Can above could be considered Krautrock but it is the centerpiece of the CD - namely the 24 minute 'The Reeperbahn'. This track has Can written all over it with its hypnotic repetitive groove and analog sounds dropped on top. As it turns out, the CD incorporates Mushroom's true debut, 1997's LP of the same name as the lengthy track, along with four new compositions. From the LP we also hear 'On the Corner (Part 2)' which of course covers the Miles reference. And there's some fuzz bass, so I guess that's to be the Hopper nod. Graham Connah is the keyboardist here, and his next venture would be Jettison Slinky, one of the few American bands who paid homage to the Canterbury scene. In the end what you get with Mushroom are all the obvious pop culture references and musical influences. As a listener, it would be easy to write it off as hipster imitation. But what I hear is an innovative band taking in all the influences and creating something wholly unique. Mushroom would continue to be a fascinating band for the next ten years or so before fizzling out. If curious, this CD debut would be as good as any place to start, though not their very best.

Ownership: 1998 Normal (CD). Booklet with recording details. Acquired in 1998.

4/5/98; 8/27/20; 1/19/21 (review)

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Also own: Hydrogen Jukebox; Analog Hi-Fi Surprise; Foxy Music; Glazed Popems

Previously owned: Leni Riefenstahl; Yesterday, I Saw You Kissing Tiny Flowers

1/19/21 (new entry)

Supersister ~ Netherlands

To the Highest Bidder (1971)

As with all of my Supersister collection, I first obtained this album in my "pre documentation" phase. And like most of the others, it's been well over 20 years since I last heard it. According to RYM and the specialist Prog Archives site, To the Highest Bidder is their singular best achievement. My memory didn't have it that way, and I recall always being slightly disappointed with the album despite appending an excellent rating for it. As the follow up to Present to Nancy, the bar was exceptionally high to clear and To the Highest Bidder fell a bit short in my estimation. With countless other influences entering my thought process, would a recent deep dive with To the Highest Bidder change my perspective?

No. In fact, my reaction has been the exact same since 1993. That is, I prefer the debut. And my high rating remains as well. Even though I hadn't heard the album in ages, I found myself quite familiar with the contents. Indicating that I had for certain dissected the album prior, just without any corroborating notes to support. 

The album opens with its strongest cut 'A Girl Named You' which is largely a continuation of Present From Nancy. Has the same tight rhythmic structure and beautiful flute / keyboard interludes. The breakdown, for me anyway, occurs on 'No Tree Will Grow', a rather maudlin piece. While artistically well done, it doesn't display the optimistic magic the band traditionally projects. Seems to be on the wrong album by the wrong band. Side two is dominated by 'Energy', a lengthy track that possesses various fits and starts. The "go" patterns are aces but there is some curious down time as well. The way-too-short closer 'Higher' brings me back to the Supersister I love with its "running through the fields of happiness" aura.

The UK Dandelion LP includes the single 'She Was Naked' which is missing on the Dutch originals. 

Ownership: 

1971 Polydor (LP) Gatefold

1990 Polydor (CD) with Present From Nancy.

1993 (acquired); 1995; 7/17/25 (review)  

Memories are New (1971 / 2000)

Even though I consider Present from Nancy as one of the greatest progressive rock albums ever made, I'm not overly familiar with anything else the band released, though I've owned them all going back to the late 1980s and early 90s. Because of this strong affection with their debut, it didn't take much convincing for me to purchase Memories are New not long after release. Like with so many of my purchases, I listened to it upon receipt and filed it away. Nearly 23 years later while physically looking at my collection, I see this CD and have absolutely no idea what it sounds like. Is it even worth keeping? Well, let's see... Memories are new after all.

Memories are New is really three albums in one, and the documentation of what it contains is poorly handled. The first four tracks (~26 minutes) are from a live concert (no idea where and when) that contains some of their best work from Present from Nancy and Pudding and Gisteren. There's a short undocumented interlude that leads to the only provenance noted here: An NDR radio concert from April of 1971. These seven songs (~24 minutes) are very interesting. Some familiar Supersister themes are infused with new material and the studio's home orchestra. In reading other reviews, many aren't keen on this symphonic approach, but I think it represents the meat of the release, and makes it worth owning. It isn't an academic high brow exercise, but rather a true mix and match of instrumentation and style. The "third album", as it were, is what appears to be pre-Supersister recordings (~10 minutes). We're left to believe these come from the late 60s, at least based on what I've found. Fun to hear Supersister in their developing stages moving from freakbeat and psychedelic into prog. 

To conclude - one hour of previously unreleased Supersister, mostly unique in both sound and composition. +1 listen for me.

Ownership: 2000 Soss (CD). Booklet contains memorabilia scans. 

2001 (acquired); 11/4/23 (review)

Pudding en Gisteren (1972)

As noted below, I consider Supersister's debut Present from Nancy one of my Top 50 albums, maybe even a higher bracket. But each subsequent album moved away from the Canterbury core of that brilliant work, and by this 3rd release, Pudding en Gisteren is embracing the Zappa world of silliness more and more. Which resulted in a -1 listen this go round. Having said that, I wouldn't want to consider my collection without Pudding en Gisteren, but the thrills per minute are substantially diminished. For me those highlights include the first half of 'Judy Goes on Holiday' and portions of the side long title track, which maintain the Soft Machine II motif that make Supersister so enduring.

Ownership: 1972 Polydor UK (LP). Die cut gatefold. Perfect cut, with no tears which we see sadly too often. Acquired in 1995.

1992; 1995; 10/17/21 (review)

Iskander (1973)

Iskander is Supersister's 4th LP, and steers the band from an insouciant Canterbury styled group toward a more traditional prog rock concept album. Still, on close inspection, one can hear similarities to their first three albums, and there's plenty of familiar rhythms and melodies that one recognizes from the world of Soft Machine. It's just not as overt. So if one thinks of Iskander as played by neighboring Trace, rather than the predetermined expectation of what Supersister should sound like, the album opens up in a big way given this new perspective.

Then there's the presence of American WWII vet and famed jazzer Charlie Mariano on sax and flute. He was in his own discovery phase of life, moving on from his hometown Boston and his underground psych / prog / jazz group Osmosis, and digging deep into the European scene. It appears he spent most of 1973 in the Netherlands, first jamming with flutist Chris Hinze, before hooking up with Supersister - an odd combination that doesn't necessarily gel as one would hope (Supersister weren't a jazz group for certain). Mariano was to eventually head back to Germany and jam with Embryo for a couple of years, which was a better fit for the talented saxophonist.

Overall, Iskander is more consistent than its predecessor, but lacks the charm of the early albums. Objectively though, an excellent album if you approach it on its own terms.

Ownership: 1973 Polydor (LP). Gatefold.

10//88 (acquired); 4/14/18 (review)

Present From Nancy (1970)

Present From Nancy is a top 50 album for yours truly. At this point they were a bunch of teenagers who studied Soft Machine Volume 2 and somehow managed to improve on it. Perhaps it's the single minded focus that youth can possess, while employing a yet-to-be-disillusioned imagination. Whatever the case, Supersister distilled the best parts out of Soft Machine and Caravan, and left an artifact for the ages. Stips' keyboard playing is top notch, employing the fuzz organ as much as possible, while the remainder of the band puts the tight and complicated rhythms together behind him. Add some beautiful and melodic flute, and the soft affected vocal style that the Dutch seem to have mastered as much as the English, and you have an album that is irresistible.

Ownership: 

1970 Polydor (LP). Gatefold. First pressing

1990 Polydor (CD). with To the Highest Bidder.

1993 (acquired); 3/9/10 (review); 3/17/17

3/9/10 (new entry)

French TV ~ USA ~ Louisville, Kentucky

The Violence of Amateurs (1999)

The Violence of Amateurs is too much embracing the Avant Prog model trying to appease that crowd. Ruins the flow of a perfectly good progressive rock album something that French TV excels at, and proves that here on occasion. Their highest rated album, but not in my world it isn't. 

1999 Pretentious Dinosaur (CD). Acquired in 2001.

2001; 7/22/15; 5/12/24 (review)

10: I Forgive You For All My Unhappiness (2010)

My opinion of this album is pretty similar to Panzerpappa's Astromalist. I can appreciate the structure of notes and arrangement of instrumentation. But I don't necessarily "get into it". I went too far with French TV's catalog, continuing to buy without giving it much thought. They start to run together after awhile. I think they peaked during the mid 2000s and I probably should have stood pat at that point. Oh well, they're worthless, so might as well keep it.

Ownership: 2010 Pretentious Dinosaur (CD). Acquired in 2010.

10/22/10; 9/12/23 (review)

 

11: Ambassadors of Good Health and Clean Living (2016)

Ambassadors of Good Health and Clean Living is the 11th album from French TV. Their patented brand of instrumental music typically straddles the fine line between Avant Prog and Canterbury styled fusion. On this effort, the needle definitely points to the former. Even though they are joined here by the fine Japanese band TEE, a band deeply rooted in the European progressive rock tradition, French TV's sound doesn't seem to be affected much by their presence. As is often the case with Avant Prog, the music is intricately composed and superbly executed. All the same, it lacks groove and soul, something I tend to champion more as I get older. Music like this seems charted for performance at a symphony hall. One wishes they'd let their hair down, and kick out the jams brothers and sisters. Oh well, still a fine effort despite the cold calculating disposition. However it does appear the band is on the slow decline to irrelevancy. This one was predictable in its unpredictable metric style. 

Ownership: 2016 Pretentious Dinosaur (CD). Digipak. Acquired in 2016.

5/28/16 (review); 2/19/24

 

After a Lengthy Silence (1987)

Fine sophomore album from French TV, a band that continued to grow leaps and bounds from album to album. After a Lengthy Silence is mostly an instrumental progressive rock, heavily influenced by jazz fusion, with a surprising space rock ending. The production is typical of the muddy late 1980s, and holds back the potential of the material. This aspect of the band would also improve as time went on.

Ownership: 1987 Y Records (LP). Acquired in 1990.

1990; 1995; 2009; 11/14/15 (review)

9: This Is What We Do (2006)

Another new album from French TV. Another great album from French TV. There are few bands that can match French TV's consistent high quality over a long period of time. For 20+ years, French TV has produced and continues to produce complex, challenging progressive rock. Even more amazing, they actually get better with each release. Now they didn't set the bar real high in their early years, but they never put out a bad record either. But they seem to be getting better almost exponentially. I’m in awe of a band who can release nine albums in a 23 year time span, and never sound stale, retro or trendy. They never mail it in. And they are what one would want from a band that carries the heady term of progressive around. French TV are a mix of Avant Prog, Canterbury, big name UK symphonic, French and Scandinavian styles, even some of the more obscure over the top US progressives like Cathedral and Mirthrandir (and yes, they would have had access to these bands since their inception). But mostly they sound like French TV. In fact, as I hear This is What We do, I recall another elder statesman of creative rock music: Patrick Forgas and his Forgas Band Phenomena. Commercial success was never part of the blueprint for these gentleman. The material they compose is both complex and mature, yet still maintains the edge of youth. We have so few role models in rock music that carried the creative banner for decades, so we must look to jazz and icons like Miles Davis to see this kind of pushing forward as the years go by.

This is among my favorite releases by French TV. I've never listened to all of their albums back to back, but it would probably be interesting to note the ascension.

Ownership: 2006 Pretentious Dinosaur (CD). Acquired in 2007.

4/24/07 (review); 9/30/11 (update)

Also own: French TV (1984); The Case Against Art; Operation Mockingbird

Previously owned: Virtue in Futility; Intestinal Fortitude; Pardon Our French

9/30/11 (new entry)

Stepps - Waltz for Tiger Joe. 1976 Australia

Where to begin with Stepps? How about with my Snakes Alive entry: "Snakes Alive were a group that I discovered in my early CDRWL research days. There was much question of its authenticity at the time, especially given the obvious photoshop cover. But it was real, a demo pressing from a circle of Australian musicians who had access to a recording studio and took advantage of it."

At the time of that writing I wasn't aware that Stepps were related to Snakes Alive. In those same "early research days", I was also introduced to Stepps. In fact I think it was a couple of years beforehand. I had no context for what I was hearing - and when I started doing research, there was no data to be found. You have to remember that the internet was rife with disinformation about obscure progressive rock bands in those days. Remember Art Jackson's Atrocity? I remember one blog had dozens of unknowns, only to find out (quickly thank goodness) that the person behind it was recording obscure CDs and renaming the groups and titles, and adding unique artwork. Why? For laughs one presumes. Or he was a sociopath, who knows. And this doesn't even count the more obvious pranks from the 90s like the phony baloney Psi-Fi series of "obscure Krautrock records released only in museums" - that people believe to this day! As noted about a lot of these situations, the music tends to hold up well even if the backstory falls apart. It's in this kind of environment I hear Waltz for Tiger Joe. Is it even real? When I have doubts like that, I begin to sour on the music.

Today, the truth has come to light. Sure enough it was real, and the story is plausible. This circle of Australian musicians basically recorded three different albums under three different band monikers. Two were released as demos. Snakes Alive and Stepps achieved test pressings, and only Stepps had original artwork. Australia in the early 70s was considerably more isolated than today, so it's understandable how music like this remained unknown. Of course, one could say the same about many a group here in the States in a less isolated situation. So how did this group of musicians record anything? One of the movers and shakers of the bunch was a recording engineer at EMI Australia. So like Tom Nehls, access time in a recording studio gives one an opportunity to experiment.

Stepps were the final incarnation of the "group". The first was Aragorn, who did not release anything real time, and I'll be covering their album soon enough. At this stage, the band had moved over to a Canterbury like sound. The liner notes accurately describe the music as not only similar to Hatfield and the North, but really more like Belgium's Cos. And he rightfully uses a great word to describe their very feminine singer: Coquettish. In the couple of photos of her, you see a very beautiful young lady with long straight hair that goes down to her waist. Essentially a dream girl of the early 70s. Worth mentioning all of this because the album gives off this naive and harmless playfulness as they flirt with you, the listener. So yes, this album is all about the Canterbury scene.

The CD adds one bonus track from the same recording session, plus four tracks from an earlier instrumental incarnation of Stepps before Bernie Morgan joined them. Honestly it sounds like a later version of the band as the jazz rock is lighter and watered down, much more typical of something you might hear in the late 70s. But the data says different.

Essential for Canterbury fans.

Ownership: CD: 2022 Merry-Go-Round (Korea). Jewel case release with two sets of liners notes in English. Includes five bonus tracks in aggregate. Superb all around.

2010; 12/10/23 (new entry)

Mahogany Frog ~ Canada ~ Winnipeg, Manitoba

DO5 (2008)

Since DO5 was the first album I'd heard by Mahogany Frog, I just presumed it had been more Canterbury styled than On Blue, since I gravitate to the genre. In fact it was the opposite. As I was listening I begin to wonder why I was drawn to the album at all, given its heavier rock nature and post rock underpinning. But as the album goes on, I was taken aback by the energy, which is more Ozric like and definitely could be considered space rock too. Couple that with their inherent knack for melody, and you have a very unique combination. Which is reason enough to find space in the collection. I enjoyed a +1 listen last night (well two actually). In reviewing both Mahogany Frog's that I own, it's clear I didn't have a solid grasp on their sound. I wouldn't mind hearing their other six albums at some point. And it appears they are still active. Cool. I'll add to Under the Radar as well.

Ownership: CD: 2008 Mafrogany Hog. Digipak. Funny label name.

2008 (acquired); 11/16/23 (review)

On Blue (2005)

On Blue had come up through the weed out stack where the survival rate is very low these days. But happy to say On Blue made it. This is the kind of music I'm really appreciating - highly melodic, analog fuzzy, and prog rock minded. I've never really gone too much for post rock - a bit too static for my tastes - and Winnipeg's Mahogany Frog have those tendencies. But there's also a strong Canterbury flavor here, a style that seems to be a natural fit for post rock. It's a very short album, barely clearing 30 minutes, indicating its preference to be a vinyl release (which it was too). Because of its brevity I listened to it four times straight which allows more time for the melodies to sink. Each listen was better than the last. Those are the kind of albums you want to keep.

Ownership: 2005 private (CD). Digifile sleeve. 

1//09 (acquired); 12/20/18; 11/11/22 (review)

11/11/22 (new entry)

Phlox ~ Estonia

Keri (2017)

Keri remains the latest release from Phlox who are an excellent high energy jazz rock band from Estonia. They are still around and playing live so the possibility exists for new material. On their prior studio album from 2010 I wrote: "Talu sees Phlox tightening up the ship a bit, and keeping some of the looser components of their sound on the leash. If you're looking for a fiery brand of Canterbury influenced fusion with shredding guitar, fuzz keyboards and bass, sax and flute, then look no further than Estonia's Phlox."

And that applies here as well. The album in between these two is a live effort and a little bit more unhinged, to be expected given the setting. To be honest, after hearing Keri for the first time four years ago, I was a bit disappointed. Mentally I had categorized it as "too much of the same thing". And while it's true that Keri doesn't match Talu in either melodic development nor energy, the album does possess high amounts of both. I think I just needed a break from hearing too many of these type of albums at once. The break from intense jazz rock was good for me because as soon as this hit the changer I was fully immersed. Phlox has a wonderful thick analog sound without being retro in the slightest. I enjoyed a +1 listen last night which is closer in alignment with their other output.

Ownership: 2017 MKDK (CD). Digipak. Acquired in 2019.

7/12/19; 11/10/23 (review)

Vali (2013)

Vali is a live offering from Phlox that predominantly features new material, excepting the last two tracks both from the Rebimine + Voltimine album (and the longest incidentally). The always excellent combination of complexity and melodicism are still in full force. Some of the unhinged improvisational aspects of Rebimine + Voltimine have returned, perhaps not surprising given the live setting. The saxophone certainly pushes the envelope and sometimes borders good taste, but reels it back just in time. Though Vali is my least favorite of the three Phlox albums I've heard (ED: at that time), it's still quite excellent. I will say this title has grown on me since first hearing it.

---4/3/25

For a live concert, this album is exceptionally, recorded, well played, and tight. The vibes and saxophone unison lines give it that distinct avant prog approach. The last track is too sax honky for me though.

2013 MKDK (CD). Digipak. Acquired in 2013.

5/15/13 (review); 4/3/25 (update)

Talu (2010)

Talu sees Phlox tightening up the ship a bit, and keeping some of the looser components of their sound on the leash. If you're looking for a fiery brand of Canterbury influenced fusion with shredding guitar, sax, flute, and fuzz keyboards / bass then look no further than Estonia's Phlox.

Ownership: 2010 MKDK (CD). Acquired in 2010/

10/22/10; 2/20/11 (review); 5/15/13; 2/14/17

Rebimine + Voltimine (2007)

Phlox are an Estonian band that play in the very heavy fusion category (no metal though). Hard driving, fast, complicated and downright exhilarating. A six piece group with guitar, sax, Moog, and electric piano being the primary solo components. The opening track alone ‘Rahn’ is likely to leave you with jaw dropped and completely out of breath. We hear flute on this track, and it’s unfortunate that it’s the only use on the album, because the contrast with the heavy guitars and blazing rhythms is awe inspiring. That’s not to say the rest of the album isn’t as impressive, because there’s so much here to like. The only fault I can find is their tendency to take the sax and electric piano jams too far - and thus lose us in the weeds (especially on the last two live improvisations, which should have just been left off altogether). Fortunately that’s a few and far between occurrence. Somewhere between Naikaku, Panzerballet, and National Health is where you’ll find the sound of Phlox. Superb.

Ownership: 2007 MKDK (CD). Acquired in 2007.

11/14/07 (review)

      

2/20/11 (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)

Planeta Imaginario ~ Spain

Biomasa (2008)

This is an album I've gone back and forth on, but I'm firmly in the pro camp now. 

When reviewing their debut (see below), I think that's where the breakdown on Biomasa occurs. This really isn't a Canterbury album. Gone are those warm melodies and insouciant touches. In its place is a more cerebral jazz rock, more dissonant but creative. It is interesting that if you put on a prog rock hat and listen to an album that is jazz, it doesn't sound so great. Switch to a jazz hat, and a different perspective reveals itself. The hype strip doesn't help much either, also indicating an "attractive Mediterranean sound" while listing National Health as but one Canterbury reference. Naw, none of that here. It's much more "rock jazz" if that makes sense. Favorite track is 'La Caja Negra'. An excellent album that takes multiple spins to penetrate.

Ownership: 2008 Cuneiform (CD) 

2008 (acquired); 7/13/22; 4/28/23 (review)

¿Qué Me Dices? (2004)

Out of nowhere in 2004, arrived Planeta Imaginario, a band who seemed to not be aware of the last 25 years of music before entering the studio. Lucky us. Sounding every bit like a second generation Canterbury band from the late 1970s, Planeta Imaginario absorbed and filtered the best parts out of Soft Machine and Nucleus. The eight piece band - including two sax players, trumpet, trombone, Hammond Organ, Rhodes electric piano, and the usual rock band plus guests on flute and percussion - created a most beautiful album from a most beautiful form of melodic jazz rock (Canterbury). And the amplified guitar recalls the greats from the 70s past. I also love the horn charts, well composed and played. It's hard not to think of National Health while listening to this fine debut. Spain had no Canterbury tradition prior to this album, and Planeta Imaginario more or less imported it for the first time (and followed also later by the great Amoeba Split). A superb album, that still sadly appears to be off everyone's radar. Let's see if we can get it a bit of recognition anyway. The band later signed to the prominent Cuneiform label where presumably more fans migrated their way. 

Ownership: 2004 Margen (CD)

2008 (acquired); 1/4/16 (review)

I also own and need to review Optical Delusions.

1/4/16 (new entry)

Alquin - Marks. 1972 Netherlands

I decided to revisit these first two Alquin titles as I'm not sure I'm getting the most out of them. This is just the kind of progressive rock I tend to take for granted in the collection. Had I discovered these real time, I think I'd be far more enthusiastic about each. They have all the ingredients for what make a great progressive rock album: Varied instrumentation including organ, flute, and saxophone; A keen ear for melody; Complex compositions within a rock format. The album is mostly instrumental with some sparse vocals. A lot of folks seem to call these vocals out as a problem, but I find them irrelevant. Not worth focusing on for what little there is. The Canterbury scene plays a major role in the composition style, in this way recalling  the obscure group Pantheon. Also the Dutch masters of Focus are also present in their minds. When evaluating a rating for this album, it seems to be oh-so-close to that first division of a Gnosis 12 / RYM 4.5 stars. But I can't seem to pull the trigger. There's no extreme highs that allow for that. I think that's where that sense of taking it for granted comes from. Regardless, Marks is an essential slice of Dutch prog rock.

Ownership: LP: 1972 Polydor (UK). Single sleeve with an alternate cover to the Dutch original. Acquired new from a collection buy in Tucson (1994). I tell the full story of this buy in the Dedalus review.

CD: 1990 Polydor (Germany). Combined with the full album of Mountain Queen. This reissue cuts out the live version of 'Mr. Barnum's...' to fit on one CD. The studio version is on Mountain Queen and is present here. Typically I wouldn't hold onto a CD such as this unless I considered either album first division. But it's so close and with so much great music combined, I felt it was worth hanging onto.

7/3/94; 2013; 2/3/23; 4/11/23 (new entry)

The Muffins - Manna/Mirage. 1978 USA-Maryland

Here's what I said about my thoughts on The Muffins from the Open City review: "For my tastes, The Muffins are an entirely frustrating band. Their best work IMO is the archival material pre-1978, which is heavily influenced by the Canterbury movement, and is mostly represented on the fantastic Chronometers CD that came out some 17 years after the fact. The Muffins proper debut, Manna/Mirage, is an album of contrasts mixing lucidly composed, highly melodic, jazz rock tracks - with some of the most annoying tuneless/structureless improvisations ever put to vinyl. In effect, The Muffins moved from Soft Machine II to Henry Cow's In Praise of Learning."

Like with Def Leppard's High 'N' Dry, I had no intention of buying this again. See ownership section as to how this came about. Whatever the case, time for a fresh evaluation. It was about a decade ago I sold off the CD and declared I was done with Manna/Mirage. But I've never heard it on vinyl. Even though the CD sounds way better, I for whatever reason found myself enjoying this more on the umpteenth reevaluation. Nothing has really changed in my mind though - the Canterbury sections are great, the tuneless improvisations are irritating. But there's just a lot more of the former than the latter, and I'm not sure why I'm realizing that more now than prior. The Muffins are not the most swinging Canterbury group, and they tend to be a bit stilted in their overall performance. But there's a lot of great here too. I heard enough this time to hold onto it. For now.

Ownership: LP: 1978 Random Radar. Single sleeve. Purchased from a local store (2022). The odd thing here is this store had it for over a year. It was priced fairly, definitely under online retail. Had I been interested in the record, I would have paid their original price. But I wasn't, and it was too much to "invest in". Eventually they gave up - no one in Colorado Springs wants this record apparently - and slashed it 50%. Well now it's a steal. I'll just resell it then for a hefty margin. Oops, guess I'm keeping it after all... BTW, this copy is close to mint and it's still quite noisy. Not the best pressing.

6//09; 8/21/22

Fashion Pink - Encore. 1971 Germany (archival)

Brainstorm were a band with 2 studio albums... and no less than 4 full posthumous archival releases. Between Garden of Delights and Long Hair, the group's backlog has been mined thoroughly. And yet, surprisingly, there's little repetition between them. Encore features not only Fashion Pink's earliest recordings from 1969 but also their last known show in 1975 as Brainstorm. Through it all, we hear their patented take on the Canterbury sound, without ever deviating into commercial realms. The first 8 songs compliment the SWF Sessions Volume 3 release, and are uniformly excellent. Best of all is the inclusion of a full EP that was released under the name T.A.C. (see Ownership section for some controversy). These tracks demonstrate early sketches of what was to be eventually released as Smile a While, and flow quite nicely together. If you're a fan of the collective, you'll want this, even if you have the other 3 archival albums.

Ownership: CD: 2005 Long Hair. Excellent archival release with fine sound and full historical liner notes. After the release of the SWF Sessions, original guitarist Helmut Rusch chimed in to clarify some of the history. Looks like I didn't get around to purchasing this until 2013.

Now for the promised controversy: T.A.C. There's no questioning the authenticity of the recording, the purpose of its recording, the moniker or anything else. It's an outstanding addition to the overall package. Some of you might recall my entry for a Dutch band called Crying Wood. I think we have a similar situation here. The liner notes indicate that an EP was released in 1971 by the corporate entity known as Beiersdorf. You can look them up on Wikipedia, and they remain a major provider of skin care products in Europe. The story goes that this album was given as a gift to customers. Pffffttttt. C'mon. Now we're not being harsh on Mr. Rusch, as it could have been misinterpreted what he said, or he may have been mistaken about it being actually released (you know musicians and their memories...). But I'm sure the recording themselves could have been made for such a purpose. All of that is believable, and again, these are authentic recordings. 

But wait - there's a version on Discogs (see photo on right). See? You're wrong again ol' Mr. UMR! Sure - and so are the Psi-Fi releases and the Crying Wood. Remember Art Jackson's Atrocity on Columbia? Haha. Here's what we know: The image on Discogs was taken from an ebay auction in 2008. There's no label or back cover. Which mysteriously can't be found anywhere. 2 people claim ownership, and a whopping 13 want it (including us now lol). So I'm supposed to believe that a major corporation used this album as a giveaway, and only 2 copies are owned after all these years? And almost no one knows about it? So it's that obscure? Yea, right. You know the RT had a lot of these corporate albums in his collection. I had to throw most of them away and use the covers as mailer filler. There's 1000's of them in the marketplace, all more worthless than the last. Note the date of the auction: 2008. Perhaps taken from the CD? Ya think? Well anyway, none of this is proof it doesn't exist. No more than I can prove that original LPs by Pyramid or Galactic Explorers doesn't exist. But the evidence looks awfully fishy. But was there a band named T.A.C. who recorded an EP for Beiersdorf in 1971? I can believe that for sure, yes.

4//13; 7/21/22 (new entry)

Travelling ~ France

Voici la Nuit Tombee (1973)

Perhaps the most accessible of the Futura RED label bands were Travelling, a keyboard-based trio that probably represented best what the label was about: Jazz, rock and an experimental inquisitiveness. Their sole album is a combination of the early Canterbury movement circa Soft Machine 2 - the continental equivalent in Supersister - and piano jazz / avant-garde classical/electronics. In fact, the 18-minute title track has all these elements which include Wyatt-esque vocals (however, here in French), fuzz bass, fuzz organ, piano jazz, complex meters and echoed early synthesizers/machines; a contrast in tight ensemble playing combined with loose free improvisation. The other five shorter tracks are really just the same though more contained within the environment of a small composition. The closer demonstrates a melancholic sadness not displayed elsewhere.

Ownership: 1973 Futura (LP). Acquired in 1994.

1994; 2/19/01 (review); 10/13/21 (update / new entry)

Zopp. 2020 England

Just like yesterday's La Maschera di Cera, Zopp are a band designed specifically for a progressive rock sound of the 1970s past. In this case it's the music of Canterbury - and even more to the point, National Health. It's a two piece group lead by Ryan Stevenson, who plays every instrument under the sun, including a host of analog keyboards (or simulations thereof), fuzz bass, and lead electric guitar. Essentially Stevenson is Zopp. Joining him in this endeavor is drummer Andrea Moneta, who does a fine job of maintaining the polyrhythms expected of the genre. In this way Ryan Stevenson is emulating another Englishman, a one Andrew Marshall, he of Willowglass fame. Marshall is all about Anthony Phillips era Genesis in the same manner that Stevenson is all about National Health. A bit obsessive, but very welcome to these ears anyway. In addition to the two piece, Stevenson recruited no less than 4 others to join him, most notably Andy Tillison of The Tangent and others. The album has a full sound, what you would expect from a much larger ensemble. All the great qualities of Canterbury are present including the wedgy analog sounds, the insouciant melodies, and the complexity of composition. For what Zopp set out to accomplish, they nailed it! I seem to never tire of the Canterbury genre, as it's a timeless and beautiful sound. It doesn't seem fair that we only got two studio National Health albums (not counting DS Al Coda or archival material of course). I mean if precisely one million bands and artists can copy the same old American Idol fare, it's not too much to ask for some small Canterbury portions is it? Zopp fits most comfortably with contemporary Italian and Spanish artists such as Moogg, Homunculus Res, and Planeta Imaginario. Easy recommendation for genre fans.

Ownership: CD: 2020 Bad Elephant. Comes is a sturdy tri-fold digipak with recording details and photos.

Forgas Band Phenomena (& related) ~ France

Roue Libre (1997)

In a recent post I featured Deus Ex Machina's Equilibrismo da Insofferenza. That same order included Forgas Band Phenomena's debut album. That's a lot of music to absorb at once! What a surprise Roue Libre was at the time. The only album that Patrick Forgas released that was even remotely interesting - to me at least - was Cocktail, an album from 20 years prior with funk and fusion influences. 23 years later from acquiring both the above albums, I can say with certainty that the veteran's new combo has held up better. Contained here are three instrumental tracks from a six piece band, totaling 45 minutes. Sounds like it could be a yawn fest. Yet it's nothing of the sort. The music continues to evolve, shift, explore, rock, and dance. It never stays in place too long - and it doesn't use crutches like aimless jamming or experimental noise to plow through the time. It's tightly composed and remains highly melodic throughout. Roue Libre is truly a brilliant work. There have been five more recordings from the Forgas Band Phenomena since, and they are all excellent, though this debut may very well be their best. This is one of many 1990s prog albums that have fallen into the forgotten category.

Ownership: 1997 Cosmos (CD). Booklet with historical info on the Free Wheel and some info about the band. Acquired in 1998.

9/8/98; 11/18/20 (review)

L'Oreille Electrique (2018)

The first thing one notices about L'Oreille électrique, Forgas Band Phenomena's 6th album, is just how direct it is. This is in-yer-face hard rocking progressive rock... ... via the Patrick Forgas filter. So do not fear FBP fans, the intricacies of prior albums remain, and while Forgas and new member Gerard Prevost (one with an impressive resume himself I might add) are piledriving the rhythms forward, there's still the delicate violin, trumpet, and saxophone adding what sounds like charted stage band music on top. Meanwhile guitarist Pierre Schmidt is rockin' like it's 1982, with shredding hard rock (not metal) riffs and solos everywhere. Such a juxtaposition of styles, which is what makes it work. Forgas has never been one to sit on a formula, and here he takes his jazz rock orchestra motif - and bashes it over your head. Great stuff. Forgas is now in his late 60s, and if anything, is projecting he has more energy now than ever. Bravo!

Ownership: 2018 Cuneiform (CD)

12/21/18 (review)

Soleil 12 (2005)

Patrick Forgas, I believe, must be some type of genius. Starting in the late 70s with the album Cocktail, Forgas was very much of his era in terms of creative songwriting and wonderful sound textures. Then after trying his hand at more pleasing commercial styled music, he disappears. 20 years after his landmark beginning he shows up with a new band in tow - now christened Forgas Band Phenomena. The latter word cannot be more underscored. Phenomena indeed. And now he is completely out of his time. For the better.

The brilliance comes from the fact that Forgas masterfully composes long suites of music, that never become boring or cliched. If I were to tell you the Forgas Band Phenomena is a jazz rock orchestra - or perhaps even a stage band - I suspect you would start running for the hills screaming NOOO THANKS all the way over. But in effect, that is what we have here. So yes, it does take a sort of genius to write a 34 minute+ song, and manage to keep ones attention throughout. Generally when I see that kind of length I expect a sequence of songs strewn together awkwardly as one. Or perhaps a high brow chamber styled music that forgets to rock out. Or even worse, lengthy instrumental solos to the point of painful, especially of the drum / percussion variety. But no, there's none of that. Sure there are solos - of course - but they are all pithy and impactful. It is progressive rock - meaning it does have heft. There's also a large palette of sounds here including violin, various saxophones, trumpet, sundry keyboards, along with the usual guitar, bass, and drums. The latter provided by band leader Forgas. In this way, Forgas is like Christian Vander - one who never lost a vision and has total control of what that is.

Though this is a live album, it will not seem as such. The first three tracks are all new, though the 34 minute opus theoretically was composed for a second album in the late 70s that never materialized. I'm certain it's been much expanded here regardless. The final piece is a live rendition from their second album Extra-Lucide. Excellent album.

Ownership: 2005 Cuneiform (CD)

11//05; 12/21/18 (review)

Cocktail (1977)

Patrick Forgas was known, even at the time of this release, as the French Robert Wyatt. The parallels are certainly there: Canterbury styled jazz rock, lead by a drummer, who sings with a high pitched insouciant voice. But perhaps it's the French part that gives Cocktail its unique edge, and you'll also hear artists like Gong, Dashielle Hedayat, and even Moving Gelatine Plates creeping in here and there. And, this being 1977 and all, it was hard to avoid those trendy funky grooves, and Forgas succumbed on occasion. Forgas compiles an all-star cast here, and in addition to the multitude of instruments Forgas plays himself, they add keyboards, guitar, bass, violin, saxophone, and flute. 'Monks' features a vicious fuzz bass groove, that reminds me of Hedayat's Obsolete. Elsewhere, Forgas writes little vignettes, each could have been the basis for a longer and more enjoyable track had he decided to flesh them out. These could serve as library / TV incidental music. For Side 2, Forgas does just that - writes a full opus - and gives us the 18+ minute 'My Trip' fulfilling the promise of Side 1.

Following this, Forgas piddled around with substandard releases, until he got serious again in 1998 with his Forgas Band Phenomena, a band that continues today and is one of the leading lights of progressive music. Great to see the old dogs showing the new pups a few things.

Ownership: 2008 Musea (CD). Includes 13 relevant bonus tracks. Acquired in 2012.

First copy to own: 1977 Gratte-Ciel (LP). Acquired in 1991.

1991; 9/5/12 (review)

Acte V (2012)

Patrick Forgas continues on with his 5th namesake Band Phenomena album. No surprises here if you're familiar with the great trajectory Forgas' career has taken since his early solo career from 1977 (has it been that long!?). What makes the Forgas Band Phenomena so great is the synergy of an instrumental seven piece band. So in addition to the standard rock quartet of guitar, keyboards, bass, and drums - you also have dedicated members providing violin, trumpet, and sax / flute. The music is tight and energetic, while never forgetting that their main premise is to rock your britches off. How many progressive bands today forget this last component? Anyone familiar with the early to mid 1970s European jazz rock scene will find much to enjoy here. Forgas, in addition to writing and arranging all the compositions here, keeps everything moving forward with his fine drumming precision.

Ownership: 2012 Cuneiform (CD). The booklet is a nice homage to their debut Roue Libre album. Features recording details, photos, and liner notes. Along with the CD, there is a full DVD of their NEARFest 2010 performance, which I have yet to view.

7/3/12 (review); 3/3/26

Also own and need to review: Extra-Lucide; L'Axe Du Fou

7/3/12 (new entry)

Tortilla Flat - SWF Session 1973. Germany (archival)

Probably more than any release I can think of, this had to be at the top of my want list for a CD archival issue. I received a copy from the band about 15 years ago, and was blown away. I had the standard tape/CD-R trading copy at the time, and it was so much better to hear the master tapes version they had sent. Not to say it's an audiophile marvel, but it does allow for the music to come forth. It seems I may be the only person who hears this recording better than their 1975 album (which I also love). The addition of violin adds a great contrast to the predominant flute. This is one of those albums I would think every prog rock fan would adore. But I know that's not the case.

Ownership: CD: 2019 Long Hair. Typically great Long Hair reissue with full liner notes in English and German, photos, and bonus tracks.