Runaway Totem ~ Italy

Zed (1996)

Runaway Totem are one of those bands where I've dismissed more albums than I've embraced. Their primary stock-in-trade is Zeuhl, one of my favorite forms of progressive rock music, which makes that a curious conclusion. And I started with them at the beginning, and I still think Trimegisto is an unheralded masterpiece. I purchased Zed not long after release, but it never resonated as much with me, though I did enjoy it. Nonetheless I sold it some years back. I never had it on LP, and when a friend recently offered it up for trade, I thought why not hear it in that format. Let's see if my perspective changes.

I'm not one to usually call out sound differences between vinyl and CD issues, but it does seem to have more bass depth than I recall from my last listen six years ago. Without having the CD here for comparison, that could just be positive thinking.

What I really enjoyed about the debut is that it possessed some nutty Italian styled prog breaks. Zed has none of that and is full on oppressive styled Zeuhl. Complete with orchestra and choir-like voices. The heavy guitars and synthesizers remain. Though it's clearly Zeuhl, it really doesn't remind me of any particular French, Japanese, or American band operating in this space, Magma being the closest. The vocals are very different from the latter, creating separation. And on Zed, Runaway Totem stays in build up mode for most of the recording, not letting themselves go as they did on their debut. Or as Magma themselves would. There is some doom metal styled riffing on the B side, which is a welcome reprieve.

I was borderline on this album when I had the CD. I think the LP, and my long history with the album, puts it back into the collection. Even though my rating remains the same. Interesting to note that you can still get this LP new here in the States for relative cheap. Not too many CD-era 90s underground LPs are going for a song these days.

Ownership: 1996 Black Widow (LP). Gatefold. Inner bag with lyrics and recording details. Acquired in 2026.

First copy: 1996 Black Widow (CD). Acquired in 1996. Downsized in 2020.

1996; 6/16/13; 7/4/20; 8/28/26 (review)
 

Affreschi e Meditazione (2012)

A very odd new release for Runaway Totem. Those coming to this album looking for their trademark Zeuhl sound will be sorely disappointed. It's mainly an electronic album (heavy on the brass sounds) with acoustic nylon guitars, all heavily filtered - and could almost be considered an ambient release. There are a couple of rock moments, with Italian vocals, but overall this one is a real curveball. That's not to say it's a bad album - it is indeed a very forward looking and progressive release in the truest meaning of the term. Not sure where I stand on it. Definitely not what I expected so I stand confused. 

Former ownership: 2012 Lizard (CD). Acquired in 2013; Downsized in 2018.

5/9/13 (review); 3/15/18

Also own: Trimegisto; Le Roi Du Monde

Previously owned: Andromeda; Manu Menes

5/9/13 (new entry)

Heldon / Richard Pinhas ~ France

Interface (1977)

---2006

If there’s a Heldon album that is quintessential, it’s Interface. It may not be their best (that would be the last one Stand By IMO), but it’s close and it represents all facets of their sound at their peak. The violent guitar of ‘Jet Girl Part II: In South Bronx’ represents the harsh bleakness of Pinhas’ sound more than anywhere in the discography

---7/31/26

And now we finally close off documenting my collection of the classic seven album run of Heldon. I'm not entirely sure where Interface fits in my initial foray into the Heldon catalog, but I think it was second after Agneta Nilsson. That one came at the beginning of 1986. This would have been the same time, one year later. My documentation back then was haphazard at best, and some of the dates have been retrofitted based on memory (though it was long ago I did this). But for certain Interface was the album that sealed my love for Heldon. I still get goosebumps listening to 'Jet Girl'. In fact, let's talk about that.

After an energetic Moog, bass, and drums opener, the nightmare begins. If 'Stand By' is the ultimate blistering guitar trio attack, the two part 'Jet Girl' represents Pinhas at his most anguished. The guitar sound is unreal. This track just exudes intensity and anger. The title is irony at its best. Part 1 is 'New York or Paris, Equivalent'. Hardly a soundtrack to a skipping young lady's birthday party. 'In South Bronx' slows it down to a heavy burn. Scorched Earth. One imagines Professor Pinhas wandering the unlit streets of the South Bronx, which would have been a treacherous thing to do, especially in the 70s. But being the ultimate subversive, one presumes he could care less.

A4 is the same lineup and approach as A1. This time even more energetic, with some very fine keyboard soloing. A5 starts off experimental, but it doesn't take long before you're immersed in the swirling keyboard sounds. Francois Auger was such a perfect drummer for Heldon. Like Klaus Krueger with Edgar Froese, he really accelerates the pace of everything he's on. A5 closes off Side 1 with the same motif as A1 and A3, except this time Pinhas lets it rip hard on his 1954 Gibson Les Paul.

That sets us up for the 19 minute title track. Buckle up kids, time to get serious! After eight minutes of tribal drumming, echoed found sounds, and Moog sequences, you know what's coming right? Oh yea, Pinhas starts off in full sustain mode, and he's ready to blow your head off. Which he subsequently does. Heavy guitar at its finest. It's not prog rocky like Stand By, more like unrelenting madness. You will be exhausted if you are at all paying attention.

The CD adds 8:30 minutes worth of 'Interface' recorded live at La Palace, Paris, 1978. I'm not one to often say "I wish I was there.". But, you know, I wish I was there.

For those of you who have known me for any length of time, then you'll also know that this album cover is my avatar. There are many reasons for that, but I often feel like I'm that thing / person. An alien lost in this world. Note the match on the helmet. What does that signify? For debate.

Ownership: 

1977 Cobra (LP). Gatefold. Acquired in 1987.

2005 Captain Trip (CD). Papersleeve gatefold. Comes with an insert with recording details. Another insert with two photos, including his most iconic: Pinhas standing in front of his big Moog with a bank of knobs, looking cold and angry, with a cigarette between his fingers. And a poster of Interface behind him. Also includes two live bonus tracks as noted above. I also own the Japanese promo box, which houses four of these titles, and features this cover.

Hi Eric! :-)

1987; 2006; 7/31/26 (review)

 

Un Rêve Sans Conséquence Spéciale (1976)

This is Heldon's 5th album and the first to feel more like a band effort than a Richard Pinhas solo work. Not surprisingly, we see Heldon's ratings start to go up at this point as well. The nearly 12 minute opener does not mince its sound. It's a crushing assault of your senses with raging guitar and synthesizers. Francois Auger is now on board to provide the key ingredient of rock styled drums. After such a powerful opening, Heldon reverts to a weird hybrid electronic track with Pinhas on the Moog, and Auger providing a lot of percussion. It's a new sound for them. B1 is a thick and muddy electronic number with pounding drums and added bass. The 15 minute 'Toward The Red Line' closes the album. Now doesn't that sound promising? This track could be seen as the upward ramp from 'Baader-Meinhof Blues' to 'Stand By'. It possesses the former's absolute bonkers Moog sequencing. From the latter comes the power trio aspect with Pinhas' fiery 1954 Les Paul guitar leading the way. Along for the ride is Magma's Jannick Top on bass while Auger goes crazy on the drum kit. Heck yea.

Really hard to imagine the American based jazz fusion label Inner City thought Heldon would be a big seller over here. Almost as crazy as A&M signing up Magma for two albums. At least Inner City could cut bait after only one.

The bonus tracks on the CD are not to be missed. They are labeled Live 1978, so I don't think they are the same as what was on the Perspectives compilation. 'Perspective 4ter MUCO' isn't on any other Heldon archival release. It may just have a unique name. But it's a banger of a track, capturing Heldon in full power trio mode. 'Marie Virginie C.' has been represented live prior (the aforementioned Perspectives), though this is from one year later. It's faithful to the original from the album proper, and will light your stereo in flames.

Ownership: 

1976 Cobra (LP). Acquired in 2011.

2005 Captain Trip (CD). Papersleeve with two inserts and two bonus tracks (one more than the US reissue). Acquired in 2006.

First copy: 1977 Inner City (LP). Acquired in 1987.

1987; 2006; 6/4/26 (new entry)
 

Third: It's Always Rock'n Roll (1975)

The tongue-in-cheek titled It's Always Rock'n Roll, is Heldon's third effort, this time spread across two LP's. Like most of the early Heldon albums, the music is primarily a Richard Pinhas solo album with guests helping out here and there. Opening up with a strictly sequencer based electronic number, the second cut is classic Heldon: Tortured electric guitar searing over the electronic base. Helping out here is Georges Grunblatt, later of K-Priss fame. Lard Free's Gilbert Artman adds drums to A3, and with Pinhas' fiery guitar, gives it a rock band feel. A4 is a cold and icy multi synthesizer piece, predicting where Pinhas was to eventually go on Rhizosphere and Iceland. Pinhas develops this further on 'Aurore', which takes up all of side 2. This track begins rhythmless, and could be considered a forefather to ambient music. About nine minutes in, the sequencers begin to rumble. So for 29 minutes, starting with A4, the album is entirely electronic. LP #2 opens with Pinhas back on guitar, both electric and acoustic. C2 is similar and brings back Grunblatt on mellotron for haunting effect. C3 is a unique track in Heldon's canon. Heavily distorted electronics and guitar create the framework for a blistering experience. It was the logical conclusion of where Pinhas had taken the group to date. 'Doctor Bloodmoney' takes up all of Side 4. Repetitive sequencers are augmented at the end with some fine drumming from Jean-My Truong. This track has a conclusive feel, and it seems Pinhas would consider it a definitive statement on his career to that point. With history on our side, we now know that Richard Pinhas was just getting started on his career trajectory.

This was the last of the first seven Heldon albums for me to obtain, as originals were expensive even back then. Because of this, Third didn't have the impact on me like the others. I was largely familiar with their sound by 1992, and thus the album was comforting, though not enlightening. Had I heard it first instead (as with Agneta Nilsson in 1986), it would be one of the treasures of the collection, no doubt. No matter, as all of them are still what I would consider essential in my book.

Ownership: 

1975 Urus (2xLP). Gatefold. Acquired in 1992.

2005 Captain Trip (2xCD). Papersleeve gatefold. With two inserts. Acquired in 2006.

1992; 2006; 4/27/26 (review)
 

Stand By (1979)

Not an everyday occurence when a band releases their best album on the seventh try and then calls it quits (for all intents and purposes). That's what Heldon managed to accomplish, and closed out the 70s decade in style. It's also a new direction for Pinhas and company, as much of the album is more progressive rock oriented than prior. There's also a parallel effort with Tangerine Dream's Force Majeure, mixing Berlin School sequencer based electronics with rock instrumentation. Though Pinhas was more on fire than Froese at this time. B1 adds in some Zeuhl vocals from Klaus Blasquiz, hey why not, they're going for it. The energy level remains high, and the sequences fast.

Then comes the title track, one of the most blistering, unrelenting, guitar power trio instrumental tracks ever made. It's no wonder why Pinhas closed off the Heldon name here. There was nowhere else to go!

Ownership:

1979 Egg (LP). With insert. Acquired in 1987. 

2005 Captain Trip (CD). Papersleeve. With three inserts. Acquired in 2006.

1987; 2006; 12/8/25 (review)

Agneta Nilsson (1976)

Agneta Nilsson was the first Heldon album for me to hear, and like so many foundational albums, it helped shaped my tastes in music rather than validate them. I was very familiar with Tangerine Dream, Ashra, and Klaus Schulze by this time (early 1986), but little else outside of Germany in the electronic field. When I saw the cover, it seemed like a can't miss proposition. Used import records back then weren't expensive so I took a chance. And was rewarded, though once again it took a long time to fully appreciate. 

The opening track is more like Richard Pinhas' Iceland (an album I'd hear a few years later), which is a long.. cold... electronic landscape. This is followed by the second Perspective which is a wild combination of synthesizers and atmospheric percussion. It's the third Perspective that enthralled me initially (and to this day). 'Baader-Meinhof Blues' is an incredibly intense piece of music and it's here that I was introduced to Professor Pinhas' 1954 Gibson Les Paul guitar. When one uses terms such as anguished, tortured, or nightmarish electric guitar, then this is the textbook definition of that. And while Pinhas is conjuring up the evil side of Hendrix, the Moog playing is magnificent. It appears to be completely improvised with the unpredictable analog instrument threatening to blow up at any moment. Like a washing machine that's about to topple over. This is followed by the one peaceful track 'Bassong' which is a guitar bass duo from two players not on the rest of the album, but both part of Pinhas' world (Gerard Prevost and Michel Ettori). The long Perspective IV is a summary of the contents before it with added doomanality (new word). Pinhas can really crush your spirit with his guitar and "melodies". After this album, Pinhas added permanent members to create more electronic rock sounding albums, that are even better (especially the last two). But these semi-solo electronic experiments prior are not to be missed. Pioneering in every way. 

Ownership: 

1976 Urus (LP). Acquired in 1986.

2005 Captain Trip (CD). Papersleeve. Acquired in 2006.

1/6/86; 9/15/06; 1/5/24 (review)

Rhizosphere (1977)

Heldon were one of the early obscure European electronic groups that I got into during my college years. While in Chicago a couple of years afterward, I stumbled upon the US pressing of Rhizosphere (on Aural Explorer), which is Pinhas' first solo album. Not surprisingly, there isn't that much difference between a Pinhas solo work and a Heldon album. Similar in that way to Edgar Froese and Tangerine Dream in the mid to late 70s. One could argue that Heldon essentially is Pinhas. However, Rhizosphere didn't excite me much on initial impact as it was a bit more static electronic than the more active and full bodied Heldon. Over the years though, I've come to appreciate his dark and heavy sequencer style, which makes the entirety of this album. Though it must be said that Pinhas' tortured trademark 1954 Les Gibson guitar is sorely missed.

What makes this CD more special is the 1982 live material from a concert in Paris. From an artistic standpoint, the two periods of music are incongruous. L'Ethique was the current album then, and Pinhas had more or less shut down Heldon by that point. In effect, it's more of a group effort and the guitar was back out front and center. And the concert is very spirited. While not a perfect soundboard recording, the type of music on display here will distract you from any sonic limitations. 

Ownership: 2006 Captain Trip (CD) Papersleeve. Bonus tracks as described above. Acquired in 2018.

First copy: 1978 Aural Explorer (LP). Acquired in 1989.

5/24/89; 3/16/18; 6/14/22 (review)

Single Collection (1972-1980 / 2006)

A much needed single compilation from one of France's electronic pioneers. In short form, Pinhas proved to be quite the rocker more so than his electronic focused albums with Heldon and as a solo artist. I've heard most of these in bits and pieces, some sitting on cd-r's. So it's really great to have them all in one place.

The first Schizo 45 from 1972 is a real foot stomper. Heavy wah wah bass and guitars and gravelly vocals similar to the guy from Ergo Sum. It's a long way from anything Pinhas ever did afterward, but it would have been a great path to follow, had he chosen to. The second Schizo 45 (1973) is really the first Heldon work and gone are the vocals (though there's narration). The a) side finds itself on Electronique Guerilla with a different mix, but no less haunting. Patrick Gauthier's 'Torcol' is the b) side, and foreshadows Heldon's more progressive rock tracks. Both Schizo 45s are excellent and not to be missed.

The 3rd single is Heldon's Soutien a la RAF. At 15 minutes, it's really an EP (and it's 33 rpm). Released in 1975, this is where Pinhas gets back to his rocking roots of Schizo, and contains heavy Moog sequencing with his patented tortured 1954 Les Paul. One has to laugh that these were released as "singles". Not exactly AM Bubblegum here. The 4th SP release (1976) is where the Perspectives title takes hold. Recorded during the Agneta Nilsson sessions, once again it's more on the rocking side than the album proper.

T.H.X. (1978) was Pinhas' attempt to join in with JP Massiera and others for the Parisian disco set. A long way from New York's Studio 54, France had some very interesting electronic artists playing in that field. Once you get your mind around the time and place - and don't expect Heldon - then this is a very fine 45 as well. And the b) side is more traditional Pinhas solo fare, with Rhizosphere back in the limelight.

The next single is a complete mystery. I cannot find evidence it exists anywhere. There is a scan of it in the booklet, but it's too small to read. From 1977 (and they put a question mark on that too) on Cobra (catalog number 10.019), the single features two edited tracks from Rhizosphere. My best guess is this is a test press that was never released, and was in Pinhas' personal collection. Anyone know more about this?

This is followed by two singles from the East West era (1980). Arguably this is Pinhas' most commercial effort, and brings back vocals and a slight new wave edge. I was harsh on that album back in the 80s, but I found myself really enjoying the music here on this go round. 'West Side' is on both singles and is the same track, so it's only represented once here.

It should be noted that most of these - if not all - are taken straight from the vinyl, and it's obvious at times. All the same, this collection is a can't miss item for Heldon and Pinhas fans.

Ownership: 2006 Captain Trip (CD). Papersleeve. With booklet showing the credits and pictures for each entry here. There is an essay as well, but it's in Japanese. Acquired in 2021.

5/18/21 (review)

Iceland (1979)

As one can probably guess by knowing nothing more than my avatar, I'm a huge Heldon fan. They were one of my initial discoveries when first digging deep into the European underground of the 70s. It was January 1986 and I was all of 21, at quite the impressionable age I might add. So Heldon is one of those bands that helped shaped my tastes in music for the future.

However, Richard Pinhas' solo works didn't have the same impact on me as his band proper, even though he was the undisputed leader of the group. In this way he deviates considerably from, say, Edgar Froese and his comparable solo efforts to Tangerine Dream. Until recent times, the only two Pinhas albums I kept from the 80s were Chronolyse (where side 2 is as heavy as anything Heldon ever did), and L'Ethique (a diverse but also powerful Heldon-like release). So what was the issue with the others? Well from my perspective the key to the greatness of Richard Pinhas is his ability to mix fat analog synthesizers with searing electric guitar (usually played on his trusty 1954 Gibson Les Paul).

It's this latter element that is missing greatly from Iceland. It is, as the title and everyone else's reviews suggests, a icy cold landscape of droning synthesizers and almost-industrial like percussion. Take away 'The Last Kings of Thule', especially Part 2, and the guitar is entirely absent. In effect, it's a static release, missing much of the dynamism of Pinhas' best efforts. In reflecting back as I hear the CD, the music is quite good for what it sets out to do - basically begging you to put a coat on even during a sunny summer afternoon. 'Greenland' is also a very fine electronic piece, definitely recalling Pinhas' trademark sequencer sound with a fine melody throughout. The 25 minute CD bonus track 'Wintermusic' is basically a long extension of 'Iceland (Part 3)', and if anything, is even more sterile and cold than the album proper.

Overall a mixed effort, worth owning for fans, but I'd save hearing this one until you've digested all of the Heldon's and the two aforementioned Pinhas solo works first.

Ownership: 2006 Captain Trip (CD). Papersleeve. Acquired in 2018.

First copy: 1979 Polydor (LP). Acquired in 1989.

1989; 6/28/18 (CD acquired / review)

Chronolyse (1978)

Richard Pinhas' second solo album is an absolute classic of progressive electronic music. The music is very much in line with what he was accomplishing with his primary vehicle Heldon at the time. The album contains seven vignettes of aggressive Moog sequencing, and one longer electronic piece on Side 1. And on the flip, there's a 30 minute brain blaster of guitar-bass-drums and electronics in the best Heldon tradition. A fine companion album to Heldon's Interface and Stand By. Brilliant.

Ownership: 

1978 Cobra (LP). Acquired in 1991.

2006 Captain Trip (CD) Papersleeve. Acquired in 2017.

1991; 1998; 8/10/17 (review)

L'Ethique (1982)

Unlike the 1970's era Heldon albums, all of which I can unconditionally recommend, the same cannot be said for Pinhas' solo works from the same period. Rhizosphere is a static electronic album, Iceland is as chilling as its name, whereas East West shows Pinhas trying his hand at more commercial material. But two albums stand out: Chronolyse (1978) which is perhaps the best of the lot and the album of today's post: L'Ethique.

L'Ethique was an excellent way for Pinhas to close shop (and he didn't truly resurrect for at least another 10 years). It's a concise summary of his musical career to that point. The four part title track, spread evenly throughout the disc, demonstrates what I think he was trying to do on East West, except with far better results (and it helps immensely that he buries some of his patented tortured guitar into the mix). The two part 'The Wailing Wall' follows down this trek, but is even more powerful, especially the smoking guitar and sequencer runs of Part 1. 'Melodic Simple Transition' represents his pure electronic side. But best of all, is the return of his King Crimson inspired heavy rock jams, as found on the last two Heldon albums and 'Chronolyse'. These are represented by 'Dedicated to K.C.', 'Belfast' and the bonus track 'Southbound' (taken from the Perspective compilation). This is one of those albums that opened musical doors for me.

Ownership: 

1982 Pulse (LP). Acquired in 1986.

1992 Cuneiform (CD). With bonus track as noted above. Acquired in 1996.

1986; 1996; 5/19/11 (review)

Allez-Teia (1975)

Continuing our trek through the Heldon catalog, we enter the famed number II. Of all the Heldon albums, this is by far the most mellow, with a proliferation of acoustic guitar calming down the proceedings just a little. The subversive feel of the debut is maintained throughout however, and anarchy seems just around the corner. Deep, heavy, thoughtful music. While heavily influenced by Robert Fripp, Professor Pinhas was trekking down an individual path, and is now considered a legend in his own right. A lot of name dropping in the track titles, something that became vogue in the 2000s, but wasn't as common in the 70s. Amongst the more obscure, 'Fluence' references Pascale Comelade, where Pinhas was featured heavily on the self-named album for the Pole label. While 'Michel Ettori' refers to the sometimes Heldon guitarist. A highly regarded album and rightly so. The real underground of the 70s is featured here.

Ownership: 

1975 Urus (LP). Gatefold. Acquired in 1988.

2005 Captain Trip (CD). Papersleeve gatefold. Acquired in 2005.

2//88; 2005; 6/18/10 (review)

Electronique Guerilla (1974)

All of the Heldon albums are special, and the first is no exception. It's more raw and primitive, and that's part of its charm. Moog synths with searing electric guitar work define the album. An anarchic left wing vibe gives it a radical student atmosphere, befitting Professor Pinhas' role.

I found an unpublished summary that I wrote in 2006 about Heldon's early albums: A proper discussion of French electronic music cannot be had without at least a passing mention of Heldon. Lead by the mercurial Richard Pinhas, a professor of Philosophy at Le Sorbonne, and master of electronics and guitar. The early albums, generally accepted as the first three, exude the feeling of the underground - a true rebellion to all things that are commonly accepted. Subversive. One can only wonder what role Pinhas would’ve had in the French Revolution, but I get the impression he would’ve made the history books. And, in some ways, he has made the history books, even if the subject in question are more for connoisseurs than the general public.

Ownership: 

1975 Urus (LP). Acquired in 1987.

2005 Captain Trip (CD). Papersleeve. Acquired in 2006.

1987; 2006; 2/10/10 (review)

Also own: Fossil Culture (with Peter Frohmader)

2/10/10 (new entry)

Puzzle ~ France

Puzzle (1983)

---9/1/10

Puzzle is a well executed all-instrumental psychedelic guitar driven album, released at a time when very little of this style was available on the market. Perhaps only Cincinnati's Ra Can Row could be called out during this era. There are some really sizzling guitar freakouts here. And actually a few well-thought out melodies, which is not something inherent within the genre. But Puzzle has one fatal flaw. And it's the only thing keeping me raving about it: The dreaded drum machine. Had they employed a real drummer, I would enthuse more about it. Naturally enough, the keyboards are all 1980's era synthesizers too, though the guitar fortunately remains the focus. A fine album overall.

---6/11/26

That was the CDRWL entry. I since acquired the LP, heard again, and then filed. So here I am once more (Fish anyone?) to enter into the UMR with a fresh listen.

I first read about this album in one of the many dealer catalogs I received in the 90s. The way it was described, talking up the psychedelic guitars, had me very intrigued. I'm sure they used Heldon as a reference too. No one mentioned the drum machines. Funny how that was a bugaboo for me back then, but today they don't distract me much, if at all. In fact I welcome it - from an historical perspective. For a new album I most certainly would expect a human drummer to participate. But for an album from 1983, I can appreciate the era in which it was released, and the constant looking forward to new technologies. Though it should be mentioned there is real percussion deployed, but the rhythms are primarily carried by a drum machine. And its usage here is pretty sophisticated for the early 80s.

Though a group effort, its nigh impossible to ignore Andre Muller's psychedelic infused guitar all over this. As with LS Bearforce and Ra Can Row (noted above), no one was reaching back into the late 60s and early 70s to achieve that tone. There are only three tracks here, yet Puzzle keeps the music hopping in all sorts of directions. In some ways I'm reminded of Tiemko's Ocean, an album that was to come along about seven years later. And Eric Delaunay had no qualms with throwing in electronic percussion here and there. Overall a really solid album and I enjoyed a +1 listen from this session.

Puzzle is a rather difficult album to categorize. Is it prog, fusion, electronic, space rock? The answer is yes. 

This is one of those albums you'd think would be worth a fortune today, but you can still pull this out of France for relative cheap. For my fellow Americans, you'll have to wait for international postal rates to recess back to normal (and they will), then you might want to mail order one. Or fly to Paris and bring it home. Might be cheaper.

No reissues exist as I create this entry on 6/11/26.

Ownership: 1983 private (LP). Acquired in 2013.

9/1/10 (review); 11/27/13; 6/11/26 (update / new entry)

Klaus Schulze (& related) (1980s and beyond) ~ Germany

Dreams (1986)

Though I was very much tempted to keep on buying new Klaus Schulze product, I did stop after Inter*Face in 1985. I felt I owned enough already and was exploring many other albums and styles in my later years of college. Dreams would have come along in that final year before I was unleashed into the workforce, and newly armed with paychecks to spend. But I was done accumulating Schulze albums then as well.

It's only in the last ten years that I picked up Dreams to see what I missed. On my initial listen, I enjoyed it enough to keep, but didn't get any words down. So let's do that now on my second go round.

As Schulze admits in the liner notes, this album is very much an orchestral effort. Much of his work during this era is as much classical as it is electronic, though the latter most certainly represents the instrumentation. He was also conscientious about listing all his gear around this time, stating it distracted from he wanted to accomplish with his "electronic orchestra". Much of the music here sounds very familiar. Too much so honestly. The title track, though, was a refreshing ambient break. The final lengthy piece does feature vocals, usually not a positive for electronic albums, and this is no exception.

Now the bonus track is worth noting. It was originally a promotional only CD single (released in a quantity of 300) to advertise the Andromeda analog synthesizer in 2003. It was, and still is, an incredibly rare piece changing hands for hundreds of dollars. That won't likely change, but not only do you get the full "song" (as Schulze calls it), but apparently the full version was 40 minutes long. So he added a few minutes for the bonus to fill up the CD. Though the synthesizer is unique, his demonstration of its abilities sounds similar to many other synthesizers he has in his possession. All the same, it's the highlight of the disc. Enough so for me to keep. To my ears, the Andromeda doesn't really sound all that analog. In reading about it, apparently it is state of the art and is now highly sought after. Today it goes for a small fortune.

Ownership: 2005 Revisited (CD). Tri-fold digipak. Booklet with a bio of Schulze and an article about Dreams. Also includes the bonus track as noted above. Acquired in 2016.

1/31/16; 5/20/26 (review)
 

Michael Shrieve with Kevin Shrieve and Klaus Schulze - Transfer Station Blue (1984)

---10/2004

‘Communique Approach Spiral’ is out-of-the-box early 80’s Schulze with all sorts of overlaid live percussion, with actual human hands, by Shrieve. Of course, this latter element gives it the life it craves for so desperately on those tired Schulze albums of the era. ‘Nucleotide’ is a five minute experimental ambience and electronic percussion work. The title track is similar to the opener, but a little faster, creating the image of a modern world caught up in fast transportation – perfect for the IMAX theater. Though they throw in a curveball smack dab in the middle of the song - an 80’s style funk groove ala Level 42 (it repeats near the end of the song as well). It’s hilarious in its incongruity. It’s the closer that separated this from the masses. ‘View From the Window’ is an aptly named piece, beautiful in its execution of electronics and rhythmic, yet melodic, cyclical guitar. A great way to end an album. I find it funny the back cover uses the 1977 stock photo of Schulze.

---4/11/25

Technically this is a Michael Shrieve album but it has Schulze's fingerprints all over it. Certainly Michael Shrieve has influence here, and it's a percussive driven album after all. But then again, Schulze was a pioneer in using drums and later drum machines in electronic music. The layered sequencers are all vintage Schulze. The title track illustrates this with Shrieve adding all sorts of acoustic percussion on top of the synths. And I like the Alan Parsons Project-styled funky guitar bit. Brother Kevin plays the guitar and electric piano, though his contributions are more subdued. However his most notable presence is the closer 'View From the Window', a beautiful pensive number that does make one want to look out the window on a bleak rainy day and reflect on one's life. I bought this album when it came out, having been a Schulze fan for about a full year. Has the optimistic feel of the early to middle 80s, when technology seemed like an endless dream. A dream that personified over the course of the decade.

I had forgotten about my 2004 review until I finished today's listen, so you can see I have some differing viewpoints from 20 years ago.

Ownership: 1984 Fortuna (LP). With insert. Reacquired in 2024. First purchased in 1984.

1984; 10//04 (review); 4/11/25 (review)

Audentity (1983)

Had some trade credit at a local store to use, and this one came in, so thought I'd check it out again. I say again, as I'm pretty sure I had this exact version in the middle 80s. It's only half the album, as the German pressing is a double. Musically it's precisely what Schulze was up to in 1983, and I was reminded of his live Polish recordings from the same year. His running buddies at the time were all involved: Rainier Bloss, Michael Shrieve, and Wolfgang Tiepold (cello). Nothing groundbreaking here but a great reminder of an optimistic time.

Ownership: 1983 Illuminated (LP). Reacquired in 2023. First purchased in 1985. 

1985; 10/24/23 (review)

Beyond Recall (1991) 

Klaus tells us this is his 23rd solo album. That would be not counting archival releases, otherwise it would be his 2,300th album. There's really nothing at all wrong with these past-his-prime Schulze releases, but they aren't particularly enlightening either. 77 minutes of Schulze at this stage is purely background music. There's a lot of what sounds like acoustic guitar here, but it's just more synths. I don't have any nostalgia towards this title, as it came along way past my initial discovery and enamoration (not a word, but it should be!) for the artist. My electronic collection grew out of control about 17 years ago, and it's time to trim some of that tree. And this is a low hanging branch.

Former ownership: 1991 Venture (CD). Acquired in 2011. Downsized in 2022.

3/31/11; 3/20/18; 3/18/22 (review)

Inter*Face (1985)

I bought this album right after it came out, while still in college. Ten years after that, needing shelf space, I sold it in one of my LP catalogs. And now 20 years later, I have the original CD in my possession for the first time. 

Anyway, the reason I sold the album is I had a boat load of Schulze already (if I only knew then how much he was about to release...), and this one seemed superfluous at the time. Perhaps it still is, I dunno. Sure, there's a bit of Klaus-on-auto-pilot going on here, and the tracks linger for longer than they need to, but doggone if this doesn't set the right mood. And the epic long track recalls Schulze's 70s sequencer works, more so than the proto-chill-out of the first side. Plenty of great (real) percussion adds to the vibe.

Ownership: 1985 Brain (CD). Acquired in 2016.

First copy: 1985 Brain (LP). Acquired in 1985.

1985; 12/4/16 (review); 9/21/26

Albums from this period that I own: Dig It; Dziekuje Poland; In Blue

Previously owned: Drive Inn; Aphrica; Moonlake; The Dome Event

Plus dozens of others will likely flow through here eventually.

12/4/16 (new entry)

Jean-Luc Ponty ~ France ~ USA

Imaginary Voyage (1976)

I first heard this album via LP some six plus years ago (and probably before that, not sure I ever owned it though). But I didn't get any notes down on my listening experience. I did sell it, only to find this CD in the quarter bin recently. Let's see if I want to hold onto it this time.

Ponty's second album for 1976 sees him diversifying his sound a bit. Though the hoedown opener may have been too much at once lol. The next three tracks sort of blow by without notice. A5 starts to light things up with some fiery guitar from Daryl Stuermer (him again). The interest in Imaginary Voyage boils down to the 20 minute title suite on Side 2. It's definitely the most ambitious piece on the album, and brings in some progressive jazz fusion tendencies. The music, however, does lack the fire of those that surround it. Had this been an earlier fusion discovery for me, I would certainly hold onto it. I can let it go now though. It's easy to find if I ever change my mind again.

Source: 1990 Atlantic (CD)

1/3/20; 4/27/26 (review)
 

Aurora (1976)

Unlike most of Ponty's classic fusion albums, I've never heard Aurora, one of his landmark works. Just one of those quirks of life I guess. It wasn't that long ago I featured an obscure fusion band from my original hometown of Dallas named Aurora, no doubt influenced by this album. In any case, as noted below, I recently acquired Cosmic Messenger on CD, and this album is included with it.

As usual, Ponty surrounds himself with top talent including the lovely Patrice Rushen on keyboards. Always-around-somewhere guitarist Daryl Stuermer provides some pretty mean licks. Ponty's heavily affected violin is smooth as glass. Overall not as intense as Cosmic Messenger, but there are plenty of fire moments here too, including the lengthy two part title track. The album closes with two mellow numbers leaving it with the overall impression it's a light album, but that's not really the case.

See Cosmic Messenger for Ownership details.

12/22/25 (review)

 

Cosmic Messenger (1978)

---8/2/21

I love the way that Ponty layers all the instruments, and there's some really fine rhythms, tying to my new favorite genre of jazz funk. Excellent solos as well, rarely showboaty, always measured.

---12/16/25

That was the journal entry from only a few years ago, and my second listen. Though I was certain to have heard this album in the 80s or 90s, I had no record - or recollection - of it. I consider the 2020 listen as my introduction, after acquiring it at an estate sale a few months prior. I unintentionally made it sound like a solo album, but it's a full band effort with four to six musicians performing on each track. Some great synthesizer and guitar work from the guests add a lot of color and energy to this fine work. Naturally his violin remains the feature. Ponty was a major force in the fusion field at this time, and his albums go toe to toe with the best of them. I find albums like this very easy to listen to, and provides a nice break from more complex efforts.

Ownership: 2022 Wounded Bird (CD). With Aurora. Booklet has recording details only. Acquired in 2025.

1/5/20; 8/2/21 (notes); 12/16/25 (review)

Individual Choice (1983)

Individual Choice is a very interesting album from Ponty, favoring the synthesizer over his trademark violin. In this way, he seems to be following Richard Pinhas' approach more than his own fusion based efforts. His sound choices are mostly monolithic while heavy on the sequencer. Though more positive in tone, one could make comparisons to Chronolyse, especially when there's bass and drums present. The melodies are well written and provide a nice contrast to the normally cold electronic genre. Always fun to hear future American Idol star Randy Jackson on the bass. He certainly earned his way to being a judge, as he was a very busy session player in the 80s. Only the finale 'In Spite Of All' demonstrates Ponty's fusion tendencies. I'd owned this album many years ago, but dismissed it as ordinary fusion. I missed the boat. Wrong genre and wrong mindset.

Ownership: 1983 Atlantic (LP). Reacquired in 2023. First acquired in 1993.

1993; 4/18/23 (review)

Also own: Enigmatic Ocean

Once owned and need to revisit: & Stephane Grappelli; King Kong; With the George Duke Trio; Civilized Evil; Mystical Adventures

4/18/23 (new entry)

Dionne-Bregent / Bregent ~ Quebec, Canada

Partir Pour Ailleurs (1979)

My memory of this album is almost non existent. I could have sworn I'd heard it prior to 2017, and wrote a review, but I have no record of such. The two Dionne-Bregent albums, yes, but not Partir Pour Ailleurs. 

And this isn't going to be easy. It's one of those unclassifiable prog rock oriented albums, which can only be considered a plus. The brothers Bregent consists of keyboardist Michel-Georges on keyboards, and Jacques on vocals. They are joined by at least five others on guitar, bass, drums, and reeds. This includes former collaborator Vincent Dionne. Jacques' French vocals are intense, recalling some of the Theatrical prog bands coming from France similar to Ange and Mona Lisa. The album opens with a 50s styled rock n roller like Johnny Hallyday. It's a complete head fake, as the remainder is a mix of challenging prog, heavy fusion, and electronic styles. Michel-Georges background in the field of progressive electronic ensures the listener that the music will not crossover into popular styles easily. There's even elements of Zeuhl and Canterbury present here. The music requires intense focus, as it's a very deep, intelligent, and surprisingly melodic affair. This is no academic avant prog album. Though recorded in 1978, most of the material is from 1972, which might explain the high level of creativity.

Also lost to memory is the CD includes a full live show titled Live A L'Uqam 1977. This is a more stripped down affair. Other than the final track, the others are live recordings of material taken from the album proper. Given the auditorium atmosphere, it would be difficult to produce the same results as the studio offered. No less satisfying however.

I did not realize that this is one of the best CDs in my collection. Until now.

Ownership: 2007 ProgQuebec (CD). Booklet with recording details, photos, and a short biography. Acquired in 2017.

6/10/17; 3/27/26 (review)
 

Deux (1977)

One year later from the debut, Dionne et Bregent provides us with a completely different outlook on Deux, one considerably more positive. Not to mention the material is much more of a complex nature, verse the entirely atmospheric debut. The first side, broken into seven parts, may recall for the listener other keyboard / drum progressive rock duos such as Rusticelli & Bordini, Eden (France), or Kashmir. There’s quite a bit of variation among the seven themes presented here, from quiet harpsichord passages to raging Moog solos.

The backside of Deux positions Dionne and Bregent firmly in the high energy, but melodic, fusion category – quite a ways from the dark, alien sounds of 'L’Eveil du Lieu' from the debut! Two tracks are presented here: 'Campus' and 'Transit Express' (could have they known about the excellent French fusion group of the same name?). Tangerine Dream circa Force Majeure would be another reference. Plenty of great soloing (Moog, Mellotron, Clavinet, vibes, xylophone), time signature changes, and complex songwriting.

Not surprisingly, the two bonus tracks are, once again, very different from anything else on display. Dionne performs a 13 minute solo percussion version of a 1959 Stockhausen composition, which has an academic "serious" modern classical feel about it. The final track is the 10.5 minute 'Fil de Terre', which apparently was recorded for a soundtrack. It’s a rock based affair, not too distant from the material on 'Campus', but again there's a twist, as this is considerably darker in tone with some nice violin soloing. No date is given, but sounds a bit earlier than the two albums proper. The duo themselves called their music Rock-Classico-Cosmique. That’s more accurate than anything I could think of!

Sadly Michel-Georges Bregent died in 1993. Bregent has other albums, most notably with his brother Jacques in the band with their surname, but his work with Vincent Dionne is unparalleled in its creativity.

Ownership: 2006 XXI-21 Productions (2xCD). Includes ...Et Le Troisième Jour in its entirety + two bonus tracks. Acquired in 2006.

11//06 (review); 12/27/18

Also own and need to revisit Et Le Troisième Jour.

12/28/18 (new entry)

Bizarre Ko.Ko.Ko. ~ Austria

00 Time (1984)

---1/21/11

Regular readers of the CDRWL know that I'm quite fond of the Berlin School of sequencer based electronic music. And that's where Bizarre Ko.Ko.Ko. fits in perfectly. In fact, this is version 2.0 of Cultural Noise, an LP from my collection that I fawned over way back when. This isn't that dissimilar from Cultural Noise, though it's clearly moving away from the Tangerine Dream influence, and adding an overall darker mood. Mellotron, sequencers, and guitar are all present, especially early on. It begins to deconstruct towards the end, making it sound more like an early Klaus Schulze effort (think Cyborg). Really a fine effort and a must hear for EM fans.

---3/16/26

That was the original CDRWL entry, penned after acquiring the LP. This is my first revisit since and I'll add it here to UMR.

One can't talk about Bizarre Ko.Ko.Ko. (would like to know the reasoning behind that moniker) without referencing Cultural Noise. And that's because they are 2/3rds of the same band. Looks like it was Gerhard Lisy who sat this one out. The crazy titles stayed in place as well, with 'Retracting The Reflected Consciousness Of All Having Come To Into Being' taking first prize. And look at that cover. What the hell were these guys into? Alien insanity, that's what. If curious, the cover was done by one of the two members of the band: Walter Heinisch. Clearly Hans Rudolf Giger was an influence here.

Musically these guys were still entrenched into the analog 70s. No hints of 1984 here. This isn't their "Poland" or "Drive Inn" album, that's for sure. Some very inventive sequences can be heard, especially on B1. I referred to B2 as deconstruction, but there's plenty of sequencing there too.  

Ownership: 1984 Synoptik (LP). Acquired in 2011.

No CD reissues as of 3/16/26. Has been reissued on LP.

1/21/11 (review); 3/16/26 (update / new entry)

Radio Massacre International ~ England

Emissaries (2005)

---Oct 2005

What an outstanding release this is! RMI had hit a bit of a rut in my opinion, starting with Planets in the Wires (ED: since rectified - see review below). All their (proper) albums are good, but they were missing some oomph recently. This has some amazing sequencer, mellotron action. Some real drums and pulverizing guitar add to a great album. Their best in a long while.

---2/16/26

And it's been a long while since I heard this - as in the day I received it 20+ years ago. As pointed out elsewhere, I loaded up on Berlin School albums in 2005, so the fact I was offering high praise to Emissaries in that same year is notable, given the huge potential for overload.

Radio Massacre International were an unusual choice for the avant prog focused Cuneiform, but it proved to be a fruitful relationship that lasts until this day. Emissaries is RMI's debut for the label. And a whopper at that, a sprawling two full CDs. The first CD is a studio recording while the second is a live concert in Philadelphia.

What does one seek to hear on a Berlin School Electronic album? The creativity of sequences, the texture of sounds, the atmosphere, and the melodic songcraft. As a bonus, if one gets more analog non-keyboard instrumentation, especially electric guitar and drums, then you probably have a winner on your hands if the group executes on all the above.

And that's exactly what Emissaries does. The band also adds a few brushes from the style palette. This isn't 1977 Tangerine Dream emulation, as they might have done in the past. Though there's no mistaking their Berlin School roots, one gets to hear an almost progressive rock approach to the compositions. The second disc is looser in structure and there are many cosmic blues segments created by the guitar.

Two hours and 16 minutes is a lot of music to absorb. RMI are to be commended for keeping it varied throughout so as to not be a monotonous listen. I'm guessing my initial enthusiasm came from that perspective, as it was a deviation from the norm. There are more moments of dithering about than I had realized on initial impact. Now I'm not so sure this is a top tier RMI release. Certainly it's a keeper for now, and once all of my RMI collection has been heard, I should be able to discern what are the best titles for me to keep.

Ownership: 2005 Cuneiform (2xCD). Booklet includes liner notes. There's also a comic strip in .pdf that I have yet to view. Acquired in 2005.

10//05 (notes); 2/16/26 (review)
 

Republic (1996)

---2006

It’s been awhile since I’ve listened to any Radio Massacre International, and even longer on the earlier ones that got me hooked initially. I think Republic is the first one I bought in 2001 and started me on a tear of picking up retro Tangerine Dream style bands from the UK (Red Shift, AirSculpture, Arc, Under the Dome, Arcane, etc…). Tangerine Dream laid out an interesting framework from Phaedra to Encore, one that wasn’t copied by anyone, including themselves, for over 20 years. There were some mild attempts, usually by solo artists (which is near impossible to do – you need the synergy of at least two people to accomplish some interchange of ideas). Then finally some of the groups I mentioned above started getting serious about it. Another key ingredient is the use of analog synthesizers (Moogs, VCS, Elka, Mellotron). What I like is that RMI and the others don’t exclusively go retro and will use modern technology to their advantage. But they didn’t abandon the past either. Then there’s the development of each piece. No cruise control sequences for these guys, they’re always twiddling knobs and adding / reducing sounds as they go. Just sit back and watch the world go by. Here’s your soundtrack.

---12/1/25

Another album I haven't documented in the UMR era, even though I snuck in one listen in 2014. Not that my viewpoint has changed in the near 20 years since that review. Some more detail though. There's only three tracks. Each over 20 minutes, filling up the entire CD. It doesn't start off in bombast mode however. The opening track is a slow buildup, with plenty of sequencers and mellotron to set the tone. 

The second composition is similar, though the sequencers become more powerful about eight minutes in. And then you can hear that the guitar is gearing up to let loose. And then he does just that, with roaring synthesizers in the background, at the same moment they unleash the dark choral mellotron. That combination is a tough one to beat, no matter what genre of music you're hearing. This piece gets very intense in places, like we hear from Tangerine Dream on their archival live releases from 1977. The ending of this incredible track sounds more like Heldon than T. Dream.

Not to be outdone, Republic then goes into that same dark cavern with a lake, as I describe on my Rubycon review. Choral mellotron defines the haunting mood. The question becomes, are we going to exit along the river or stay there forever? The sequencers then begin to provide the light so we can see our way out. Optimism is reflected in the flute tapes of the mellotron. The pace of the sequencers continues to increase. By the 19 minute mark everything is louder and more intense. For the last six minutes we have a chance to reflect on all that has happened.

If you're going to get into Radio Massacre International, then I'd suggest Republic to be at the top of your list.

Interesting to note, this album isn't listed in ProgArchives though most of them are. This is one of their landmark albums, so a strange absence for certain.

Ownership: 1996 Centaur (CD). Acquired in 2001.

2001; 2006 (review); 12/23/14; 12/1/25 (update)

Planets in the Wires (2001)

According to my database, I have accumulated 14 RMI albums to date, and sold one (Zabriskie Point). Too much of the same thing you ask? That's kind of where my head was at going into this listen. Of all their albums that I do own, I've held this one with the least regard.

Now I'm not so sure of that assessment. I will say that it is too long, and the 75 minute length could have been trimmed by 20 minutes, easy. Some of the lengthy "ambient" sections don't add much to the recording and get away from what Radio Massacre International does best: Essentially copy Baumann-era Tangerine Dream. But once the sequencers begin to roar and Gary Houghton begins to wail on his guitar similar to Edgar Froese, well it sure is hard not to appreciate the contents within. I probably do have too much of this kind of stuff, though.

Former ownership: 2001 Northern Echo (CD). Acquired in 2002. Downsized in 2026.

2002; 6/24/22 (review)

Solid States (2003)

Solid States is made up of four live and studio concerts during November of 2002, performed in both Philadelphia and the Los Angeles area. This is one of Radio Massacre International's more psychedelic releases, and that's primarily due to the abundance of electric guitar. Basically what we have here are long journeys of Berlin School electronic music with fat analog sequencers, mellotron, and loud acid guitar solos. If this sounds like Encore-era Tangerine Dream, including the concerts-in-the-USA theme, then yes, you have tracked the scent indeed. One cannot possibly get enough of 'Coldwater Canyon' in my book, and here you'll swim in roughly two and a half hours of it. Essential.

Ownership: 2003 Northern Echo (2xCD). Acquired in 2003.

2003; 5/26/16 (review)

The God of Electricity (1994 / 2000)

In effect, The God of Electricity is Radio Massacre International's earliest album, though not released until 2000. The album was recorded throughout the summer of 1994, and later pieced together, which is a bit different than the normal RMI protocol. It's a darker work, with synthesizers dominating the proceedings even more so than later in their career. The sequencers remind us once again that Baumann-era Tangerine Dream is the blueprint for all future RMI recordings. The God of Electricity is yet another excellent album from RMI, though I wouldn't recommend it as a starting place. Better to try their actual debut Frozen North to get the true Radio Massacre International experience.

Ownership: 2000 Centaur (CD). Acquired in 2001.

2001; 11/1/16 (review); 4/3/25 (update)

Septentrional (2006)

Radio Massacre International have to be viewed as one of the most innovative of recent groups. Certainly within the electronic music space, a field that has the same devotion and non-wavering loyalty to sub-genres as does heavy metal. You're either "Berlin School" or "Ambient" or "Techno" or any other such labels, but you shouldn't be all of them - say many fans. RMI, who started out pretty much strictly "Berlin School", are now all the above and more, with recent excursions into tripped out Krautrock, and whatever else they feel like doing. Septentrional is one of their most polarizing CD albums (their privately released CD-R's are even more controversial). Produced by Ian Boddy, and released on his DiN label, Septentrional is RMI at their most modern and cutting edge. But in a paradoxical way. See, Septentrional has more of that ancient mellotron than any of their other albums. Of course it's put through the production grinder and is echoed, techno'd, phased, manipulated, and ultimately tortured through Boddy's mad scientist lab. It's all rather fascinating. Headphone music for the modern age. If looking for just one composition to leave your jaw hanging, may I suggest 'Trident', which is truly a beautiful thing to hear and behold.

Ownership: 2006 DiN (CD). Acquired in 2008.

2008; 10/18/15 (review)

Frozen North (1995)

It all starts here for Radio Massacre International (RMI). That most creative English band that almost single-handedly brought back the Berlin School trio format back to prominence. All three perform on a raft full of analog keyboard equipment (yes, of course, mellotron, Moog's, etc...), while one doubles up on electric guitar. Sound familiar? Sure it does. So if you're looking for about 20 more quality albums from the glory days of Tangerine Dream's "Virgin Baumann years", well do I have good news for you! Not that RMI was content to just sit in that same zone, as many of their albums followed other trends of German Kosmische, but primarily RMI were all about sequencer and atmospheric mid to late 70s Tangerine Dream. And the double CD Frozen North is the perfect place to start (if you can find it that is - I bought mine not long from its release date). We are talking two hours and 15 minutes of Encore meets Rubycon era Tangerine Dream. Not a mere copy, but yet a completely unique take on a classic sound. To say it is essential for fans of Berlin School elektronik music would almost be understating the matter.

Ownership: 1995 Centaur (CD). Acquired in 2003.

2003; 12/21/14 (review)

Knutsford in May (1997)

The hardest part about writing on Radio Massacre International, is that they have so many doggone great albums, it's near impossible to determine what is great from what is really great. If you're a fan of the Berlin School of electronic music (Tangerine Dream, Klaus Schulze, etc...), and you like sequencers, mellotron and electric guitars (and even real drums on later albums) - then do not wait another second - don't walk, but run out, and buy at least one RMI album. You almost cannot go wrong, though as I said in the prelude, there is a bit of separation on their respective titles. Knutsford in May is one of their can't miss titles for fans of the genre. This one has more than its share of mellotron and guitars, and while listening to this you'll feel like someone dropped you into Edgar Froese's studio circa 1975. RMI have completely mastered the style, and if you're looking for a starting place - Knutsford in May is as good as any.

Ownership: 1997 Centaur (CD). Acquired in 2001.

2001; 10/10/06; 5/17/11 (review)

Rain Falls in Grey (2007)

As stated in my review for Septentrional, Radio Massacre International are one of today's most innovative groups. Case in point: Rain Falls in Grey. On this outing, RMI pay their respect to Syd Barrett. Musically this is RMI's most overt space rock effort, with raging electric guitars, and ferocious drumming. As well, RMI have successfully created those magical atmospheres that one would typically find on an old German Ohr release, who themselves were enamored with late 1960's Pink Floyd. This being RMI, one is never too far from classic mid 70's Tangerine Dream, and the combination of the early Krautrock sound with "Berlin School" electronics is highly fascinating. After a bit of a lull at the beginning of the decade, RMI has created a triumvirate of classic releases starting with Emissaries. Each represents an entirely different sound. Rare is this kind of innovation found, much less from a band whose recording history was almost 15 years old by this point.

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

2008 (review)

Other albums I own: Organ Harvest; Borrowed Atoms; Upstairs Downstairs; Walking on the Sea; Time & Motion

And they have tons more than this, especially when one considers all the downloads and cd-r's.

5/17/11 (new entry)

Flamen Dialis ~ France

Symptome - Dei (1979)

---7/30/18

A very unique album - one that inspires polarizing reviews. In spirit, Symptome - Dei seems very much like an Edgar Froese solo album - except it's not really an electronic album per se. Nor is it a type of progressive rock or folk. Avant prog? If taking the name literally, then yes. But not for what the genre has come to mean, not even close. This is a very spacious music, created mainly with mellotron and percussion. Symphonic sound sculpture? Whatever it is, I quite like it. 

---2/9/26

The notes above were penned for a journal entry that remained unpublished. So Flamen Dialis makes its UMR debut here. This is an album I've had in my possession for 30 years, though I'm still largely unfamiliar with the contents. Mostly from the imagination of Dominic Le Gallic, he gathers no less than seven others to join him on his journey. Though it seems natural to categorize the album as part of the electronic genre, it offers too many diversions to fit comfortably in that space. The spirit of exploration is very much alive on Symptome - Dei. Elements of Fille Qui Mousse are apparent, without the annoying free improv bits. The music is from another era, that of the early 1970s. When I made the Froese solo reference, I was thinking very much of the mellotron use. Symptome - Dei is absolutely drenched in it, similar to Froese's Macula Transfer in that way. The interesting phenomena about this album is it's actually melodic. Most of these type of albums tend to go tuneless in a rush to create cacophonous noise. This is miles from the Fred Frith / Tim Hodgkinson mindset. Franco Battiato is an artist that is sometimes referenced, and his early experimental works surface here as well. As I concentrate on the music, one can hear the brilliance that is Algarnas Tradgard, minus the psychedelic jams. Had this been released in 1972, perhaps those psych moments would have been in here too. One of a kind for certain. Where to place in the collection? In the same cube that stores albums on the Ohr label, for example.

The CD adds their 1978 single. Both sides are excellent, and demonstrate more of an ensemble effort. Would have loved to hear more from this era of the band.

Ownership:
1979 FLVM (LP). Acquired in 1996.

2004 Mio (CD). Booklet with liner notes in English and French. Two bonus tracks from a 45. Acquired in 2004.

1996; 2004; 7/30/18 (notes); 2/9/26 (review)

According to the liner notes, there was a 45 single released in 1971 as the Yecta Plus Band, which was the ancestor to Flamen Dialis. I've spent a good amount of time searching for this record, including asking other like-minded collectors. Never for sale on ebay, Discogs (nor listed), catalogs, etc... Nothing has turned up. I'm guessing it doesn't exist, or at the very least, it wasn't released to the public or even as a promo. Perhaps an acetate exists. Would love to hear it, if true.

Didier Le Gallic resuscitated the Flamen Dialis brand name for two more albums in the 2010s, which I've not heard.

2/9/26 (new entry)

Popol Vuh ~ Germany

Das Hohelied Salomos (1975)

Here's another case of an album that shows I haven't heard it since the late 80s, but I know that's not correct. Yet it's probably true that I haven't heard it in over 20 years. Let's see how this revisit goes.

Das Hohelied Salomos is Popol Vuh's second "rock" based album, released after Einsjager. Starting off with pronounced percussion and the soprano vocals of Djong Yun, it's clear the direction set on Einsjager would continue, but even heavier. As I listen to this, I also hear a similar guitar style to Manuel Gottsching on the Starring Rosi album. Whether there was a conscious attempt by both him and Fichelscher to try for an "American West Coast" sound, or they arrived at a similar conclusion to elevate their recent compositions. I'm reading some interesting reviews claiming this is a weak link between Einsjager and Letzte Tage. I'm not going to agree with that assertion. I feel they all maintain a high standard.

Ownership: 1975 United Artists (LP). Rough paper cover. Acquired in 1989.

1989; 12/29/25 (review)
 

Seligpreisung (1974)

One of those albums I originally owned on vinyl on the Pop Import imprint and traded in for the CD. Seligpreisung is the odd album out sitting in between their groundbreaking New Age statement Hosianna Mantra and their more intense emotional workouts like Einsjager & Siebenjager, Das Hohelied Salomos, and Letzte Tage - Letzte Nacht. Florian Fricke handles the vocal duties here, to its detriment. Not that he's a bad singer like many of his compatriots, just doesn't seem to fit the mood. The weak link in a string of great albums. I was never sold on this title, and that remains the case on this revisit. Off you go.

Former ownership: 

1983 Pop Import (LP). Acquired in 1989.

2004 SPV (CD). Acquired in 2005.

1989; 6//05; 12/15/24 (review)

Hosianna Mantra (1972)

---March 2005

Most know the story here as Fricke sold off his electronic equipment and went all acoustic (save some electric guitar). Piano, guitar, chanted vocals, and Indian stringed instruments are the focus. Gets a bit trippy towards the end. Must’ve been quite a shock to those who bought In Den Garten Pharaos just prior. Serene and beautiful.

---1/31/24 update

And that was my most recent listen until last night. Quite an about face for Florian Fricke. One could argue this is the beginning of New Age music. RYM has it as the second in chronology for "Neoclassical New Age". A very tranquil and peaceful album. They were to introduce far more percussion after this giving it more of a rock band feel, though they pretty much were "their own thing" back in the 70s.

Ownership: 1974 PDU (LP). Gatefold. Acquired in 1989.

1989; 3//05 (review); 1/30/24 (update)

Aguirre (1976)

An interesting album from Florian Fricke and company. Combines their recent foray into new age styled rock with guitar, percussion, and female wordless vocals - with their electronic oriented past. Somewhere between Das Hohelied Salomos (side 1) and Affenstunde (side 2). It's been suggested that this recording is a compilation of sorts, given that Fricke no longer owned his big Moog at this point. Maybe Schulze let him borrow it. All the same, most of this was unreleased prior, with some reworkings of earlier material.

The CD contains one bonus track that is essential. I've read that the long piece is slightly different here than on the LP. I listened to both, but you really have to pay attention I think. I didn't notice it. 

Ownership: 
1976 PDU (LP). Acquired in 1990

2004 SPV (CD). Digipak. Comes with the all-purpose Florian Fricke booklet, though mine has three different pages than the one shown on Discogs. Wondering if the submitter had the wrong one, or if the label "mixed and matched" the booklets with their other Popol Vuh releases at the time.  Acquired in 2005.

1990; 1996; 6//05; 7/10/23 (review)

Einsjäger & Siebenjäger (1974)

After a few albums of pure electronic music followed by tranquil acoustic forms, Popol Vuh changed directions again and decided to add a rock component mostly missing prior to this. It's just as much about former Amon Duul II (and Sameti) guitarist and drummer Daniel Fichelscher as it is about Florian Fricke at this point. Einsjager & Siebenjager is made up of long spacious and rambling instrumental pieces that feature electric guitar, piano, crashing drums, with sparse wordless female voice and flute. That voice belongs to Djong Yun, who would become more prominent on their next couple of albums. Popol Vuh have discovered a unique sound here, one that solely belongs to them, even to this day. Genre tags are difficult, and this is where the all-encompassing Krautrock name comes in handy. It's proto new age, but no one would recognize the sound at such an early stage.

Love the striking day-glo yellow and orange cover. There's some debate on Discogs about the original pressings. The date stamper of the PDU version is mid December 1974. So it would be highly unlikely for it to be issued in 1974, but rather 1975. However the copyright date of 1974 is clear. The German original is dated 1975. It has been suggested that yes, the Italian version is in fact the original release in this case.

Ownership: 1974 PDU (LP). Acquired in 2022.

First copy: 1982 Pop Import (LP). Acquired in 1987. Downsized in 2026.

1987; 1/20/22 (review)

Letzte Tage, Letzte Nächte (1976)

Letzte Tage, Letzte Nächte is Popol Vuh's 7th album, and represents a powerful statement for Florian Fricke and company. Fichelscher's guitar strums loudly, while he bashes away triumphantly on whatever percussion is laying around. Djong Yun and Renate Knaup chant along in their feminine, transcendent manner. Popol Vuh would never sound so heavy again, preferring the atmospheric soundtrack music that colors their future work. Perhaps their finest 30 minutes on record.

Ownership: 

1976 United Artists (LP). Acquired in 1988.

2006 Arcangelo (CD). Papersleeve. Acquired in 2017.

1988; 1997; 8/4/17 (review)

Sei Still, Wisse Ich Bin (1981)

As others have stated, this is a departure from the normal uplifting Popol Vuh fare. It's a heavy, serious religious effort, and I would submit perhaps the beginning of what is now known as "Ritual Ambient". RYM describes the genre as thus "Ritual Ambient is a subgenre of Dark Ambient that focuses on dark, deep, disturbing, ritualistic and occult atmosphere. It often features some chanting voices, tribal rhythms and appropriate samples." OK, there are no samples, but otherwise that genre description would work as a review for this album. Popol Vuh was a pioneer in many fields, not surprising to find another one. The latter half of Side 2 is more positive like their mid 70s albums, but the overall effect is dark and mysterious.

Ownership: 1992 Spalax (CD). Acquired in 1996.

First copy: 1981 Innovative Communications (LP). Acquired in 1989.

1989; 1996; 10/25/16 (review)

Other albums I own: Affenstunde; In Den Garten Pharaos

Previously owned: Yoga; Herz Aus Glas; Nosferatu; Spirit of Peace

10/25/16 (new entry)