Tamalone ~ Netherlands

New Acres (1979)

I'm not certain I've heard this album since purchasing (or trading) for it over 30 years ago. My recollection is that Tamalone was heavily influenced by Jethro Tull. Let's see what this listen brings.

Well, yea, it's really obvious that Jethro Tull is front and center here. The vocals have the same intonation and tone. The basis of each song is of a woodsy folk rock nature, and gets a bit wordy at times. There's plenty of electric guitar riffing and soloing, which is arguably the highlight of the album. Flute is not near as prominent as with Tull, though it is present, and that leaves more room for the guitar to jam out. Organ also plays a major role in their sound. The compositions are original, well thought out, and I would disagree with those that state it's a clone of Jethro Tull, which implies the band is copying note for note certain passages. Considering that Tull was hardly in Thick as a Brick mode by 1979, I'm sure Tamalone figured they would fill that void for local audiences. I'm down with that.

Ownership: 1979 Crossroad (LP). With two page lyric insert. Acquired in 1995.

No reissues exist as of 5/20/26. Discogs' biography for Tamalone refers to multiple other tapes and albums through 2016, yet mysteriously none are actually listed on the site. Guessing they were never released in physical form.

1995; 5/20/26 (review / 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. 

1992 (acquired); 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)

Solution ~ Netherlands

Fully Interlocking (1977)

Solution's 4th album continues their evolution of sound. On Fully Interlocking they mix smooth jazz rock with an AOR sensibility. Other than A1 and B3, the album is instrumental. The grooves are irresistible and the melodies are sublime. A2 and A3 are particularly strong. The star of the show isn't Tom Barlage this time, but rather Willem Ennes, whose synthesizer tones are truly timeless. Reminds me of Franklin Street Arterial for you deep divers. Only B3 can be skipped and an unfortunate close to an otherwise great album. Fully Interlocking is a step up from its last two predecessors, and sits in second place against the almighty debut. One of those under the radar classics no one talks about. A late era release by a group where it seemed their best days were behind them. Though it appears their last two albums after this see Solution fall off the cliff, I still wouldn't mind giving them a shot.

Strangely, Fully Interlocking was clipped from the American release schedule. It wasn't until four years later that the album received a release on the First American label (misnomer apparently). By 1981, the type of music Solution is peddling here was long out of fashion.

Ownership: 1977 Rocket Record UK (LP). Acquired in 2025.

7/13/25 (review)
 

Cordon Bleu (1975)

Solution's third album follows a similar trajectory to that of Germany's Passport. The overall sound is that of a friendly jazz rock with a progressive rock heritage. Solution remains slightly truer to the latter genre, and even includes sparse vocals. I found Side 2 more pleasant to the ear, and it was enough to find shelf space, something the sophomore effort failed to do.

Ownership: 1975 Rocket (LP). Acquired in 2025.

5/23/25 (review)
 

Solution (1971)

Strong debut from Solution, a fuzz-laden organ and sax / flute driven band from The Netherlands. The primarily instrumental music is highly melodic, a common and much welcome trait among Dutch progressive rock groups. On this album, Solution reminds me of fellow countrymen Pantheon and the Danish Burnin' Red Ivanhoe with props to the overlord of this kind of sound - Hot Rats era Frank Zappa. In fact, 'Circus Circumstances' sounds like Samla Mammas Manna playing the music of prime Zappa.  'Koan' and 'Trane Steps' are the best tracks here, but no weak moments are to be found. 

The cover is also one of my all-time favorites. I love the little kid on the tricycle with his life-vest "solution" riding along the canal, which is priceless. The snapshot of a quiet sunny 1971 neighborhood in Holland (Spaarnwoude apparently) is also great. 

Ownership: 

1971 Catfish (LP). Acquired in 1994.

2012 Esoteric (CD) Liner notes and photos. Acquired in 2012.

1994; 9/8/12 (review)

Divergence (1972) 

What a dubious opening for Solution's second album Divergence - the first six minutes of 'Second Line' mounting to nothing more than a crooner's piano ballad that is painful to endure. But the last two minutes of said track offer hope for those of us who adored their debut album. The following title track will remind most folks of Focus, and that's because it was included as part of the 'Eruption' track as found on Moving Waves, though the organ and sax breaks found here are entirely their own. 'Concentration' veers dangerously close to being a proto Kenny G, when the music suddenly takes a dark turn to the skanky bar on the corner. And after the drunks have left, the band gets down to business and proves their instrumental worthiness. The album closes as it starts, and is the death knell. I can only shake my head, as the immense brilliance of the debut is pretty much lost here.

Former ownership: 1996 EMI (CD). Was included with the debut album (minus one track), but I swapped this CD for the Esoteric version which doesn't have it. Acquired in 2004.

2004; 9/8/12 (review)

9/8/12 (new entry)

The Chris Hinze Combination ~ Netherlands

Despite what it may look like below, I have a few Hinze albums in the collection. I just haven't written anything meaningful for any of them. We'll get there eventually.

Here is my summary from 7/18/09: Dutch flautist Chris Hinze was far more than just your usual jazz flute player. Especially on Mission Suite where he combines jazz and progressive rock very effectively. Stoned Flute and Live at Montreux are more steeped in the jazz tradition, but aren't standard by any means. Who Can See the Shadow of the Sun is a bit looser than the others during this period, and will appeal most to those into "out" jazz. Sister Slick is probably Hinze's heaviest album, with Philip Catherine on guitar, and is a good representation of the harder edged fusion style. His later 70s work strayed towards fuzak. Interesting to note that his other album from the early Seventies, 1972's Virgin Sacrifice, has been reissued on CD. I'm sure it earned a CD imprint (on his own label) since it foreshadowed his future work as a new age artist. It's very different from his other albums during the early 70s.

Stoned Flute (1970)

I've had this LP for well over 20 years but I think it's only the second time for me to hear it. I had such high hopes for this when I first obtained it. That most awesome title and the fact that I was already an established Hinze fan. But this falls to the free jazz side of the equation. It's not unpleasant at all, with plenty of standup bass and piano along with Hinze's flute. Everyone once in awhile they'll catch a groove and you begin to think there might be something here to grasp onto. But then it falls apart per protocol. Lot of folks I know into this scene, but I'm just not one of them.

Former ownership: 1970 CBS (LP). Gatefold

3/3/03 (acquired); 1/7/25 (review)

Charlie Mariano with the Chris Combination (1973)

Straight up jazz session with American WWII veteran saxophonist Mariano joining forces with the Chris Hinze Combination from the Netherlands. This CD is a reissue of Charlie Mariano With The Chris Hinze Combination with the 18+ minute "bonus" title track improvisation thrown in the middle. Mariano himself was just taking baby steps into the European underground (see Osmosis for some American subversiveness) with jazz flutist Hinze's outfit. He was later to embark into an enlightening journey with Krautrock legends Embryo, and participate on some of their finest works shortly thereafter. 'Traditional South Indian (Carnatic) Kirtanam' is exactly the type of music he performed later with the underground Embryo. A real Hepcat, man.

Former ownership: CD: 1995 Black Lion (Germany) as Blue Stone. Booklet has original liner notes.

7/08/03 (acquired); 12/10/15 (review); 4/23/24

Other albums I own and need to review: Live at Montreux; Virgin Sacrifice; Mission Suite; Sister Slick

12/10/15 (new entry)

Focus (& related) ~ Netherlands

Focus are the first continental European progressive rock band that I got into, having found Moving Waves in early 1984 during my freshman year of college. Used records were a new concept to me then, and opened up an entire world that I was previously unaware of. For that alone they will always have a special place in my collection. This page will also includes artists and groups associated with Focus.

Brainbox (1969)

Here's an album I first discovered in my earliest forays into the continental European underground. Not long after discovering Focus, I found a US Capitol version of Brainbox. This would be the summer of 1984 IIRC. Kept it for about 10 years and sold it back into the marketplace. Hadn't thought about it since when I ran into this sealed copy at a Denver record store for dirt cheap ($4). That's just a good flipper if nothing else. But of course I wanted to hear it again first. The opening original composition reminds me a lot of Ahora Mazda on their fine sole album. Great flute from Tom Barlacher (Tom Barlage of Solution) and guitar from Jan Akkerman. B2, B3, and A1 are your throwaway cover songs of blues and folk. They're all short, under three minutes each. 'Scarborough Fair' and 'Summertime' are both excellent choices for cover songs, and Brainbox's arrangements are excellent in each case. This leads us to the other original track, the 17 minute 'Sea of Delight'. It's a very good example of the long form jam that was just beginning to appear on the progressive rock horizon. Some of it is filler which includes a drum solo, but there's also some fine jamming here with a few thematic shifts. I'll keep this one for the memories.

Ownership: 2021 Music on Vinyl (LP). Purple vinyl. Acquired in 2025.

First copy: 1969 Capitol (LP). Acquired in 1984.

6//84; 1995; 2/12/25 (review)

Hocus Pocus / Hocus Pocus II (1973)

I've recently decided to pick up singles of tracks that I already have on LP, and just store it with the LP. No need for me to discuss the A) side as it's a classic and one of the tracks that got me into the entire continental European prog scene in the first place. But I didn't have the second version, which is a bit faster and includes more improvisation, as little as it is.

Ownership: 1973 Sire (SP). Acquired in 2025.

1/28/25 (review)

Moving Waves (1971)

This was the very first Euro Prog album I'd acquired, and as such, is very foundational to my overall music development. Despite having owned this for almost 40 years, I enjoyed a +1 listen. It's easy to be distracted by 'Hocus Pocus' which is close to a novelty hit, though that's an unfortunate stigma since there's some great hard rock buried in that tune. But the rest of the album is excellent symphonic prog, especially side 2.

Ownership: 1971 Sire (LP). First acquired in 1984. This copy was purchased in 2020.

Anonymous adds: "I bought the Focus Anthology box a couple of years ago and it contains two fantastic live versions of Eruption (37 and 46 min!)"

1//84; 1995; 2/1/23 (review)

Jan Akkerman - Profile (1972)

Profile is a somewhat bizarre solo album from Akkerman, coming at a time when his band Focus was at its commercial peak. One side is mostly sleepy acoustic numbers, though well done and a certain respect should be appropriately afforded. 'Blue Boy' and 'Stick' point to the earlier blues based Talent For Sale, but are livelier and much more kinetic. 'Maybe Just a Dream' sounds like any one of the Focus 'x' instrumentals. And then there's the side long 'Fresh Air'. Which sounds like Brainbox playing 'Anonymous II' from Focus 3, and is quite the exhilarating psychedelic tour de force. Akkerman's guitar is superb here, and is perhaps his finest moment on record.

Ownership: 1983 EMI Europe (LP). Acquired in 1984.

8/26/84; 7/27/16 (review)

Focus 3 (1972)

Focus 3 is a relatively well known title that the UMR enthusiastically recommends. Focus were at the peak of their career here with Akkerman's blazing solos, and Van Leer's flute and organ forays. 26 minute long jam misspelled 'Anonymus 2' needed to be trimmed down by about half, with the annoying drum solo sucking the life out of the disc by the end, but still remains an excellent album overall.

Ownership: 1972 Sire (2xLP). First acquired in 1984. This copy was purchased in 2015.

9//1984; 1996; 3/19/10 (review); 11/4/19

Also own: In And Out Of Focus; Hamburger Concerto

Previously owned: Focus At The Rainbow; Mother Focus; Ship of Memories; Focus Con Proby; Focus (1985); Talent For Sale (Jan Akkerman); Jan Akkerman Live; Oil In The Family (Jan Akkerman)

3/19/10 (new entry)

Finch - Beyond Expression. 1976 Netherlands

I could have sworn I wrote about this album before. This was one of my earliest mail order purchases while still in college, and is yet one more important album that encouraged me to continue my deep dive into obscure European progressive rock. Glory of the Inner Force is one of the most important records in my collection, so I was very excited to be able to get this title for reasonably cheap, even back then.

From a style perspective, it's largely a continuation of the aforementioned Glory album. I'm going to quote from the other two studio album reviews, as that will likely auto-write this one. 

"Glory of the Inner Force is quite simply hyper kinetic instrumental progressive rock, or what we used to call symphonic fusion...  One criticism I've constantly heard about Finch is that they're more about chops than composition, and yet I hear it completely different. Despite the fast paced nature of the recordings, and the many twist and turns that goes on throughout each track, there is also a strong melodic component as well - very similar to Focus regarding this latter characteristic."

(Galleons of Passion): "But on close inspection, one can hear that Finch had already moved in this direction on Side 2 of Beyond Expression. And what makes it successful is the superb guitar playing of Joop van Nimwegen. He clearly is one to wear his emotions on his guitar sleeve, and his playing here is incredibly expressive. In this way, Nimwegen could be compared to Mario Millo over in Australia. In fact, that to me is what Galleons of Passion reminds me of most: Sebastian Hardie. The appropriately named 'Reconciling' closes the album in more kinetic fashion, hence reconciling with their past Glories."

Beyond Expression has three long tracks that use the same heavy / soft formula of instrumental symphonic fusion with plenty of thematic and meter changes throughout. Essential.

Ownership: LP: 1976 Negram. Single sleeve. Acquired from a California based dealer through Goldmine Magazine while still in college (1986). Mine fortunately does not have a tear on the back like the Discogs stock copy. 

CD: 1994 Marquee / Pseudonym. Jewel case with gold disc.

1986 (first listen); 1994; 2009; 1/10/24 (review)

Trace. 1974 Netherlands

For Trace's second album Birds I wrote: "This is just the kind of album that isn't making the cut for the collection. It's perfectly fine and fits the progressive rock idiom to a tee. Very much influenced by ELP's prime works, you get a pitch perfect classically influenced keyboard prog trio. I have plenty of that already and with no real nostalgia regarding this band (in fact, I avoided them in my initial foray during the middle 80s and early 90s, not sure why though) - this one can go. I still have the debut to evaluate, though I had that one rated higher."

And honestly I could probably say the same thing here, except I enjoy this one much more. It's like ELP extract - the best that trio had to offer without any of the distractions that marred some of their work. No vocals to get in the way so it's pure analog keyboard heaven with a meaty and active rhythm section. As if they're saying: "This is how it's done, sonny boy." Perhaps only one album was needed to get that point across. Similar to the Italian bands in that manner. Rating remains the same. Keeper.

Ownership: CD: 1995 Musea. Jewel case release with booklet filled with historical notes. Features two bonus tracks, both released as a 45 single and are not on the LP. Musically very similar to the album. The US press on Sire is very common. In fact I found one the other day in a thrift. Not in good enough shape to keep, but if I do find a nice copy super cheap, I'll grab it for the collection. Why not. The CD will remain the primary regardless.

2002; 11/21/23 (new entry)

Trion ~ Netherlands

Tortoise (2003)

---Jan 2004

I don’t tend to scour the Cyclops catalog in search of my next purchase, but Trion proves once again the label does have surprises up their sleeve (like Henry Fool for example). Basically this is a guitar, mellotron (sampled), drums trio playing symphonic instrumental progressive rock. For a unreconstructed prog head like me, this fits the bill entirely. It’s like discovering a new burger joint with a great tasting meal. Yea, it’s not new, but darn if a good double meat with cheese doesn’t hit the spot! Trion is very much of the Dutch variety of progressive rock. Generally that means the music tends to be mid-paced, highly melodic, and somewhat rhythmically uninteresting. So it always gets down to the execution of melodies and the change of tone and color (check out the obscure bands Mirror and Lethe to see what I'm referencing). And here is where Trion excels mightily. Plenty of nice electric leads are contrasted with acoustic guitar strumming. The mellotron (with many different tape samples – not just the usual suspects) provide the color and tone. The group that comes most to mind is Lady Lake. Other references are Camel and Focus 3, and maybe even the Swedish group Dice in their slower moments.

---9/15/23

No changes to that opinion. Trion is a made up word of Trio and Mellotron, so we're clear on where their headspace was. It's prog rock extract. ChatGPT generated progressive rock. Computer girlfriend. All ideal, none real. No 1970s group would have sounded exactly like this, and mellotron wouldn't have been specifically identified as the lead instrument. Most groups were proud of their keyboard "setup", and mellotron was a key instrument within that. Occasionally a group would show up with nothing more than a mellotron, because that's about all they owned (Quarteto 1111 comes to mind here). In the progressive electronic world, Froese of course was obsessed with the instrument. And finally the mellotron-only sampler act Celluloid took matters to its logical endpoint. All that to say, why not? Tortoise is a very easy listen for prog rock veterans. Sometimes you want to watch black and white TV shows for their comforting and uncomplicated narrative.

Ownership: 2003 Cyclops (CD). Colorful booklet containing album story and liner notes. Acquired in 2004.

1//04 (review); 9/15/23 (update)

Funfair Fantasy (2013)

I had held off purchasing Funfair Fantasy, as the initial ratings and reviews seemed to demonstrate a downturn in quality. But no, that's not the case at all. If you liked the first two, then Funfair Fantasy will be certain to delight. Trion are a conservative bunch, and there are few surprises to be found. I picked up a bit of a jazz undertone this time, which I consider a major plus. Still, no denying this is fastball-down-the-middle instrumental symphonic progressive. The "nothing new here" crowd will want to steer well clear of this act. Sometimes I'm not looking for new, but perhaps a new recipe on an old favorite. And that's what Trion excels at.

Ownership: 2013 Oskar (CD). Acquired in 2015.

6/13/15 (review)

  

Pilgrim (2007)

Trion is a made-up word that combines trilogy and mellotron, which gives a pretty good idea where these lads are going musically. The group is made up by members of the veteran Dutch progressive rock bands of Odyssice and Flamborough Head. Their charter, as it were, is to play instrumental rock music utilizing only analog instruments and 70s era recording techniques. While Tortoise is an impressive debut, Pilgrim is even better as they add more diversity in the keyboards (not just mellotron samples). As well, more acoustic guitar is deployed than prior, adding some much needed contrast. A beautiful album.

Ownership: 2007 Cyclops (CD). Acquired in 2008.

2008; 2/18/11 (review)

2/18/11 (new entry)

Mystrez - The Indictment. 1990 Netherlands

On the Savage Steel review I wrote: "Yet another late 80s technical thrash band I was unfamiliar with. I'm beginning to wonder if I was there at all, with so many of these under the radar thrash bands cropping up in my world, some 30+ years after the fact."

And here we are again with yet another tech thrash band I'd never heard of. I keep lists of groups to check out, and this wasn't one of them either. When I was offered up the album, I looked it up, and noticed comparisons to fellow countrymen Osiris, one of the (apparently) few albums I did get to know real time, and have reported here on UMR. That's a no-brainer, I must check out Mystrez then. Who knows what the band name is supposed to mean. Mistress? Mysteries? My Stress? lol.

There's essentially 10 tracks on here with an intro and outro. It's of the genre, so if you like metal that is wild, all over the place, thrashy, and technically challenging, then The Indictment should go on your want list. A couple of interesting diversions: 1) The singer doesn't scream his way through this in ball-squeazing fashion. Rather he takes the barking matter-of-fact approach (but not grunting, it's very clear what he's trying to convey). The other is the soft ballad that closes Side 1. I quite like it because of its placement. Generally these tracks are put up front to set the opposite atmosphere so that the band can pulverize you afterward. But placed here, it's quite soothing.

While researching this album, I learned about a few more bands and albums that are similar to Mystrez. Like I asked prior - was I even there? Apparently not. I find music like this timeless, and have no qualms about adding more to the collection.

Ownership: LP: 1990 Bad Taste (Germany). Single sleeve. Purchased from JL before the Denver record show about 2 months ago. Bizarre cover.

6/4/23 (new entry)

Alquin - Mountain Queen. 1973 Netherlands

Everything I just stated in the Alquin Marks review, could be stated here, so I won't repeat it. For differences I find Mountain Queen to be less Canterbury influenced; More heavy rock - especially the organ; More vocals (still not enough to be concerned about). In fact, Mountain Queen is even closer to a Gnosis 12, and falls a nose short. All the same, I find myself really enjoying these two titles. Essential for prog rock fans.

Ownership: LP: 1973 Polydor. Gatefold. In this case I obtained the Dutch original. Not quite sure what's up with that back cover. From the same buy in Tucson (1994). 

CD: 1990 Polydor. Combined with Marks (minus one track from that album).

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

Free System Projekt (& related) ~ Netherlands

Gent (2007)

---6/3/07

The Dutch collective Free System Projekt have long been considered one of the finest groups playing in the Berlin School revivalist style. Raging sequencers, mellotron overlays, and analog synthesizer soloing are the order of the day.

---4/14/23

And that's exactly what this album brings. I really do own too much of this kind of thing. I loaded up throughout the 2000s for whatever reason. It's a great example of the style, but not the very best (including from Free System Projeck themselves). And I have plenty of the latter to keep me happy.

Former ownership: 2007 private (CD). Acquired in 2007. Downsized in 2026.

6/3/07 (notes); 2/3/23 (update)

Free System Projekt & Dave Brewer - Okefenokee Dreams (2000)

There are few bands that emulated Tangerine Dream's mid 70s years as effective as Free System Projekt. At this point FSP was just Marcel Engels, and on the first Okefenokee gathering, he's joined my American electronic musician Dave Brewer.  They go about creating 73 minutes of sequencer based Berlin School music. No surprises here at all. Honestly I have too much of this kind of music, but I have a soft spot for this title, as it was one of the earliest revival CDs I had picked up (real time when it was released). For the next 6 years or so, I loaded up on dozens of titles like it. I have already begun to shed some of those titles, selling to an audience still hungry for anything and everything Tangerine Dream like. But I won't do that with Okefenokee Dreams. Not so much because it's that much better (it's not), but rather its place in my personal history.

Ownership: 2000 Groove Unlimited (CD). Booklet with a photo. Acquired in 2001.

2001; 4/19/20 (review)

Protoavis (2004)

The hard part about reviewing any Free System Projekt album, at least from this era, is trying to come up with something new to say. I suppose figuratively one could make a similar claim about FSP - that is, musically they have nothing new to say. But nothing new, while still being great, are not mutually exclusive comments. On Protoavis, Free System Projekt have completely zoned in on the 1974-1975 era of Tangerine Dream, where the sequences remind one of Phaedra and the overall atmosphere and style are more toward Rubycon. This is my personal favorite years of Tangerine Dream, so of course I'm going to enjoy Free System Projekt. Not enjoyment at the same level mind you - one cannot replace the magic of initial discovery in one's youth - but the familiarity makes it comfortable. A safe place to cuddle up in.

Former ownership: 2004 Quantum (CD). Acquired in 2007. Downsized in 2017.

6/1/07; 9/24/17 (review)

Atmospheric Conditions (2002)

Atmospheric Conditions is a two CD set compiled of various outings from 2001 and 2002, including live stints in the USA and England. The Dutch collective Free System Projekt have long been considered one of the finest groups playing in the Berlin School revivalist style. Raging sequencers, mellotron overlays, and analog synthesizer soloing are the order of the day. Though the various tracks are all improvised, the sound is remarkably consistent, and the end result seem like variations on Tangerine Dream's Rubycon. In my mind, that is T. Dream's finest moment, so any group who can emulate that same composition style are much welcome here.

From Discogs: Instruments used: Access Virus A, Arrick Synthesizers.com modular system, Yamaha A 3000 sampler/w Mellotron set, Yamaha A 4000 sampler/w Mellotron set, Doepfer MAQ 16/3 sequencers (2x), Clavia Nord Modular, Clavia Nordlead II, Eminent Solina Strings, Elka Rhapsody 610, EMS Synthi A, Arp Pro Soloist, Roland JP 8080, Korg MS-20, Korg MS 2000R, Yamaha S-30, Yamaha TG 500, Boss CE-1, Boss SE-50, Boss SE-70, Ensoniq DP/2, Lexicon MPX 100, MXR Phase 100

Track 1-1 played live at the Gathering, Ocober 13th, 2001.
Track 1-2 played live at Jodrell Bank, March 30th, 2002.
Track 1-3 played live at WDIY EMUSIC, October 12th, 2001.
Track 1-4 played live at Hampshire Jam, October 27th, 2001.
Track 2-1 played live at Ruud Heij's studio during the sessions of summer 2001.
Track 2-2 played live at Star's End radioshow, October 14th, 2001.
Track 2-3 played live at Ruud Heij's studio during the sessions of summer 2001.
Track 2-4 played live at Jodrell Bank, March 30th, 2002.
Track 2-5 Echoes feature: Free System Projekt's Spontaneous Creations. Produced for Echoes, the radio program of ambient and world fusion music heard on stations across the United States.

Ownership: 2002 Quantum (2xCD). Acquired in 2003.

2003; 9/14/16 (review)

Moyland (2005)

Free System Projekt is yet another band we're featuring here that comes from the Tangerine Dream retro movement, that is found more predominantly in the UK, but also has a huge following in the Netherlands as well. When Tangerine Dream moved in a different direction following their "Virgin" years after 1983, no one really took the baton and ran with it. Now that doesn't mean electronic music died. Not even close. There were tons of other artists operating in this field, almost all of them solo acts, and none had the massive amount equipment that Tangerine Dream possessed (other than maybe Klaus Schulze of course). And as any fan of classic Tangerine Dream will tell you, it's a style of music that has many possibilities. The key to success is not only a large amount of both old and new keyboard toys, but it also helps to have more than one bandmate - for the synergy of ideas that multiple people can create.

The big names in the Tangerine Dream renaissance are the British bands: Radio Massacre International, Redshift, AirSculpture, Under the Dome, Arc and many more. And the main representative in Holland is Free System Projekt. And truth be told, FSP are probably the most sycophantic to the original T. Dream sound (especially the Baumann trio years). But it's still highly original music within the confines of the style. It's as if someone uncovered numerous more Tangerine Dream recordings from 1974-1977. You can't wrong with a Free System Projekt album, at least of the ones I've heard, and that's most of them. Moyland is but only one great example. If you love complicated sequences, with mellotron overlays and wild synth soloing - then Free System Projekt is for you.

Ownership: 2005 Quantum (CD). Booklet with recording details. Acquired in 2010.

2/15/10 (review); 7/18/26

Also own: Okefenokee Dreams 2001; Hampshire Jam Preserved

2/15/10 (new entry)

Finch - The Making of... Galleons of Passion / Stage '76. 1976-77 Netherlands (archival)

I've written about Finch extensively in the past as they were one of the earliest obscure European prog bands for me to discover in the early 80s (via the ATCO (USA) issue of Glory of the Inner Force), so I won't cover that again here. Suffice to say when this archival discovery was released in 1999 it was a huge boon to fans like myself. Though oddly enough, after dutifully buying the set immediately and hearing it to great satisfaction, it has sat patiently another 23 years for its second visit (there's that number again...). As such I didn't remember anything about it.

The first disc is The Making Of... Galleons of Passion, and is essentially an earlier version of what was to be released. All five tracks are represented here, and to my ears the rougher mix is more pleasurable. Galleons of Passions was a bit too slick for a band like Finch. So I find this to be the definitive version. Even better is there are three unreleased tracks from the same session, any one of them could have - or should have - been on the original album. It's a short album and there was room for all of them. The best of these three IMO is 'Phases'.

Disc 2 is the Stage '76 portion. Here you have 71 minutes of live Finch in their prime. There are two tracks from Glory of the Inner Force and two from Beyond Expression. All of them energetic recreations, though they don't deviate much from the original material. Best of all is the unreleased 17 minute 'Necronomicon', sounding all the world like a missing track from Glory. Instrumental progressive rock like only Finch could do. Overall a must pickup for fans of the group.

Ownership: CD: 1999 Pseudonym. Fatbox 2xCD set with superb liner notes detailing the full history of the band (and the only place I have this).

1999 (first listen); 6/27/22 (review/new entry)

Peru ~ Netherlands

Constellations (1981)

Back again with another electronic album. Peru are (still around I think) a three piece (a play on their names apparently) who play a raft full of keyboards primarily of the Korg variety. Want to take a stab at who they are trying to emulate? Yea sure, why not: Winner Winner Chicken Dinner! So yes, of course Schmoelling era Tangerine Dream lives deep in these guys. I believe this is their second album. It's more of the same, of which I'm just enjoying at the moment. As one of my organization's younger members blurted in a meeting recently (hilariously so I might add) "I'm going through some shit, don't judge me!". She was of course joking, but I could relate.

Ownership: 1981 CNR (LP) 

1/28/22 (review / new entry)

Pythagoras - After the Silence. 1982 Netherlands

This is the second album I've heard this year with a "For Jimi" tag. Though for Pythagoras' sophomore effort, it's far more a stretch than on Jukka Tolonen's Hysterica. This isn't a guitar centric album, but definitely belongs to electronic music forms, very prevalent in the day. Given that one member of the duo is a drummer, it definitely is more "electronic rock" in the same manner that Klaus Schulze's Moondawn is. Though one can argue that Pink Floyd is more an influence on the rockier sections. Lots of guests on this platter including Arjen Lucassen on guitar (he of Ayreon fame, who made a decent career of it 15 years later), Plackband (long before they ever saw a release), flute, violin, and a rare appearance of the Novotron. The keyboards are a mix of the latest digital synthesizer technology of the day, with copious amounts of the legacy mellotron. A different sound for the genre, and excellent on the whole.

Ownership: LP: 1982 Syntone. Single sleeve. Was part of the large haul from the Baltimore record store late last year. The photos you see are this copy as we added them to Discogs. Also changed the date to 1982, as the labels are clear about this. The back cover shows 1981, which is probably the source of the incorrect year.

new entry

Kayak ~ Netherlands

Starlight Dancer (1977) 

So the US press of Starlight Dancer is neither the album Starlight Dancer, nor does it represent the cover. This compilation pulls tracks from the namesake album along with another release entitled The Last Encore. It's the latter that provides the artwork. There's one unique track 'Ballad for a Lost Friend' that was later released as a B-side to a 45 in their home county of the Netherlands. I have no idea what the American label was thinking here. Anyone who would hear this, would want to listen to both albums in full anyway. And that would be my case. I have some thoughts about Kayak for their 1981 opus Merlin (see below). I'd always presumed Kayak to have gone completely pop rock by this era, and then resurged on Merlin. But that's not the case. Kayak were oddly progressive still, just not overtly so. Not that they ever were (so progressive). Once again, The Alan Parsons Project comes to mind when hearing this, and one begins to wonder who influenced who? Well certainly I now need to hear the two albums in full that make up this comp.

Source: 1977 Janus (LP). Promo.

5/10/21 (review)

 

Merlin (1981)

Merlin is perhaps the ultimate example of an album that needs a prelude that reads something like: For 1981.... As in "For 1981, this was a great progressive rock album." But it certainly wouldn't be considered such for 1973... or 2016 for that matter. And in reality, there was plenty of great progressive rock in 1981 - it's just few knew about it (Dun, Eskaton, and Kultivator are hardly household names for anyone but hardcore prog rock nerds). For a relatively mainstream band like Kayak (though for Americans they always had more of a cult-like following, rather than being a true commercial smash hit group), putting out a semi concept album around the legend of King Arthur is as anachronistic as it gets (in 1981?). No matter that the album sounds like the Alan Parsons Project (another for 1981 type band) with its blend of radio friendly pop and semi-prog rock ambition. It's certainly a pleasant album that grows on you over time, and one can easily see the allure, especially for fans at the time. But with history on our side, it's hard to imagine this one capturing fans of future generations. Of course, the original fans will likely state its masterpiece status. We all do that with favorites from our youth, yours truly no exception to that rule.

Former ownership: 2011 Belle Antique (CD). Papersleeve edition. Acquired in 2016. Downsized in 2019.

11/12/16 (review)

 

Kayak (1974)

The second album expands both sides of Kayak's sound. There's more of a distinct demarcation between their commercial pop aspirations and their arty progressive side. The poppier songs are tighter with stronger melodies, whereas the progressive compositions stretch the instrumental sections with plenty of complex bits. Arguably this is the better album, though I'm partial to See See the Sun as it has a better flow and a couple of knockout tracks.

I also really like the cover, which is very Hipgnosis-like.

Ownership: 

1974 Harvest UK (LP). Upgraded in 2024. First purchased in 2014.

2012 Esoteric (CD). Booklet with liner notes and two bonus tracks. Acquired in 2012.

10/7/12 (new entry)

See See the Sun (1973)

Kayak were about three years ahead of their time, whereby mixing pop music and progressive rock seamlessly. Their sound – as brought forth by others of course - would ultimately dominate American FM radio throughout the late 1970s, yet Kayak were nothing more than an aficionados pick for best band you’d never heard of. What’s most interesting, to me anyway, is that Kayak were the blueprint for the Midwest Progressive Rock sound that I frequently speak about here on UMR, and yet Kayak were not a band from St. Louis or Chicago – but rather from the distant Netherlands, a country more known for the quirky sounds of Focus or Golden Earring. While there is no doubting Kayak’s fondness for current era Yes, Kayak also pay homage to a number of popular bands including no less luminaries such as The Beatles. Alan Parsons’ contribution to this album can only be seen as an influence on the young engineer’s future career. Organ, mellotron, shifting signatures, and long tracks assure its progressive credibility, but in the end Kayak were pioneers of a later sound – one that wasn’t necessarily embraced by all, but for certain was popular in the arenas of the day. One track worth calling out is the stunning beauty of ‘Lovely Luna’ (A4).

---6/3/26

This album continues to improve in my world. A1 is very Yes-like, and one of the highlights here. A3 and the title track are also superlative. A4 remains my favorite, and is truly a 5 star song. The bonus track is the B-side to 'Lyrics' and is very much in league with the album proper. 

Ownership:

1973 Harvest UK (LP). Single sleeve. Acquired in 2014.

2012 Esoteric (CD). Booklet with liner notes, photos, and one bonus track. Acquired in 2012.

2009; 9/28/12 (review); 4/18/18; 6/3/26

Previously owned: Royal Bed Bouncer

9/29/12 (new entry)