October Equus / Angel Ontalva ~ Spain

Angel Ontalva - Mundo Flotante (2012)

---5/2/13

Ontalva is the guitarist for October Equus, and even though the album is under his name, it's a full band effort made up of members of... October Equus! The difference is this is complex and melodic rather than complex, cold, clinical, and dissonant like the last OE album was. They probably should have just chosen a new name for the band, but who cares really, as this is great. Highly recommended! I hope there's more from this water well to draw from.

---7/20/26

Now what could possibly make me think of Spain today? :-)

Angel Ontalva is the primary mover and shaker behind October Equus. Obviously a creative individual with energy and many ideas to burn. In addition to his primary group, Ontalva has released many solo albums, along with collaborations. Most famously with the Russian space rock collective known as Vespero. Many of his albums are on cdr or online only. His solo debut is Mundo Flotante, a fully realized work manufactured on CD. This is also the debut for the OctoberXart label, Ontalva's primary vehicle for his releases.

So what distinguishes this release from his flagship group? In researching my question, I discovered the review I wrote above (not previously in UMR though). I didn't know I did that! Haha, well the answer is there. Melodic is the keyword. There's a distinct Canterbury feel, not so much that its whimsical or filled with jams loaded with fuzz keyboards, but rather it has a similar compositional take on the jazz rock idiom. The title of the album is what one would call a clue. Reference Soft Machine archival albums at your leisure.

I can also hear parallels to what Patrick Forgas was doing with his Forgas Band Phenomena project. Funny that I just mentioned the same thing on Edition Speciale's Horizon Digitale review. Mr. Forgas is dominating my thought process of late.

Ownership: 2012 OctoberXart (CD). Booklet with artwork and recording details. Acquired in 2013.

5/2/13 (review); 7/20/26 (update)

October Equus (2006)

One never knows when a new force enters into the progressive rock landscape. Steven Wilson meekly introduced himself with his bedroom tapes for Porcupine Tree. Fabio Zuffanti was somewhat anonymous when he hit the world stage with Finisterre. And a one Angel Ontalva announced his presence with a new band called October Equus. Though in this case, Ontalva showed up with a bang, dominating the sounds around him.

When October Equus' debut arrived, I was all about the sound they were creating. Looking at some old notes, I started at a 5 star masterpiece, something I almost never do. They mixed the aggressiveness of Belgium's Present with the psychedelics of France's Nebelnest's debut to create what I considered the perfect recipe. Over time, I've dropped the album a full two points, which still keeps it in the excellent category. Music like this almost immediately finds itself out the door, as I feel I have too much of it. Generally I keep the ones of personal historical interest, that I first discovered in the 80s and early 90s. And yet, I still found myself enjoying the heck out of this one - clearly a cut way above the norm. It's more the Nebelnest influence that holds my interest here - there is a warmness to that sound that balances the cold rigid complexity that avant prog represents. I continued buying October Equus albums through 2013's Permafrost, though I'm not sure how many of those remaining three will remain, but for certain the debut will be here for the long haul.

Ownership: 2006 Ma.Ra.Cash (CD). Historical footnote in English on what October Equus means. Recording details on the back tray. Acquired in 2006.

4//06; 8/13/22 (review)

Saturnal (2011)

Saturnal is the 3rd album from arguably Spain's most complex rock band. Their first album was almost like a psychedelic Present (Belgium), a very interesting combination that I found highly appealing. With each subsequent release, October Equus ups the ante on complexity, while toning down the more jamming aspect of their sound. It's pretty clear this is a band that now must play live with scored music charts, rather than rehashing more simple material and letting loose on occasion. On Saturnal, October Equus has entered the realms of a new force of music - one that was pioneered by Thinking Plague - and now mastered by many more. Sophisticated, dense, mathematical, academic are a few adjectives that can describe the music within. It's the blueprint sound of the AltRock label. Avant progressive at its most pure. And for me, each new album becomes a little less exciting but more intelligent. The fun and creative high school kid is going to be a doctor. His mother would be proud.

Overall, I still find October Equus to be an excellent band. I just wish they'd loosen up a bit.

Former ownership: 2011 AltRock (CD). Acquired in 2012. Downsized in 2024.

3/12/12 (review); 9/20/22

Ontalva's work with Vespero can be found here.

Also own: Charybdis; Permafrost

3/12/12 (new entry)

The Open Window ~ USA

The Open Window (1969)

---Nov 2005

The Open Window is truly an oddball album (on the truly oddball label Vanguard). Very arty, with three non-percussion artists. Apparently Peter Schickele is known in avant-garde circles and has a full blown website (he's PDQ Bach as it turns out). This album is barely mentioned, probably a blemish on his record (as far as he's concerned). There's some fuzz organ here which I was drawn too.

---3/19/11

Perhaps the original avant progressive album. Despite featuring a psych album cover, the group clearly has an academic pedigree, while the music is rooted in both classical and jazz. Basically a trio of three keyboardists, with organ (some wonderfully fuzzed out and compressed), electric piano, acoustic piano, electric harpsichord, and clarinet. There are some oddly placed vocals, that give it a offbeat rock feel. Chamber jazz avant classical? Yea, I don't know how to describe it either.

---4/6/26

I had totally forgotten about this album. I sold off the copy above about a decade ago. Then found it again recently in a local record store's buck bin. I can't let it sit there for that price! I had also forgotten my notes prior, but it becomes clear from the above the album is almost unclassifiable. It's progressive for 1969, but not really progressive rock. And one feels compelled to throw a psychedelic tag on it, especially given the cover art. Stanley Walden's organ playing is the standout for certain. Or perhaps the sound rather than the technique. There is a bit of an early Soft Machine feel here, though I think it's coincidental. I was glad to revisit this title, and appended a +1 while at it, but still not something that is necessary to keep.

I never added this to the CDRWL, probably concluding it was out of scope. No matter, as in 2015 it was reissued anyway with bonus tracks.

Former ownership: 1969 Vanguard (LP). First acquired in 2005. Reacquired in 2026.

11//05 (notes); 3/19/11 (review); 4/6/26 (update / new entry)

Gargantua ~ Poland

Gargantua (2003)

---2004

This album didn't meet my expectations as they were set to believe a Magma, King Crimson, and Gentle Giant combination. Naturally I took that to mean Mekanik meets Red meets Power & The Glory. But it could also mean Uppsala meets Discipline (still don’t hear any Gentle Giant I’m afraid). Modern sounding, very jazzy in the piano, digital-80’s style synths, clean and distorted guitar runs. Their sound sometimes reminds me of the new French group Nil, but in a different genre altogether. Expectations are funny, but now that I have my head around this, I’m enjoying it a lot more. Jazzy Zeuhl with Crimson moves. Something very different than anything else overall.

---3/16/26
 

There's these albums in my collection that I have zero recollection of. Gargantua's debut is one of those. Fortunately I have prior notes like the above. Despite a UMR era listen, I didn't enter the album into this site then. So I'll do that now. What does this third listen reveal?

Well it definitely belongs to the avant prog genre. Charted counterpoint rock music is how I hear and envision it. While we don't hear this sound so much from Poland, we do from neighboring Czech Republic. And I think that's where our signposts are: Uz Jsme Doma, Combo FH, MCH Band, Aku Aku, Dunaj, etc... The Polish vocals are a unique twist. The Zeuhl reference is real in that Univers Zero sort of way. And the guitars can get violent like Present does on occasion.

When the music is over, you begin to realize you've experienced something highly unique. None of the contents are groundbreaking, yet the way it's arranged and presented is just that. Groundbreaking. This is one of those albums I'm really glad to own, but if someone offered me something else like it, I'd probably take a pass. Strange, and perhaps illogical, that mindset is. But that's how I feel. One is enough, I submit.

Ownership: 2003 Ars Mundi (CD). Booklet with lyrics in Polish plus recording details. Acquired in 2004.

2004 (review); 6/20/17; 3/16/26 (update)

Gargantua went on to release one more album which I've yet to hear.

3/16/26 (new entry)

Univers Zero ~ Belgium

Ceux Du Dehors (1981)

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

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

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

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

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

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

1992; 3/8/26 (review)

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

3/8/26 (new entry) 

Albert Marcoeur ~ France

Albert Marcoeur (1974)

I had originally thought to put these in the journals, but what the heck, I'll make a post. This collection has the first four LPs from Monsieur Marcouer, of which I'd heard three of them in my past. And I owned this title on LP, surprisingly enough. During my "intellectual 20s" I guess, not that I was any kind of raving scholar. Maybe the guy who cleaned the chalkboard late at night.

Generally known as the French Frank Zappa, Marcoeur's music is largely unclassifiable. And, at times, unlistenable. I'm all for creativity, but you know, a melody doesn't hurt every once in a while. Even Frank understood that, especially on an album like Hot Rats. Expect a completely random listen here with lots of "fou" / "folle" all in French, of course. He's doing his own thing, so have to admire that. And that's about as far as I go in my praise.

Perhaps the most surprising aspect of this album is that it was released on a major label. Of course it was in France, and goodness knows, innovative art ruled supreme there in those days. Sometimes you win, sometimes you don't.

Source: 1974 Atlantic (LP). Gatefold.

1/23/26 (review)

I have his next three albums to go. I'm determined to listen to them all the way through (and maybe more as I'm doing with the debut). I'll space out the listens for certain. Not sure I'll have as much narrative though. We shall see.

1/23/26 (new entry)

Debile Menthol ~ Switzerland

Battre Campagne (1984)

Quickly back to Debile Menthol. I already traded the below copy to a local collector (who loved it immediately), and he was also interested in this one. So I moved it to the front of the stack for a listen. Battre Campagne is the title I owned long ago (before 2004 at the very least). Well, no surprises here, the music is mostly lost on me. Combine what I said below, add some Devo, and perhaps some Looney Tunes while at it. One cannot accuse Debile Menthol of selling out here. If anything, they really upped the ante on just about everything. Surprised to see this as the lower rated of the two, given its dedication and focus of the style.

Source: 1984 RecRec (LP). Includes insert with lyrics and recording details.

1/22/26 (review)
 

Emile Au Jardin Patrologique (1983)

The newly acquired LP collection included many imports of (what we now call) avant prog. A beautiful selection honestly. Though much of it will find their way into other collections when it's all said and done. As you might know, if you've read this blog long enough, the genre isn't a favorite of mine. I do, however, understand the allure of it. Highly composed, often zany, usually happy, and somewhat random in its approach. Which if I read my own description, sounds pretty darn good. I tend to champion melody, grooves, atmosphere, intensity, solos, and riffs. And on that front, avant prog is something of the polar opposite. 

Most of these albums - I suspect - will find themselves in my prog journals. But I wanted to at least put one group out there, as who knows when the journals will be published. So I wanted to provide context as I plow through this collection. Because most of what I held back to listen to will likely be in this vein. I already own the Italian and English prog stuff, and much of his fusion albums as well (though there are a lot of those I'm also looking forward to diving into).

I thought I'd owned both Debile Menthol albums in the past, but it turns out it was only the second one. Which is also here, and I will update this post when I get to it. While hearing Debile Menthol's debut, I found myself distracted and irritated often. Whether I was focused on each note of the recording, or busy reading something else, the music could be described as a "great interrupter". All the same, there is an intellectual side of me that really wants to love this stuff. In my 20s, I was that person. I had many albums such as this as late as the mid 1990s (when I turned 30). I let academia sometimes override emotion. Which is smart in finance and business, and I still maintain that philosophy for those. But for appreciating music? No, that has to come from the heart and soul. So while my brain was having fun distilling the crazy notes and meters, my heart was looking for something else to do that I enjoy. 

So we'll leave it there. I know (or hope) there will be a few that I will sing the praises of. Others will find their way into the Debile Menthol category. But I'm sure it will find its way into the hands of a serious collector eventually.

Source: 1983 RecRec (LP). Includes insert with recording details.

1/20/26 (review)

1/20/26 (new entry)

Vortex ~ France

Les Cycles de Thanatos (1979)

Now here's a group, and an album, that I had almost no recollection of. I bought the CD the year before I started taking more diligent notes about my collection. And I acquired the LP almost a decade before that. But I haven't revisited either album since. Let's tackle Les Cycles de Thanatos since it was chosen randomly.

The album opens up like a highly structured and composed jazz fusion album. The playing is very tight and complex, and expert musicianship abounds. One expects music like this to be charted, though unlike many bands in the avant prog space, this album both swings and rocks. I mention avant prog, a posthumous designation, as Vortex would not have known that term, nor were they are part of the ancestor Rock In Opposition movements at the time. They did play, however, with other adventurous French and Belgian groups of the day such as Art Zoyd, Univers Zero, Xalph, Yochk'o Seffer, and Uppsala. And those collectives provide an idea of the music found here. While the first side rocks out, the second goes in more for chamber orchestra composition. Both Art Zoyd and Univers Zero become more obvious references. At 25 minutes, the duration of this side can be a bit trying if not in the mood for intellectual listening. Fortunately they rock out towards the end that relieves the foreboding tension. And provides some Zeuhl sounds not prevalent elsewhere.

The CD adds two bonus tracks that take us back to Side 1 of Les Cycles de Thanatos, though it remains unclear the source of these recordings. We are left to presume from the same session.

Ownership:
1979 FLVM (LP). Acquired in 1994.

2003 Le Triton (CD) with Vortex (1975). Booklet with lengthy historical notes in French and an abridged version in English. Many photos and two bonus tracks from this era. Acquired in 2003.

1994 (first listen); 2003; 1/19/26 (review)

Also own and need to review Vortex (1975).

1/19/26 (new entry)

Pochakaite Malko ~ Japan

Laya (2004)

---March 2005

I loved Pochakaite Malko's debut, so now with KBB’s Akihisa Tsuboy on violin, I figure I’m in for a major treat. And I am! I sure find music like this so easy to listen to. Familiar, yet engaging. Creative, but not groundbreaking. This isn’t Cafeine = Ange more like Anglagard = SFF. Here it’s what? Weidorje / Zao / Daryl Way's Wolf? Same approach, different result. Heavy keyboards, thrashing violin, highly melodic, complex, with a great production.

---9/15/25

It's been 20 years since I heard either of Pochakaite Malko's albums. The first thing I noticed is there isn't guitar on the album and yet Tsuboy's violin often times sounds like one, which is quite cool. My recollection is this album was more steeped in the Zeuhl tradition. But it's clear they have an avant prog slant to them as well. The intensity recalls Happy Family with the violin giving it a Zao feel. But there's no chanting or Kobaian vocals here. One could also make an argument this is a heavy jazz fusion album, just like Tsuboy's KBB outfit. There are similarities between those bands as well. Categorization aside, Laya is a fun listen for those attuned to such sounds. It can be a bit overwhelming, and certainly not the kind of album for beginners. It's just too much at once, but not nauseous like related band Koenjihyakkei could be at times.

In case you're wondering, the band moniker is Bulgarian not Japanese.

Ownership: 2004 Tutinoko (CD). Booklet with photo and recording details. Acquired in 2005. Downsized in 2026.

3//05 (review); 9/15/25 (update)

Also own: Pochakaite Malko (2001). 

They released one more mini album Doppelganger (2006) which I've heard but never owned.

9/15/25 (new entry)

Pierrot Lunaire (& related) ~ Italy

Arturo Stalteri - Andre Sulla Luna (1979)

Next up on the stack of forgotten albums in my collection is Pierrot Lunaire's keyboardist Arturo Stalteri's debut. Looks like I picked this one up enthusiastically not long after being reissued, heard, filed, and that's the last time I listened to it. In fact I didn't even have it stored in my electronic collection (physically that is), but rather it was in the prog rock section, taking me a bit to even find it.

The eerie keyboard sounds Stalteri produces is most certainly those of Gudrun, but here they are the focus. The music has the Systems feel of Roberto Cacciapaglia or Franco Leprino mixed with a French styled rock aesthetic. Random bursts of electric guitar are unexpected and much welcomed. In this way Philippe Besombes becomes a name checked reference. Franco Battiato must also be mentioned, though perhaps it's more compulsory than accurate. Andre Sulla Luna is most certainly just as influenced by academic classical music as it is Italian pastoral folk. As with Gudrun, the album demonstrates it's more one-of-a-kind than a scene fitter. Random yet exhilarating. An album I didn't have any recollection of, but did give it initial high marks on arrival. That rating stays and now I can justify it as well.

Stalteri is still actively releasing new product and has well over a dozen releases to his name. If I find them in the wilds I'll have to give them a spin.

Ownership: 1997 M.P. (CD). Cardboard sleeve. Booklet with notes in Italian. Includes five bonus tracks that are largely more primitive editions of the LP versions.

1998 (acquired); 7/30/25 (review)
 

Pierrot Lunaire (1974)

Like many Italian prog fans, my first exposure to Pierrot Lunaire was from their avant-garde masterpiece Gudrun. With that backdrop, Pierrot Lunaire's debut is a bit of a shock to the system. The album is a low-key, pastoral, folk influenced progressive rock. Flute, keyboards, vocals, and acoustic guitars are the primary set of sounds. There isn't much here to latch onto, with a low set of dynamics, and yet it's a peaceful 45 minutes of listening. If looking for comparisons, Pierrot Lunaire is more subtle than Saint Just's La Casa del Lago, and less compelling than Errata Corrige, but both are in the same ballpark. Side 2 contains the album's highlights, with the keyboard heavy symphonic piece 'Il re di Raipure' and the hauntingly beautiful 'Arlecchinata' with wordless female vocals. Pierrot Lunaire's debut is very consistent and fortunately there are no low moments to endure. A solid record that comes recommended, though it doesn't predict the brilliance of their sophomore release.

Ownership: 1994 Si-Wan (CD). Liner notes in Korean.

1989 (LP reissue first acquired); 1996; 11/10/14; 8/22/15 (review); 7/18/24

Also own: Gudrun

8/22/15 (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. 

Former ownership: 1999 Pretentious Dinosaur (CD). Acquired in 2001; Downsized in 2024.

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)

Other albums I 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)

Samla Mammas Manna (& related) ~ Sweden

Kaka (1999)

I bought this when it came out and gave it quite a few listens on my commute to work back then. I had high hopes that it would have aged well for me. But unfortunately it didn't. It's true to their legacy, and mixes progressive rock with carnival like sounds and motifs. I kept a few of the classic 70s / 80s Samla / Zamla works, so this one becomes superfluous. 

1999 Amigo (CD). Acquired in 1999

1999; 5/1/24 (review)

Klossa Knapitatet (1974)

I go back and forth on this title. Some of the instrumental work is divine, but there's plenty of room for circus and silliness too. Those styles don't age as well for me. What was I saying about some albums don't inspire me to write much? 

Ownership: 1974 Silence (LP). No insert. Acquired in 1999.

1999; 2/1/22; 1/17/23 (review)

Måltid (1973) 

Samla Mammas Manna are a difficult band to pigeonhole, somewhat like contemporaries Arbete och Fritid and Archimedes Badkar in that way. They mix rock, folk, humor, jazz, and other unidentifiables into a very satisfying stew of progressive rock goodness. At times they seem ready to rip off a cool jam, but always pull back, never really wanting to associate with traditional rock tropes. It's not surprising to know they were a charter member of Henry Cow's Rock in Opposition troupe. They answer to nobody, and sound like no one. With any kind of music like this, there are some off bits to endure (including some cartoonish vocals), but mostly this one stayed in the rails. Which can't necessarily be said for all of their albums (though most are satisfying). In later years, the avant prog tagged would be appended to bands such as these, but I hear Samla far more organic than the usual cold and sterile albums that proliferate that scene. Great album artwork as well.

The CD offers bonus tracks, but it's weird how the label (or the band) did them. The first one 'Minareten II' is a shorter version of a track on the album, and a bit rawer. It's quite good. The last track 'Probably the Probably' is definitely bonus fodder, and not something to make you want to keep it. The middle of these three is the opening track on their debut album, which makes no sense.

Ownership: 1973 Silence (LP). Acquired in 2000.

2000; 1/8/22 (review)

Von Zamla - No Make Up! (1983)

Second album from international version of the zany S/Zamla Mammas Manna bunch with ties to Albert Marcoeur’s group. Featuring an expanded lineup of six, including Univers Zero reeds man Michel Berckmans, No Make Up! is undeniably an avant progressive tour de force. The album opens, interestingly enough, with ‘Forge Etude’, a rework from Zamla’s (then) final album Familjesprickor. A rarely mentioned fact, possibly due its obscurity, is the relationship of Von Zamla with the German fusion band Munju during this period. Both recorded for the German based JA&RO label (aka Exil). And not only do they share a full time member, bassist Wolfgang Saloman, but Berckmans also played extensively on Munju’s Le Perfectionniste album. This collaboration is reflected on the third track ‘Für Munju / Indojazz’, one of the livelier pieces on No Make Up!. Throughout the album, it’s once again Lars Hollmer’s familiar accordion, that drives most of the Nordic European style folk melodies. The ensemble work is tight, in typical chamber music fashion, with the aggressive rock edge provided by guitarist Eino Haapala, the same role he played for the Zamla clan prior. It’s fair to say that most of the groups in the Rock in Opposition camp find it hard to avoid some crazy improvisation, sort of their bitchslap to the establishment. Here Von Zamla only utilize one piece for that, the unbelievably irritating (and mercifully short) ‘Voice Improvisation’. Fortunately the remainder of the tracks remain composed, energetic and satisfying. No Make Up! was slotted to be reissued on CD in 1998, but for reasons unknown, did not happen.  Highly recommended to fans of the original RIO movement, the collective avant progressive sound, and those who have recently arrived through the Nordic front door via the Northside label.

1983 JA&RO (LP). Acquired in 2008.

Still no CD as I update this (5/28/26).

2008; 1/9/20 (review)

Also own: Familjesprickor; Von Zamla 1983

1/9/20 (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)

Jules Baptiste / Red Decade ~ USA ~ New York

Native Dance (1982)

So far, Jules Baptiste's EP has proven to be the best new discovery out of the free box. Sitting in a sea of worthless and boring alternative, indie, and (barely) new wave records was this little gem. Once I sampled it, I put it aside for a full listen. And that happened last night. I guess given the group's association with Glenn Branca (the record label for one), the album's genre tags are pinned to the likes of No Wave and Art Rock. But what I hear is Avant Prog. RYM says this about the No Wave genre: "Given its experimental nature, no wave music changed a lot during its brief existence but often delved into atonality, dissonance, non-unified tempos, abrasiveness, angularity, buzzing guitars and skronk, tribal drumming, etc." Yea, that's not this at all. Native Dance is a very tight, constantly shifting, "technical" band, for a lack of a better term. The two saxophone players give it a tough jazz rock edge, though they are both remarkably constrained. Had they skronked and squealed throughout, I would have tossed into the sale pile. I'm hearing bands like Dr. Nerve and Chainsaw Jazz versus unhinged chaos. I'm not the world's foremost avant prog guy, but I liked this one. Perhaps 15 minutes is the right length for music such as this. Plus I like the way I obtained the album, giving it an instant "personal experience" factor.

Ownership: 1982 Neutral (EP).  Acquired in 2023.

4/8/23 (review / new entry)

Area ~ Italy

Crac! (1975)

Area's 3rd album and arguably their most crisp and together. It largely avoids the free noise components of their other albums. Because of that I enjoyed a +1 listen. I've never been that intimate with this album, and already the contents are disappearing in my memory. Arbeit Macht Frei is on the listening docket, not sure which of these two are my fave by Area (with special mention to 1978 gli dei se ne vanno, gli arrabbiati restano!). In comparison to my peers, I'm definitely not going be part of their cheerleading squad.

Ownership: 1976 Cramps (LP). Gatefold. Acquired in 2021.

First copy: 1995 Cramps (CD). Acquired in 1995.

1995; 2013; 1/5/23 (review)

1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano! (1978)

An interesting close out to Demetrio Stratos' career before his untimely death. Starts off in strong fusion territory, but ultimately goes all over the place. Which isn't necessarily a bad thing. I've never been a huge Area fan - in fact of all the bands that I haven't embraced over the years, it would seem Area would be the one that I'm the most diametrically opposed. That's not to say I don't enjoy their albums, I most certainly do, but they have long spells of experimental noise that doesn't appeal to me. When reflecting on the band, the element I enjoy most are the vocals, which ironically might be the most experimental aspect to their sound. In the scheme of things, as strange as '1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!' is within the Area discography, I'd probably rank it 3rd behind 'Arbeit Macht Frei' and 'Crac!'. Wouldn't expect to receive much support for that position. 

Ownership: 1978 Ascolto (LP). Gatefold with full recording details and photos. Acquired in 2004.

First copy: 1999 CGD (CD), Acquired in 2000.

2000; 2004; 9/21/20 (review)

Arbeit Macht Frei (1973)

Very well known album that needs no introduction. For my tastes, this is my favorite Area album, closely followed by Crac!. I'm not a huge Area fanboy as many of my friends and peers are, as I tend to shiver at Area's more avant garde and free-jazz moments. Thankfully those are kept at a minimum on their debut album, where the tight unison ensemble work allows Stratos to showcase his unconventional vocal style, which I do enjoy when not done to excess.

Ownership: 1973 Cramps (LP). Gatefold. Doesn't have the paper gun insert. Acquired in 2000.

First copy: 1995 Cramps (CD). Acquired in 1995.

1995; 2000; 10/6/11 (review); 11/14/17; 1/6/23

Previously owned: Caution Radiation Area; Maledetti; Areazione

10/6/11 (new entry)

Picchio dal Pozzo ~ Italy

Abbiamo Tutti i Suoi Problemi (1980)

Picchio dal Pozzo's sophomore release is quite a departure from their debut. In fact, it's not until track 4 that the album demonstrates a rock element at all. This is tried and true avant prog, bordering chamber music. Only at the end, on the near 16 minute track on Side 2, does the band show their Italian prog meets Canterbury roots. And easily my favorite composition on the album.

Ownership: 1980 L'Orchestra (LP). With flexi. Acquired in 2019; Upgraded in 2026.

First copy: 1992 Si-Wan (CD).

1992; 4/1/19; 3/12/22 (review)

Also own: Picchio dal Pozzo (1976)

Previously owned: Camere Zimmer Rooms

12/24/22 (new entry)

Krakatoa ~ USA ~ Philadelphia, Pennsylvania

Togetherness (2001)

Strange this one. I'm really fond of We Are the Rowboats, a wonderful mix of avant prog, post rock, and neo psychedelia. But this title was more of the former and not so much to my liking.

2001 etherdrag (CD)

11/22/22 (review)

We Are the Rowboats (2003)

Krakatoa were an interesting band from Philadelphia (later Brooklyn) who combined avant progressive, post rock, and psychedelic music to great effect. They took the best elements of each: The quirky complexity of avant prog, while foregoing the dorky pursuit of the cutesy. From post rock they inherit the modern day melodicism, but avoid the staid 4/4 rhythms for a much more complex approach. And the true secret ingredient is the addition of a late 60s psychedelic edge, adding something to the music that many newer bands in the progressive rock field forget to do: Rock.

Even with the above, on paper anyway, the band sounds marginally interesting if the contents aren't mixed properly. And that's where Krakatoa creates their separation from the competition. Wonderful stuff.

Ownership: 2003 Cuneiform (CD). Booklet features recording details, a concert photo, and art. Acquired in 2003.

2003; 2/1/10 (review); 1/24/25 (update)

Also own and need to review Plan Ahead.

2/1/10 (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

Roberto Colombo ~ Italy

Sfogatevi Bestie (1976)

About six years ago I spoke of Colombo's second album Botte da Orbi. The debut is similar in its approach, that of densely written compositions, and that are clearly charted for the participants at hand. Of which there are twelve musicians on this outing. Once again, Frank Zappa must be front and center in this discussion, as are other Italian contemporaries such as Franco Battiato and Tullio de Piscopo. Since it's a debut effort, Sfogatevi Bestie is much more rough around the edges, and there's more room for letting their hair fly. The album is more jazz than chamber influenced, that is to say, though clearly it still belongs to progressive rock. Though not the classic Italian style that we're more familiar with. Side 2 also shows Battiato's influence with some free improvisation bits, without ever going too far to the point of annoyance. Sfogatevi Bestie definitely fits in that weird grouping of "unclassifiable" late 70s Italian albums - a record that has improved with age, to my ears anyway.

Ownership: 1976 Ultima Spiaggia (LP). Acquired in 1993.

1993; 7//05; 4/18/21 (review)

Botte da Orbi (1977)

For those that constantly bellyache that most progressive rock is poorly composed, and is really a bunch of amateurs piecing disparate sections of music together, then may I suggest Roberto Colombo's sophomore release? This is a seriously dense work, and is clearly charted and most certainly required a music stand for the participants. Frank Zappa at his most complex must be in the conversation, though one can hear some of the Italian RIO / Jazz / Avant prog bands of the day, for example Picchio dal Pozzo, Orchestra Njervudarov, Agora, and Tullio De Piscopo - the latter even guests on the album. No jamming or grooves here, and the melodies are too brief, but powerful. Awesome production as well. Much of the avant prog genre is too high brow for me, but Botte da Orbi is thoroughly enjoyable, though lacking any notable peaks.

Former ownership: 1999 Mju:zik (CD). Small wallet like cover. Apparently this was sold with a magazine initially. Acquired in 2000. Downsized in 2026.

2000; 1//06; 9/25/15 (review); 5/1/26

9/25/15 (new entry)

Present ~ Belgium

Certitudes (1998)

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

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

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

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

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

Triskaidekaphobie (1980)

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

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

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

1989; 11/4/15 (review)

 

Present Live! (1996)

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

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

1996; 6/12/16 (review)

Other notes from 2023

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

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

6/12/16 (new entry)

Deus Ex Machina - Equilibrismo da Insofferenza. 1998 Italy

In 1998, Deus Ex Machina were one of those bands that myself and my running set were tracking real time. Their first three albums were all excellent, and they seemed to improve with each release. I had the pleasure of seeing them live in 1996 and they didn't disappoint there either. So there was much anticipation when Equilibrismo da Insofferenza was released. And boy, did it pack the WOW factor! They had streamlined their sound further, added even more complexity, while bringing forth a more mature songwriting approach. Not to mention a much better, more retro styled production. For 1998, it seemed to be their best effort yet, and one of the finest prog albums for the entire year - a sentiment shared by many at the time. 22 years later, and that impact has diminished somewhat. The music is dense, with tons of stop/start moments while Piras continued to push the boundaries of the Demetrio Stratos styled vocal gymnastics. And now he's singing in his native Italian verse Latin - which remains a plus in my book. Truth be told, I didn't remember much about the album going into revisit. And I don't remember much about it afterward - and it was only three weeks ago! When reflecting on Deus Ex Machina's best songs, it's starting to emerge that their sophomore effort is their most accomplished, and the one album the band relies on more for their live repertoire. The 90s tinny production was more the issue considering that release. There is an exception to everything I said above - and it's very significant: 'Cosmopolitismo Centimetropolitano' may very well be the single finest track (ever) to marry hard rock and avant prog. And it is memorable. It never stops driving forward, with one of the all time great guitar riffs combined with complex rhythms. And Piras has never been better than here. It was this one song that I think propelled it as one of the great albums in my mind. And for 10 and a half minutes, it most certainly is. For the other hour not so much. Is it Deus Ex Machina's best album? It may still very well be. We'll see how the other albums fare on further revisits.

Ownership: CD: 1998 Kaliphonia. Jewel case with extensive booklet. 

1998; 11/13/20 (new entry)