Cybotron - Sunday Night at the Total Theatre. 1977 Australia

This one's interesting. For years it had been presumed this was a legitimate release made to look like a bootleg. When the internet discographies started out, and the tribal knowledge began to dwindle, this was often (as you see on sites such as RateYourMusic) listed as a bootleg. Well, given that the reissue was licensed from none other than Maxwell himself, it appears the in-the-know crowd was right all along. This is an authorized bootleg. And as some have pointed out, the story that now proliferates about gaining a new found audience via a bootleg probably has some credibility. It's a pity there aren't liner notes to accompany (at least for the LP reissue), to set the record straight as to why they did it this way.

Musically it's closer to Maxwell's Monster Planet than the more dynamic debut from Cybotron. Though part of that is the somewhat lo-fi recording, perhaps another reason why the band chose the "bootleg look". In addition to the two side long space journeys, one half of a rare single from 1978 is included, and is certainly the best sounding of the 3 tracks, though it's not even 4 minutes long.

A good album to own if already a Cybotron fan, or for those who enjoy 70's Berlin School electronic music in the Klaus Schulze tradition. Not top tier by any means, but enjoyable on the whole.

Personal collection
LP: 2013 Dual Planet (USA)

Steve Maxwell von Braund - Monster Planet. 1975 Australia

Monster Planet is arguably Australia's first electronic album. Influenced by the German Cosmic Courier LPs (all of which were imported to Australia), and Braund's own time spent in the English and German underground, Monster Planet mixes both rock (including vocals, sax, bass, and drums) and electronik elements. The latter proving to be the main characteristic of the album. The synthesizer was limited to strictly a Korg-700, so the possibilities were quite limited - and the album is a bit monotonous in places because of it. There are no sequencers, organ, or mellotron - just static and spacey electronics. Shortly thereafter Braund began to assemble a full arsenal of synthesizers, and thus the Cybotron legacy was born. All the same, the album has its charms, and is a good example of the pioneering 70s electronic music movement.

Ownership: LP: 1975 Clear Light of Jupiter. Single sleeve. Online acquisition (1999). The album was pressed in a quantity of about 2000. Braund wasn't too keen on the cover design (nor the Von designation), and so he had approximately 500 of the albums reprinted with a more favorable cover (black and white with him on the front). So convincing was the German styled cover design, that when I first read about the album from a catalog in the mid 1980s, it was simply listed as Monster Planet on the Cosmic Couriers label. For many years, dealers told me such an album didn't exist. And finally the puzzle was resolved for me, and eventually I bought the original LP. At one point I also owned both the Aztec and Dual Planet reissues, but moved them out since they were superfluous. The CD does however feature a very telling 14 minute radio interview from back then. I have to admit to wondering why Aztec would reissue such an obscure album, especially after falling into financial trouble. And the answer is provided in the extremely informative liner notes: Label head Gil Matthews plays bass and drums on the album!

1999; 8/23/14 (new entry); 7/8/23

Cybotron - Implosion. 1980 Australia

By this time, Cybotron were clearly more of an instrumental electronic rock band, similar to groups such as France's Space Art, rather than a strictly sequencer based Klaus Schulze clone (though fortunately there's still some of that here). The saxophone is retained from Colossus as well, and is put to good use. Other than the last track, which is a smooth jazz clunker (and fortunately short), fans of the band's earlier albums won't want to miss this title either. The band admits in the CD liner notes that they were seeking a more commercial based style, but they didn't want to let go of their progressive past either. Perhaps the least satisfying of the 3, but still quite good. Those who like real drums in their electronic music will be pleased here.

CD: 2005 Aztec
LP: 1980 Cleopatra

The original LP on Cleopatra comes in a nice gatefold sleeve. As for the CD, it's hard to beat Aztec's multi-fold out digipak covers, not to mention the extensive liner notes - and great sound. In addition, the CD features 6 fine bonus tracks. I have both the CD and the LP for this title, but definitely the CD is the way to go here. 2017 Update: My opinion hasn't changed here, and thus I let the LP go for sale.