Thule ~ Norway

Natt (1990)

If Natt isn't the album in my collection with the longest span since I last heard it, then it most certainly is in the running. Bought it not too long after release, and heard it a few times that year, filed away, and here it is for a relisten some 35 years later. To underscore this, I've since moved my entire collection seven times, back and forth between Colorado and Texas - and within each state as well. Have too much stuff, Genius Hans? Yea, methinks so too.

In any case my reaction real time, and today, is that Natt's opener is far more aggressive than the spacey Ultima Thule, as documented below. It's really hard to know what Thule were up to at this stage. Despite their progressive rock heritage, it appears the band were moving into other musical areas. The Hammond organ and electric guitar tones are reminiscent of the past but the compositions are more song based. It's been suggested they were playing a type of gothic rock, and I'm inclined to agree. The darkened atmosphere required for the latter is sorely missing here, and the tracks sort of plod along without purpose. For my tastes, B1 is the highlight.

I remember being very disappointed with their subsequent Frostbrent album, as they had largely abandoned prog rock altogether. Though I suspect it may have been more committed to goth, and perhaps in the end, it was the better album. I no longer own it, so that evaluation will have to be for another day. ProgArchives, for their part, rate Natt as their finest hour. I'll vote for the debut.

Thule were one of a handful of contemporary Scandinavian progressive rock bands on the Norwegian Colours label, one of the earliest of the prog specialty labels. Most known for breaking out Anglagard, Landberk, and Anekdoten - on vinyl at least - they also promoted more obscure bands such as Utopian Fields and The Smell of Incense. They were swimming upstream with their (mostly) LP-only stance at a time when everyone was switching to CDs. They were obviously too far ahead of their time, as they had the right idea for the future.

Ownership: 1990 Colours (LP). Gatefold with native lyrics on the inside. Also comes with a lyric booklet in multiple other languages. Acquired in 1991.

1991; 5/25/26 (review)
 

Ultima Thule (1987)

I bought this from Eurock not long after it was released, and to say it was anachronistic at the time, would have to considered an understatement. While certainly not as retro-prog conscious as Anglagard, Thule do seem to have fallen out of a 1970s time machine. Probably the same contraption that fellow northern Norwegians' Tangle Edge fell out of near the same time. The album is comprised of two side long compositions, that flow together as one long piece (and that supposedly tells a tale of colonizing a new continent - yea, yippee yayhoo). Without a doubt, mid 70s Pink Floyd and / or Ocean era Eloy seem to be the primary influence here, though sung in their native tongue complete with some dark narration bits. There are some 1980s references to be found though, such as the fat digital production with wide open drum beats, as well as an occasional period synthesizer sound. The album pretty much plods along at a slow to mid tempo pace throughout, and the focus falls squarely on the dark atmosphere provided. Thule probably should have experimented a bit more with complex rhythms and dynamics to allow for a more kinetic experience. While this was never what I would consider a great album - it's not one I would be willing to part with either and, in fact, it has aged quite well.

Ownership: 1987 private (LP). Acquired in 1988.

1988; 6/19/10 (review)

Once owned: Frostbrent

6/19/10 (new entry)

Diagonal ~ England

Diagonal 4 (2021)

As noted recently for the newest Jordsjo, Viima, and Hooffoot albums, I took a lengthy break from buying retro prog albums. God knows I already have enough of the real thing from the 70s, plus just about every newer act since the 1990s playing similar. As with those three bands, Diagonal were a favorite, and it was only a matter of time before I got back on the saddle of the 1970's progressive rock horse. I skipped over their 3rd album, which received mixed reviews, though I'm betting I'd enjoy it. Perhaps I'll acquire it some day too. In any case, I've revisited both Diagonal albums in recent years, much to my continued satisfaction. And my reviews stayed static, meaning I captured properly what I heard initially. Let's see if there newest one ignites my imagination in a similar fashion.

Right away they start off with the psychedelic guitar, which is always a plus in my book. Melodic sax enters, and we are back into the 1971 English landscape. As noted below, Diagonal do not play in the tradition of the English prog bands that made it big in America. But rather those that played the UK club circuit to reasonable success, before hanging it up or changing their sound dramatically. When talking retro prog, Diagonal is about the only band that tread down this path. One whose trail still needs clearing. After hearing the album in full, I'd declare the opening two tracks as the winners of the bunch, as they are more representative of their trademark sound.

While Diagonal has always put out LP length albums, this one is on the short side. Ironic then, that on 4, the band stretches out more into languid guitar based jams. There's less kinetic changes here, and leans in towards space rock, a twist that begins to reveal itself about halfway through. With that in mind, I don't think Diagonal was able to scale up on their first two albums. At least from my point of view, though one can hardly blame a band for trekking a new path forward. I'm sure repeated listens will enlighten me further. A well done album, though I'm not sure if I'm willing to say it's essential. At least yet. ProgArchives, for their part, rates it Diagonal's highest with the caveat it also has the least amount of ratings.

Ownership: 2021 Cobblers (CD). Digipak with lyrics and recording info. Acquired in 2026.

3/16/26 (review)

 

The Second Mechanism (2012)

If the debut laid down the premise that Diagonal were to be the retro progressive rock band to be reckoned with, then The Second Mechanism fulfills that conclusion. Perhaps more studied than their first opus, with even more twists and turns to keep the modern short-attention-spanned listener completely enthralled - ironic given Diagonal's 1971 disposition. But such was the state of that era - and ours. Diagonal are a band that have gone from great to greater, and I can only imagine what they will come up with next. Let's hope the group continues to explore these paths that were not as tread upon as many people might initially presume. Diagonal are walking the little known side trails from the main highway. And there are many aural treasures to be found.

Ownership: 2012 Metal Blade (CD). Digifile. Acquired in 2013.

1/29/13 (review); 10/11/23

Diagonal (2008)

Diagonal are the first modern UK band, that I know of anyway, to truly capture the essence, atmosphere, and sound of the original progressive rock movement from 1970-1971 England. Many groups have come along and tried their hand at generating the sound of Yes, Genesis, ELP, Gentle Giant, Jethro Tull, Pink Floyd, Renaissance, King Crimson, and Van der Graaf Generator. And while all of those groups are worthy of imitation, they only represented a fraction of the original UK movement. Of course, they were the ones that made the big time, so it's more than understandable how they attracted more admirers than others. But Diagonal has clearly absorbed the record collections of the deep divers - in particular the Neon, Dawn, Transatlantic, Vertigo, and Deram labels and their stable of bands. With Diagonal you'll hear references to bands such as Cressida, Samurai, Raw Material, T2, Beggar's Opera, Gravy Train, Spring, Clear Blue Sky, Diabolus, East of Eden, and Indian Summer. But here's the most important part to understand: They have absorbed the influence, not copy it. And so you get an entirely new album within a familiar context. And because the band has clearly studied this era in depth, not to mention incorporating the period instrumentation (mellotron, Hammond organ, Fender Rhodes, fuzz bass/guitar, sax), they are able to create an extract of the genre. What that means for us modern buyers is an enhanced product - perhaps even exaggerated. For my tastes, Diagonal have created the perfect retro progressive rock album. An album to be held up as an example of how to do it right. If you're a student of the genre, then let Diagonal be your teacher.

Ownership: 2008 Rise Above (CD). Slipcase. Acquired in 2009.

2009; 1/20/11 (review); 4/21/18

1/20/11 (new entry)

Hooffoot ~ Sweden

Phantom Limb (2025)

Phantom Limb is the third effort from the Swedish retro prog / jazz rock band Hooffoot. I documented their debut, but never did get around to writing anything down for their second. I'll get to it eventually.

Without having the context of their sophomore effort in mind, I'll have to jump from the debut to here. Well, for one, there's no Latin culture influence this time. It's much more entrenched into the jazz rock world of the early 70s, but without the pyrotechnics often associated with the style. The music is composed with improvisation tightly controlled yet visible, making it for an enjoyable and entertaining session. Hooffoot leaves you guessing where they're going next, which is usually a hallmark of a great album and is the recipe for new results on repeated listens. The instrumentation remains steadfastly retro, sticking with analog gear pre-1980. 

As always, it helps to have a reference album to grab onto. Provides the guardrails for a comfortable listen. They aren't near as jumpy as, say, Anglagard, Wobbler, or that branch of the Scandinavian retro prog tree. I couldn't find what I was looking for in UMR, so I dug through my hard drive. Maybe Metrognom? Who remembers this Norwegian band from 2006 whose sole album Twangyluck came and went without much notice? That album also possessed four lengthy instrumental pieces. They did, however, also feature sax, so a diversion, but that may be the closest I get here. I need to revisit that album and place it here in UMR. Of course, Berits Halsband (noted below) also had four instrumental tracks as well, though they were a bit more psychedelic and featured trumpet.

For me, especially at this point. Hooffoot's Phantom Limb is extremely easy to listen to. As I said about Viima's last album, it's so very much in my comfort zone. Perhaps even more so. You won't hear me say this too much these days, but I'm very much looking forward to their next album, and I'll pounce on it quicker next time.

Ownership: 2025 Paura di Niente (CD). Embossed trifold digipak. Acquired in 2026.

3/2/26 (review)
 

Hooffoot (2015)

Hooffoot are from the southern Swedish city of Malmo, and are an excellent representation of a Swedish progressive rock band... from 40 years ago. Like their forefathers, the band is rooted in jazz, but fascinated with rock. And Latin culture. Sound odd? Not in Sweden would it. So combine Kvartetten Som Sprangde, Sabu Martinez, Ablution, and Mendoza together. Then go back exactly 40 years to one of the all-time Swedish jazz rock greats, and just now being discovered (finally): Berits Halsband. "Oh hello Miles Davis, Kebnekaise, and Flasket Brinner - nice to meet you!". And then enters the room this jumpy, kinetic 90s group called Anglagard (perhaps you've heard of them?). Funnel the lot of them into the blender and grind, mash, grate... Hooffoot. 

Ownership: 2015 Paura di Niente (LP). Gatefold. Acquired in 2016.

2/12/16 (review); 8/3/17; 11/10/25

Also own and need to review The Lights in the Aisle Will Guide You.

2/12/16 (new entry)

Viima ~ Finland

Väistyy Mielen Yö (2024)

It's been ages since I last checked in with Viima. The 2010 revisit of their debut (below) is the last time I've heard a note from this fine band from Finland. I was quite enthused about the group through their second album, and then they disappeared after years of promising a third effort. That third album day finally arrived a couple of years ago. I broke down and decided I unnecessarily needed another Viima effort, even though I have plenty of this type of sound already. I keep saying I'm done adding to my collection more of the same. Old habits die hard.

Singing defiantly in Finnish, like fellow countrymen Sammal and Malady, Viima go about making progressive rock the 1974 way. That would include instrumentation. Flute, Rhodes, organ, mellotron, and psychy electric guitar. Along with a rhythm section that feels an obligation to provide a challenging meter or three. All Genius Hans Essentials. I've said it before, but sometimes going back to my roots maintains my collecting enthusiasm. As much as I enjoy exploring new avenues, I also appreciate returning home and curling up in the familiar bed while watching an old TV episode. With hot chocolate. And these beautiful gatefold covers also bring me back to the golden age. Comfortable. Yes, comfortable is the right word. 

Ownership: 2024 private (LP). Gatefold. Acquired in 2026.

2/23/26 (review)

  

Ajatuksia Maailman Laidalta (2006)

It’s getting to the point that everything that’s from Finland is great. They are to the current decade what the French were to the 1980s. And thank goodness for that. Wasn’t sure what to expect here. Was told it was Finnish folk prog, and about the only band I associate with that is the obscure and rare Scapa Flow. It’s not really like that however. Even though it’s sung in beautiful Finnish, the album has more of a UK feel than one from continental Europe. The female vocals are one distinguishing factor. What’s interesting to me are the guitar breaks, which are rooted in hard rock – a clear departure from the acoustic folk psych of the base material. I quite liked this one.

Ownership: 2018 private (LP). Gatefold with lyrics. Acquired in 2022.

First copy: 2006 private (CD) Acquired in 2006.

12//2006 (review); 3/15/10

Also own: Kahden Kuun Sirpit.

3/15/10 (new entry)

Agropelter ~ Norway

The Book Of Hours (2025)

So what is an Agropelter anyway? AI tells us: "A legendary "fearsome critter" from North American lumberjack folklore, said to inhabit hollow trees in coniferous forests from Maine to Oregon. It is depicted as an ape-like creature with a slender, wire-like body and long, muscular arms used to break off and throw branches at loggers." Leave it to the Norwegians to reference an obscure American folklore legend. One I'd never heard of, for certain. No takers for Punxsutawney Phil, huh?

I had been told that Agropelter were exactly the type of retro prog I would enjoy. I was certain that was true, though I have so much of it already, I hadn't pursued the title with earnest. The label owner had a different point of view considering my apathy, and so here we are.

Agropelter are, at this point anyway, an instrumental project surrounding a one Kay Olsen, who is the composer as well as providing much of the salient instrumentation (guitar, bass, organ, synths). He surrounds himself with some prog rock A-listers to ensure a built-in audience awaits. Many guests are on hand to provide anything from grand piano, flute, cello, mellotron, duduk, and beyond. The instrumental palette is rich and wide. 

The opening 'Flute of Peril' brings in that familiar melancholic dark and misty mellotron heavy Scandinavian flair that Jordsjo has so completely mastered. Ah, but we get our first curveball on 'Leviator'. A more direct sound, with synthesizers played in the mid 70s style. An almost American approach, perhaps even Kansas when in their instrumental flights of fancy mode. Or Ethos for a more obscure reference. The synthesizers often recall early 80s Tangerine Dream, a welcome diversion from the usual early 70s recipe. It's no surprise, then, that Olsen name checks Vangelis. The latter when in rocking mode I hasten to add. The other artist Olsen references is Terje Rypdal, and one can here that especially in the bass heavy atmospheric portions. Though, to be clear, The Book of Hours certainly doesn't veer into fusion territory all that much. This is symphonic progressive, true to the meaning of the first word. In fact the rhythms are rather straightforward for this kind of album, once again pointing to an 80s heritage. I'm reminded of many a Dutch band operating in this space. When hearing it in this light, the ghost of Camel appears from the hallowed halls. The Par Lindh Project also comes to mind, especially considering the classical leanings.

Retro prog can mean many things, though it has become a euphemism for the darkened prog that Anglagard started and groups such as Wobbler, Agusa, and Jordsjo have taken forward and further mastered. Agropelter is decidedly not of that branch of the tree. The Book of Hours reminds me of the optimistic time in the 80s when much was still left to be discovered, and yet the corporate world of music was holding most everyone back. There were shoots of green grass everywhere though. Agropelter would have been one of those. Hard to capture that time and place so well, as it was far more subtle than the grandiose and well documented progressive rock scene of the early 1970s. This is one of those niche within a niche albums that is almost always worth exploring.

So yep, as predicted by those in the know: It's exactly the type of retro prog I enjoy.

Ownership: 2025 The Laser's Edge (CD). Digipak with recording details. Acquired in 2026.

2/2/26 (review)

Hopefully this isn't a one off project.

2/2/26 (new entry)

IQ ~ England

Dominion (2025)

Here's the last of my new music arrivals. As you can read below, IQ is a very important group for me. For as long as I can collect music, I will likely always buy a new IQ album. There's not too many bands I'd say that about at this point. This time there was a six year wait, slightly more than their standard five they had established back in 2004 (though they've averaged five since 2000). We can blame COVID. Might as well, I blame it for a lot of things. The band that appeared first on The Road of Bones continues on Dominion, thus adding a stability that had been missing in their early years. Let's see how the new album stacks up against its predecessors.

This time they open the album in introspective mode, with Peter Nicholls singing over atmospheric electronics and past war declarations. Near the five minute mark, we hear the familiar IQ prog rock sound. Four minutes later, they really begin to amp it up. This is my kind of IQ! I don't know if there are too many bands that I would recognize instantly as I do with IQ. They have a sound, and they perform it on Dominion just as they have for the last 30+ years. I describe that sound, as best as I could, on prior reviews. That's not to say all the albums are the same. Far - far - from that. They are each crafted within the boundaries they created. If they were all the same, I'd have dropped these guys many years ago. My initial response to Dominion isn't as strong as the albums from the last 25 years. Though my high rating remains the same. I mean - it's IQ. It sure was a fast 53 minutes, which is a compliment.

On that topic, interesting to note that IQ's last several releases more or less receive the same ratings on RYM and ProgArchives. For the former, they seem to hover around 3.6 (which is excellent for that site, especially for prog). And the latter is in the low 4's, an excellent score no matter who's doing it. The number of ratings is significantly down for Dominion on both sites, however. Whether that's an indication that folks have moved on from prog, dying off, stopped rating albums in general, or just following other interests (or groups), I cannot say. I'm no different, rating 4 stars for all of their albums since The Seventh House. For me personally, I attribute that to not getting to know their albums more in depth. I think if I were to put any one of them into the car changer for two weeks straight, at least one (or more) would rise. I should prove that theory some day. But which one? Questions. Another fun challenge would be to rank all of their songs in order of preference. That would be some undertaking. If I ever get out from under the mountains of albums I need to listen to, I may take that one on.

Ownership: 2025 Giant Electric Pea (CD). Tri-fold digipak. Booklet has lyrics, artwork, and a band photo. Acquired in 2025.

12/1/25 (review)

  

Resistance (2019)

I've written extensively about IQ in the past, and Resistance fits their current pattern perfectly. Following on their five year new album release schedule, going back to 2000 (allowing that Seventh House to Dark Matter was four years, close enough), Resistance is yet another tour de force from the best operating band of the original New Wave of British Progressive Rock movement. And this time, we have a static lineup. 80% of the original band is sticking with it, and Neil Durant seems to be the answer at the keyboard set. As with their other recent albums, gone are all traces of attempts at pop stardom. With Resistance you get close to two hours of hardcore progressive rock. With most bands, anything more than 50 minutes seems like a slog, but with IQ the time moves swiftly. Those five years of interim between recordings are not to put waste. All the tracks are well crafted, and it's clear that multiple listens will reveal more each time. I've only listened to disc 1 twice and disc 2 once, but like all of their catalog, I know revisits will be rewarding. As I've said before, there's probably not too many people who are new to IQ - and maybe less to prog rock in general - but one could do far worse than starting right here with Resistance as a great place to begin your collection. The album is a great ambassador for the progressive rock style - all that is excellent about it, while leaving off the more derided aspects of the genre.

As I've also mentioned in the past, IQ is often at their best in foot-stompin'-hard-rockin' anthem mode. IQ knows this by now too, so no point in making anyone wait as opener 'A Missile' is just that. A hard rocking missile that is. Most of disc 1 is a spirited affair, mixing in complex charts with memorable tunes. Disc 2 is geared toward their epic progressive side, something they don't always focus on. I would argue Resistance is their most progressive outing yet, if I can use the word progressive in the sound-of-an-era sense verse true progression. 'The Great Spirit Way' has the type of changes and sound that we often associate with the Scandinavians like Wobbler or Anglagard.

IQ has spoiled us for 20 years straight now - and it's hard to choose what is their best work in this era (I'll always be partial to their original albums Tales from the Lush Attic and The Wake because of time and place) - but most certainly an argument can be made that Resistance is that album.

Thank you IQ for keeping the original early 80s progressive rock spirit alive. Perhaps we see you again in 2024?

Ownership: 2019 Giant Electric Pea (2xCD). Tri-fold digipak. Booklet has full lyrics, credits, a band photo, and artwork. Acquired in 2019.

12/8/19 (review)

Seven Stories Into 98 (1982 / 1998)

When I did a full IQ retrospective a few years ago, I realized I had never heard their initial demo tape from 1982. It was then, for the first time it appears (not sure why?), I became aware of this CD. The fact that they re-recorded the material was even more exciting. So off I went to buy the CD... ugh. OOP and expensive. So I waited. And eventually I sourced a copy online for a reasonable price, and here we are.

First off, I was determined to hear the tape first, followed by the re-recordings. The band of course pushed the new recording first, as they indicate often an apologetic approach to releasing the demo at all, but I think most fans wouldn't care about the flaws. And I do recommend a similar approach, otherwise it will take your ears quite a bit of time to adjust from professionals in a studio to amateurs in a bedroom.

The liner notes alone were worth the price of admission, and I learned some things about the band I never knew. For example, I didn't realize they had started out as an instrumental fusion band influenced by the likes of Return to Forever. And this shows prominently on the opening track 'Capital Letters'. It's not until the namesake 'Intelligent Quotient' do we first hear Peter Nicholls and their trademark neo prog sound they helped create. By the time we get to 'It All Stops Here', you can tell the band is firing on all cylinders and ready to hit the studio for their brilliant Tales From the Lush Attic debut.

After hearing the tape, I fully expected to be blown away by the new recordings. But honestly, I enjoyed them about the same, despite the obvious improvement in sound and execution. Perhaps it's because I grew up in the same cassette tape culture IQ operated in, and I appreciate the raw grit that comes with it. This CD is a must own if you're a fan of the early IQ sound, of which I most certainly am.

Ownership: 1998 Giant Electric Pea (CD). Historical liner notes. Acquired in 2016.

7/8/16 (review)

The Road of Bones (2014)

And so now we arrive at IQ's most ambitious album to date: The Road of Bones. 30+ years after debuting on the scene, IQ have remarkably not only stayed true to progressive rock (not considering the middle 80s missteps), but are the rare breed to continue to actually progress, thus living up to the genre name. Perhaps most surprising is that the lineup for The Road of Bones is a major upheaval from their last Frequency album. Whereas that album was the least looking IQ lineup, with only founding members Michael Holmes and Peter Nicholls on board, on The Road of Bones these two are rejoined by the original rhythm section of Tim Esau on bass and Paul Cook on drums. It's been over 25 years since Esau was in the band, and yet he fit like a hand in glove. And not only that, but Mark Westworth's position as keyboard maestro lasted for one album, and here he is replaced by Sphere3's Neil Durant - who to my ears is probably the best choice yet for IQ, given his preference towards analog equipment. You won't miss Martin Orford (really). The album has been presented as a single, or a double, depending on one's budget I presume. It is important to note that this isn't a one album CD, with archival bonus material filling out the second disc - or some novelty item of IQ covering classic 70s rock. No - it's a double CD filled to the brim with classic IQ music. So if you do decide to get the one CD version, you'll end up with half the album. I don't recommend that to anyone. No matter your budget, wait a bit and save up the few extra dollars, and buy the CD in its full glory. You'll want it eventually anyway. I haven't spoken yet about the music, and not sure I need to. There are 100's of reviews out there already dissecting each note, theme, lyric, and purpose. This tells me IQ is bigger than ever, and the world is a better place for thinking that way. Sure, for purists not everything is "just so", and IQ utilizes too much metal, or electronic, modern production techniques, bla blabla bla bla. And yea, Nicholls sometimes has to sing a novel, and doesn't shut his yap. But the music is absolutely identifiable as only IQ. No one else sounds like them, and their music has a depth that allows for multiple listens, and new discoveries await at every turn. I found it hard to pick a favorite song, as each one was of a high quality. In some ways, objectively speaking, this is IQ's finest hour. Err two hours (so yes, they have one upped Frequency). For me, my life is inextricably linked to their first two LPs, and they likely will always be my favorites. If coming at this band for the first time (is that even possible?), then start here and absorb the album in full before launching into their deep catalog. For me, IQ can do no wrong. And I hope we hear from them again in the next five years (or sooner, eh guys?).

Ownership: 2014 Giant Electric Pea (2xCD). Tri-fold Digipak. Acquired in 2014.

12/30/14 (review)

Frequency (2009)

Vocalists and bassists come and go, but IQ stalwarts Martin Orford and Paul Cook have now exited stage left, and in their stead are Frost* drummer Andy Edwards and Darwin's Radio (and Grey Lady Down prior) keys man Mark Westworth. This leaves only guitarist Michael Holmes to have weathered the entire storm to date. And so what does Frequency sound like? IQ. In fact, it sounds like IQ in 3-D. Their brand identity has been distinctly carved out now, and this is a band who knows what that identity is. Everything is bigger, louder, and more pronounced than before. So at this point, it's about the composition, and the execution thereof.  IQ are always at their best when in foot stomping mode, and 'Ryker Skies' is this album's best representation of said sound. And 'The Province' picks up on IQ's ability to go deep into the progressive rock weeds with multiple time changes and mood changes. While the nostalgic exhilaration of Tales of the Lush Attic and The Wake inevitably take those albums higher for me personally, objectively it's hard to argue that Frequency is not their best album to date. Only in that it is their most focused, and overtly progressive rock themed album yet (well OK 'One Fatal Mistake' kind of blows, self-defining the title a bit then.). Not that the latter statement of "most progressive themed" is a virtue in of itself, but when executed by IQ... maybe it is.

Ownership: 2009 Inside Out (CD). Acquired in 2011.

2/13/11; 12/24/14 (review)

Dark Matter (2004)

IQ were always a band of the 1980s with a compositional structure that points to the '70s. With Dark Matter they finally look backward in time and marry their instrumental side with their writing style. Martin Orford will never be accused of obsequious loyalty to the analog beasts of yore, but at least here he is willing to give the heavy wood pieces a bit more attention than prior. And even if they're not authentic 1971 ware, at least the effort was made to sound as such. As with The Seventh House, the days of penning pop hits are long in the rear view mirror. This is all-in progressive rock. Dark toned opener 'Sacred Sound' recalls the brilliant 'Widow's Peak' - but with an organ dirge in the middle. 'You Never Will' possesses some fine heavy bass and synthesizer. And 'Born Brilliant' brings back the old mid-80s IQ anthem-styled stomper. The much ballyhooed 24 minute+ 'Harvest of Souls' includes a dynamic and rocking Yes-like mid section similar to the glory days of Relayer. On initial impact, I was certain that Dark Matter was an improvement on The Seventh House, but while taking in all the IQ albums in succession, I'm more of a mind now that they are of similar quality. One represents the 80s IQ, while the other gives us a peek at a potential look back in time. Both are excellent and essential.

Ownership: 2004 Inside Out (CD). Acquired in 2005.

11//05; 12/22/14 (review)

The Seventh House (2000)

And now we get to The Seventh House, which is of course, their 7th studio album. If Ever and Subterranea represent the two albums that IQ should have released for major label Mercury, then The Seventh House seems to be the album that would have come after The Wake - had they stayed in the underground that is. The tight and compact structures, combined with the anthems of The Wake and Tales From the Lush Attic, have returned on The Seventh House. Generally registered - or derided depending on one's perspective - as IQ's decent, but not great album, between their late 90s two CD epic Subterranea and their 70's throwback masterpiece Dark Matter - I personally find that The Seventh House is more a return to form to the IQ I love. While there's no 'Widow's Peak' hair raising moments, IQ have clearly shed their commercial desires here, with perhaps the exception of 'Shooting Angels', and even that track isn't too overt in its desire to attract mass audiences. I think it is on this album, more so than the last two works, where IQ realized that they are stars in their own world - but have no chance for world domination. If they did have that chance, then that ship sailed long ago. They made their try.... and failed. Sorry chaps. Now it's time to get serious about this progressive rock thing. Yea, that's right, the style of music they originally made a go at some 15+ years prior. And very successfully. To my ears, it's amazing how much the 2000 release The Seventh House sounds like something from 1986, a year I could go a whole lifetime without acknowledging again, and yet they make me pine for it as if in a fit of nostalgia. I honestly mean this when I say: Only IQ could pull something like that off. With The Seventh House, IQ are back on track and ready to wow their old-found progressive rock audience.

Ownership: 2005 Inside Out (CD). Booklet with lyrics and photos. Acquired in 2005.

11//05; 12/20/14 (review); 9/26/22

Subterranea (1997)

The two-CD follow-up Subterranea has always been tough for me to penetrate ever since its release in 1997 and my immediate subsequent purchase. I know some folks don't want to hear this, but yea, it's definitely IQ's version of Genesis' The Lamb Lies Down On Broadway. As with that work, this album focuses on a concept album with specific focus on heavy lyrical content while the instrumentation and complex arrangements (if they are complex at all) take a back seat. Subterranea is one hour and 42 minutes in duration. I'd say that's about one hour too long. For an album that features 19 tracks, it's amazing not one of them really stands out in an extraordinary way. Subterranea is one of those albums that I really want to like, since it's obviously very popular with fans of the band - and I am too a fan of the band - and yet this one is lost on me. On this last listen, I was bound and determined I would get everything out of it as possible. I sat there, headphones on, dedicated to hearing the entire album in one sitting listening to every note, without distraction. But I just couldn't find any major redeeming qualities. There was no 'Enemy Smacks' or 'Widow's Peak' or 'Fading Senses' or any of the other great tracks from the first two albums and Ever. I have to say there is a lot of down time with Subterranea. Long stretches of vocals and boom-boom-bash drumming over a wall of keyboards and guitar choruses - like any respected pop band would do. They just couldn't let go of those commercial aspirations, even a decade later. If nothing else, if you start with Disc 2, you are likely to have a better experience. Yes, the 20 minute track 'The Narrow Margin' is really the best thing here, and even it doesn't really get cooking until the halfway mark. It's not a bad album mind you, not at all in fact, but it's definitely their weakest studio release beyond those two albums that I hope need not name. They were to improve from here though - dramatically so.

Ownership: 2005 Inside Out (2xCD). Acquired in 2005. 

First copy: 1997 Giant Electric Pea (2xCD). Acquired in 1997.

1997; 11//05; 12/17/14 (review)

Ever (1993)

By 1993, progressive rock had found its roots again, and with new-on-the-scene bands like Anglagard and Anekdoten blowing everyone away with their modern take on 1973, a group like IQ didn't seem to have an audience anymore, especially after such a long silence and having released two commercially oriented, and arguably failed, albums. The logical choice would've been for them to join what was now known as the Neo Prog movement, which already had quite a large niche audience itself. Bands such as Marillion and Pendragon were enjoying a cult-like status and they had many emulators. Peter Nicholls was back at the microphone, with Jadis' John Jowitt now on bass, but could IQ regain their fans? Ever was the result. This is the album, of course in retrospect, they should have released for Polygram. Picking up right where The Wake leaves off, with the near 11 minute opening 'The Darkest Hour', IQ climbed back on that tightrope of balancing complex progressive rock with a more poppy approach. There are plenty of quirks and complicated meters to please the more discerning listener, while still delivering accessible melodies and structures for the more commercial oriented. The opener is followed by the two-part 'Fading Senses', which is as good a track as IQ had ever recorded up this point (other than 'Widow's Peak' of course). A multi-segmented piece with some stunning atmospheric keyboard work, impassioned vocals, and driving electric guitar. The 14 minute+ 'Further Away' brings back the epic opus, with all its sections / meter changes / dynamics / climaxes - and demonstrates that IQ are ready and willing to sign back up for all-in progressive rock. They hadn't quite given up their pop aspirations, as can be heard on 'Out of Nowhere' and 'Came Down' (good examples of commercial rock, however). With Ever, IQ were back in the saddle. And they never strayed again. In fact, they would turn the dial even more towards complex progressive rock, while moving further away from any thoughts of commercial stardom. Except perhaps one last look back.......... said Lot's wife.

Ownership: 1993 Giant Electric Pea (CD). Acquired in 1993.

1993; 12/14/14 (review)

The Wake (1985)

There was heavy anticipation for IQ's second album and they delivered in grand fashion. No sophomore slump can be found on The Wake. There can be no doubt that the heavier moments from their debut were better received by a live audience, and IQ began to move away from some of the subtle brilliance of Tales From the Lush Attic and more towards aggressive anthem rock structures. The title track itself is proof that IQ could pack a wallop, and still be interesting to progressive rock listeners, while the opener 'Outer Limits' is a great mix of progressive and accessible rock (listen to those synthesizer solos alone!). The analog keyboards from the past were starting to get minimized (except for the glorious mellotron) and traded in for modern, cutting edge synthesizers, and samplers. While in today's world, old vintage equipment is highly revered, the 1985 mindset was much more anxious to ditch the heavy, clumsy, and unpredictable hardware, for more sleek - easy to tote - and cleaner sounding instruments. Even for dyed-in-the-wool hardcore mellotron addicts, The Wake is not to be missed. Side 2's opener 'Widow's Peak' is IQ in all its glory. From powerful head banging anthems and atmospheric flute, to guitar loops meshed with anguished vocals - the track delivers on a number of fronts. The 6 and a half minute mark of 'Widow's Peak' delivers one of the most powerful musical statements in my entire collection! 'The Thousand Days' demonstrates their move to commercialism, while not abandoning their progressive integrity, and it all fits the era in which it was released so perfectly. Overall, The Wake was a bold move forward to a larger audience while not compromising their overall creativity. In conclusion it is indeed another classic. The band seemingly could do no wrong. IQ were on the tightrope of accessible progressive music, balancing everything perfectly here.

It was a rope, though, that they were to fall off - oh so very off - shortly thereafter.

Ownership: 

1985 Sahara (LP). Acquired in 1985.

1994 Giant Electric Pea (CD). Acquired in 1996.

1985; 1996; 12/12/14 (review)

Tales from the Lush Attic (1983)

Hard to imagine now, but at one time IQ was a boon for the progressive rock starved fan in the early 1980s. Believe it or not, 1983 was an exciting time for traditional progressive rock music. England was experiencing a renaissance in creativity after a few years' dearth of interesting new progressive rock. Heavily inspired by the classic progressive rock works of Genesis, bands like Marillion, Pendragon, Pallas, Twelfth Night, Haze, and.... yes IQ, were blazing a new trail for a younger generation looking for more challenging music than the radio and TV was affording at that time. Decidedly noncommercial for their day, these bands were raising the spirit of Gabriel-era Genesis from the virtual dead. Best of all, it was an updated sound with modern equipment, cleaner tones, and a more aggressive rock approach (no doubt influenced by the contemporary punk and metal movements) combined with the challenging compositional style of Genesis albums like Foxtrot and Trick of the Tail.

It was during this period that I personally became involved with the progressive rock scene. I still remember a review of Twelfth Night showing up in the metal magazine Kerrang claiming "Bring out the Mini-Moogs boys, the Progressives are back!" And they were, even if it was just for a short period - in its original form anyway. Of all of the bands from that era, IQ were quite possibly the most accomplished, at least from an exploratory progressive rock mindset.

Tales From the Lush Attic is IQ's debut (on LP, there was a demo cassette prior), released on a small private label and in very minute quantities. The album, however, had gained the attention of the heavy metal media (of all people) and quickly sold out to an audience yearning for something a little different and more challenging, thus leading to a much larger repress. IQ's well-deserved positive reputation had begun. Opening with the 21-minute 'The Last Human Gateway', IQ laid down the gauntlet that they were serious about this progressive rock thing, despite in appearance looking like a typical MTV synth-pop act. No group in their right mind did side long epics in 1983, lest they be panned by the lemming-like music press as the worst album since the ghastly Tales From Topographic Oceans. This track had all the right ingredients: Organ, mellotron, synthesizers, crazy rhythms, Hackett-esque guitar, and possibly best of all, a very talented and dramatic singer in Peter Nicholls. He even wore face paint for crying out loud! Continuing on, 'Awake and Nervous' is a more commercial sounding track in the rare case that any reviewer had actually made it through the opener and its short followup. This is followed by the hilariously titled 'My Baby Treats Me Right Cos I'm the Hard Lovin Man All Night Long' which is, appropriately enough for the setting, a classical solo piano piece. The closer, 'The Enemy Smacks' is IQ's finest moment here. A combination of aggressive hard rock with symphonic progressive which happens to contain their most complex metronomic moments as a bonus. Very powerful - and perhaps just the right punch to score with the younger fans it so coveted - and represented themselves. A brilliant debut.

Ownership: 

1984 The Classic One Shoe Record Label (LP). Acquired at Virgin Records in London (1984), as there was no chance of getting this back home in the States - or at least that I was aware of at the time. Interestingly enough, the album had already been repressed a few times by then. My copy has the more familiar brown border verse the original blue. Real originals are numbered and scarce. Of course given the time and place, I would never sell my treasured copy. 

1988 MSI (CD)

8/16/84; 2/7/01 (review); 7/4/14 (update); 1/5/24

Other albums previously owned: Nine in a Pond is Here; Nonzamo; Are You Sitting Comfortably?

I hope to revisit the latter two. I'm sure they aren't as bad as I made them out to be, but we'll see.

7/4/14 (new entry)

Astra ~ USA ~ San Diego, California

The Weirding (2009)

As you can see below, I went on quite a bit about my Astra experience over a decade ago. But I never did document their debut. 

I think one reason I really enjoy the type of progressive rock Astra peddle is that they lean in strongly towards the psychedelic. That magical 1971 / 1972 sound that seems to capture my imagination the most. Whatever was happening around the world at that time must have been something special. I was just a young boy in Texas, so would really have no idea what the worldwide artistic community was like real time. How it got destroyed so quickly would be a good subject for a thesis I think. And probably has provided the subject matter for at least one in the past. I suspect money will be the lead cause and effect.

As noted on my review of The Black Chord, what makes Astra so impressive to me is that they capture the ethos of the era perfectly. It doesn't sound like an imitation but rather a participant from the time and place. That place was Europe most assuredly, especially England, Italy, Sweden, and Germany. Not here in the States. Maybe a few years before we were the artistic leaders, especially California, but not in the early 70s.

Strangely on this visit I hear snippets of early 70s Black Sabbath. There's some Ozzy is those vocals. I see other reviewers call that out as well. OK good, I haven't completely lost my mind. Yet. 

The album is a large commitment of time, going the full CD length. I think for the sound Astra has going, a haircut would have been more appropriate before going to the dance. Which is exactly what they did on their next opus. Of course, the question always is, what do you trim? Ehhh, that's a problem. I think that's why I have The Black Chord rated higher. The Weirding is an overdose. For example, 'Ouroboros' is 17+ minutes of instrumental hardcore space rock. It will test the limits of your appreciation of the style, though I think it's a great specimen myself. The whole album is just a lot to take in one setting.

I closed The Black Chord review with: "I can only tip my hat, and can't wait for any future releases." And that never happened. That's unfortunate. Birth seems to be the next incarnation but I have yet to check them out.

Ownership: 2009 Rise Above (CD). Slipcase. Booklet contains recording details only. Nice artwork.

11//09 (acquired); 6/3/12; 2/1/14; 11/24/25 (review)

  

The Black Chord (2012)

In the world I choose to exist in - the byzantine progressive rock underground - bands like Astra might as well be Taylor Swift in terms of general recognition. These are albums that have close to 500 ratings and dozens of reviews on RYM for example - when the usual norm for my modern era collection is eight ratings and one review, and that one review might be my own.

For those that still haven't heard Astra - and I can't imagine anyone reading this that hasn't - then they can best be described as 1972 personified. They have absorbed the influences of the time, instrumentation, and recording techniques of a bygone era, and created their own personal vision of what that would sound like. So if you're an "all-in" kind of progressive rock fan, then these albums are can't miss propositions. For as great as The Weirding is, Astra took it a notch further with The Black Chord. The songwriting has improved, as well as the crispness of the playing itself. If all this sounds eerily familiar to another feature I've written before, then you are perceptive indeed. Rise Above's first band to really accomplish this feat is Diagonal, and they too improved with their sophomore effort. Diagonal is more about the arcane UK progressive scene as promoted in 1971 by the Neon, Dawn, and Transatlantic labels. Whereas Astra is coming at this from the early King Crimson, VDGG, and Yes perspective. So from that viewpoint, Astra will feel more familiar to most modern listeners.

Of course when you obtain the kind of popularity that Astra has, especially on the coattails of the classic early 70s progressive rock bands that many adore and feel cannot be replicated, then you can expect a lot of negativity will find its way to them. I would just wave all that aside if you're a fan, and it least give these albums your full attention, and not try to be swayed too much. Personally I can't possibly hear enough albums that attempt to do what Astra has. This is miles beyond the superficial tries of many modern acts who are looking to achieve a similar conclusion. It takes far more than a retrospective view of another era (i.e. watching That 70's Show isn't going to cut it), and throw a Hammond and a Memotron (faux Mellotron) in there and hope for the best. One really has to be a student of the genre to achieve these kind of results. I can only tip my hat, and can't wait for any future releases.

Ownership: 2012 Rise Above (CD). Slipcase.

6/4/12 (acquired); 2/2/14 (review)

2/2/14 (new entry)

Jordsjø ~ Norway

Salighet (2023)

It's been forever since I mail ordered some new prog CDs. That makes sense given I'm downsizing my collection while also finding many great CDs out in the wilds for $1 or less. But new product does help keep the enthusiasm going. Of course I went right for the known and comfortable. Real chance taking here. 

And from the opening mellotron and organ sounds on Salighet (Bliss), I was reminded why I do such things. I know I have too much retro prog, but I don't seem to care. Jordsjø is like Wobbler and Agusa in that there is little chance what I'm going to hear doesn't resonate positively. This album is now over two years on, and they've released a half album since. I have no intention of "keeping up". In reading my review of Pastoralia, it appears Jordsjø is decidedly not coloring outside the lines in any form or fashion, as they did there. Mellotron, flute, spirited rhythms, organ, acoustic and electric guitars, Nordic folk melodies, airy vocals in Norwegian. Genius Hans Essentials. Like a hot shower and clean sheets. I really should stop loading up further on titles like this. Will I? Doubt it.

Ownership: 2023 Karisma (CD). Lyric foldout booklet with recording details. Acquired in 2025.

11/10/25 (review)  

Pastoralia (2021)

Jordsjø (Jordsjo if doing a quick search in Anglais) is one of only a handful of contemporary bands I keep up with real time. Their brand of mysterious and murky early 70s styled progressive rock is the kind of music I never fail to enjoy. Pastoralia. What a perfect title to describe their music in general. Opener 'Prolog' is interesting, as it didn't march in lockstep with what is expected. In fact, it starts off as maybe a jazz fusion album would. Then the familiar symphonic prog sounds of Jordsjø jump in. Then it ends with some bass clarinet chamber styled avant prog. All fine musical styles, but not sure I want that with my Jordsjø. Like going to a Thai restaurant and they're introducing their "new spaghetti and meatballs!". I love Italian food. But not when I'm in the mood for Thai.

I worry too much, because after this, Jordsjø gets down to the serious business of creating a retro prog classic. My fave has to be the three part closer 'Jord' (shocker that). There are parts - like when the Norwegian narration pops in - that even conjure up the spirit of Krautrock. I'm reading some reviews that are expressing disappointment overall. That happens often when a band has a defined sound and then veers away from it. But I really don't think they've gone off the reservation here. Also reading comparisons to Gryphon, but honestly I never once thought of them in my back to back listens. There's a bit of Renaissance Faire here and there, but it blends nicely with the thick and wedgy early 70s analog electric sounds the genre calls for. For my tastes, Jordsjø have come up with another classic. A work that will be a contender for album of the year when it's all said and done. Definitely.

Ownership: 

2022 Karima (LP). Gatefold. Acquired in 2025.

2021 Karisma (CD). Booklet filled with Medieval European monk styled writing and art. Acquired in 2021.

2/19/21 (review)

Nattfiolen (2019)

Let's make it three years in a row. In 2017 Wobbler's From Silence to Somewhere was my choice for album of the year. I don't think it will be topped, but one never knows as obscure albums trickle in all the time. Last year we rambled on about All Traps on Earth, in effect the 4th Anglagard album, and subsequently named it album of the year for 2018. It's definitely beatable, but at this time, no challengers have emerged. And now Jordsjo follows the same path with their 4th album Nattfiolen. No point in making the same statements as I have on the prior 2. We are talking old school, dyed-in-the-wool symphonic prog of the 1973 variety with no nods to modern instrumentation. Vintage is as vintage gets. Jordsjo isn't quite as strong as All Traps on Earth, but it's so difficult not to love this style of music, no matter who's performing it. But then again, I was always the top Sinkadus apologist.

This is Jordsjo's finest hour to date, and a very promising direction. For all other bands: It's OK if we have more than one album a year like this. Really.

Ownership: 2019 Karisma (CD). Booklet containing lyrics. Acquired in 2019.

7/21/19 (review)

Other albums I own: Jordsjø (2015-16); Jord (2017)

7/21/19 (new entry)

Sinkadus ~ Sweden

Cirkus (1999)

By the time Cirkus came out, the Stinkadus moniker was in full force. I cover this phenomena below, so I won't go over it again. The most slow brained among us were the ones throwing the sharpest darts, and many are still around, each dumber than the day before with their grand proclamations of what objectively sucks, and there's no debating that it's a hard fact. Interesting to note that all of this noise with Sinkadus has ironed out over time with less tainted newer listeners who can listen more objectively. ProgArchives, for their part, has very high ratings for both their albums.

I don't think I've heard this album since the day I acquired it, but recall that my personal impression was it was the stronger of the two releases. I can also remember that there were a few converts based on the strength of the material here. So it's not uncommon to read that Cirkus was a vast improvement on the debut. I disagree about the spread. In fact, at this advanced stage, I would declare them a tie in a very exciting race. Despite hearing dozens of styles in any given month, I never tire of the type of music Sinkadus puts forward. Same with Anglagard and Wobbler, and the rest of them. They all simply distill the best of the early 70s European progressive rock movement and give us the concentrate. Don't even need to add water to enjoy.

Ownership: 1999 Cyclops (CD). Booklet with lyrics (in both English and Swedish), recording details, and artwork.

1999 (acquired); 8/11/25 (review)
 

Aurum Nostrum (1997)

Sinkadus. The other 90's Swedish band that consolidated all that was good from the analog early 70s progressive rock scene and created an album from that premise. You can always tell when a reviewer comes from the 90s "scene", on how much they despise the album because it sounds like the almighty Anglagard. As if the world was filled with such tiresome bands. And yet, had they heard this album without any reference to Anglagard - and in fact many young folks today may do just that by accident - then they would have been justifiably impressed. Despite the fact that there were precisely 933 Genesis imitators by this time, the thought of one other band treading down the same path as Anglagard was simply unacceptable. All real silly in retrospect, and it says more about the reviewers than anything else. The members of Anglagard are the first to admit they didn't create anything new under the sun - just filtered what they liked best from 1973 / 74 Europe, and went about their business. And it was well received by most everyone - perhaps to the point of religion. And, as such, Sinkadus suffered the unfair accusation of plagiarism (Wobbler were later to be subjected to similar abuse). Don't bother with any of that, and enjoy the album as it is presented. Heavy guitar, Hammond organ, flute, mellotron, woody bass, and Swedish vocals is what you'll hear. All multi-tiered, constantly changing, and melodic. If you're a fan of intricate analog progressive rock circa 1973, hard to imagine not walking away impressed with this one. Unless you have an Anglagard complex. Many do.

Our friend Bas adds from the UTR: "Aurum Nostrum is a great album... I guess. The thing is: I've got the excellent Live at Progfest album, which comes with a bonus disc with some sort of demo version (version 1 as they call it) of Aurum Nostrum. Great music, but I've no idea how it compares to the final version. I'd love to hear that version, but I'm sure it's way OOP and I don't fancy paying over the odds for it, only to find out it's not very different. I guess I could have a listen on youtube to get an idea, though.

Strange how Änglagård got all the plaudits and Sinkadus were labelled copycats. Even if they were, I don't mind: that would mean more Änglagård!"

Ownership: 1997 Cyclops (CD). Lyrics, unique art, and band photos. 

1997 (acquired); 10/18/15 (review); 4/16/20

10/18/15 (new entry)

Taproban ~ Italy

Strigma (2013)

At some point I managed to hear Taproban's first two albums, but I'll be damned if I remember anything about them. So a revisit is in order for certain.

Almost ten years ago to the date, I had an opportunity to secure Strigma, their 4th album, on the cheap. Suitably impressed I filed it away with a nice rating. What did it sound like again?

Taproban, at least on this album, has tapped into the dark side of Italian keyboard progressive rock. Almost entirely instrumental, take away the vocals from Il Balletto di Bronzo's YS, Metamorfosi's Inferno, and Le Orme's Felona e Sorona, and you have a pretty good idea what Strigma sounds like. Three lengthy epics with heavy organ, mellotron, flute, piano, some guitar, and a competent rhythm section. In many ways they are emulating what Nuova Era started with Il Passo del Soldato. This is one of those "Italian prog albums for Italian prog fans" type of deals. It's not entirely original, including a couple of lifted bits from Genesis, but it's a small matter overall.

Ownership: 2013 Musea (CD). Booklet with photos, recording / instrumentation details, and lyrics. Acquired in 2015.

6/13/15; 12/16/17; 6/21/25 (review)

At some point it would be great to hear their other four albums (two again apparently), plus whatever compilations they contributed to. 

6/21/25 (new entry)

Titan ‎~ USA ~ Brooklyn, New York

Titan (2006)

Titan is an interesting band. They released only three albums with the middle one being the piece de resistance. They closed off their career with a sincere attempt to capture the stoner audience, much to my disappointment. In reading other's reviews, many feel the second one is also stoner, but I say no way. But what about the debut? On paper it looks like a home run. Three long tracks, and they're all titled in German. No one calls this a stoner album but rather a retro Krautrock masterpiece. Unfortunately it lacks the compositional drive and varied instrumentation of Raining Sun. Mostly this is long form cosmic jamming, of the kind the Japanese usually peddle. Acid Mothers Temple and their ilk. It's not as nauseous as those bands can be, as I wouldn't claim it be a non-stop barrage of guitar noise. Seems one of these long tracks would serve well on an album, but not all three doing the same thing. And with a record collection of real deal early 70s cosmic Krautrock at my disposal, this one become superfluous.

3/28/07 (first listen); 2/21/25 (review)

Former ownership: 2006 Paradigms (CD)

Sweet Dreams (2010)

The album prior to this, The Raining Sun Of Light... is, in my estimation, one of the greatest modern interpretations of progressive Krautrock one can find in the market (see below). Brilliant in every way, I was very excited to obtain the follow up upon release. And was disappointed. In listening to it for the time since last night, I settled in on a -1 (in this case I rated it too high to begin with). But musically it's still quite good, I'm just not fond of the production and tones. It's as if they felt the need to "stoner it up", which was entirely unnecessary.

Former ownership: 2010 Relapse (CD)

2010 (first listen); 11/20/23 (review)

   

A Raining Sun Of Light & Love, For You & You & You... (2007) 

I remember being tipped to this band back when it first came out 11 years ago. I was as skeptical as ever. A Brooklyn based "stoner" band allegedly playing in the Krautrock style. Sorry, heard that one before fellas. And what one would usually get in that scenario is bonehead chords of fuzz, a on-his-6th whiskey vocalist, 4/4 pounding drums, and hopefully some cartoon art of dragsters, pinball machines, and disproportionate top heavy females with lots of tattoos. Yea, we're hipsters from Brooklyn! Nya-nya. In any case, enough recs came my way that I reluctantly pulled the trigger...

...And I became a Brooklyn stoner hipster on the spot.

After a few listens in 2007, I filed it away with a high grade, and haven't revisited since. Here we are, and I somewhat dreaded it. I probably was just in the mood for it or something like that. Tastes change and evolve over the years right?

I like it even better now. If for nothing else on the album, it's hard to imagine anyone who is into the early 70s proto prog sound not to be absolutely floored by 'Annals of the Former World'. It is absolute perfection in every sense of the word. It constantly changes, has haunting vocals, is heavy as all get out, has some absolutely incredible Hammond organ, is trippy in the best Krautrock style, and the guitar solos are sublime. Maybe the best track I've ever heard from modern times that encapsulates all that was great about 1971. The closest comparison to my ears is Nektar's Journey to the Centre of the Eye... sped up and then cranked to 11.

'Hashishin Ohel' is largely a continuation of the above, with a bit of a noisy ending, but overall is brilliant in its own right. 'Obelisk Orbit Overdrive' is a bit more tedious, but certainly not a poor track, just in comparison with what came before it, one would have hoped for a bit more clarity and editing.

The album ends in a very interesting fashion, with 'Aufruf der Pilz'. As its title hints at, this is a pure play Krautrock attempt. Now I would imagine the gut reaction here, especially for hipsters, is to go right for the Neu! comparison. I don't think so. Actually to me it sounds like the Ashra power trio years of 1979 to 1980 - especially on the archival tapes where the guitars are decidedly more psychedelic. An excellent rendition and very melodic to boot.

These guys were plugged in perfectly at the time. I have two others in the collection from them (before and after), but I don't recall those being quite at this level. And then they sadly disappeared.

Ownership: 2007 Tee Pee (CD)

4/20/07 (first listen); 6/6/18 (review)

6/6/18 (new entry)

Agusa ~ Sweden

Noir (2024)

Agusa are one of only a small handful of contemporary bands that I would consider buying new product from at this advanced stage of my collection. Last year's Prima Materia is about as great an album as has been released since the early 90s retro prog renaissance first appeared. I didn't expect so much from Noir, as it's purportedly a soundtrack of some sort. With 15 tracks + five more bonus (presuming not part of the soundtrack), Agusa is performing short form music for the first time that I can recall. They've once again reintroduced a Krautrock element, something they first showed their adeptness with on 2021's En Annan Värld. The stylistic brush is much wider here with nods to electronic, spoken word (like the French would do on occasion in a similar setting during the early 70s), psychedelic, progressive, experimental, space rock, chamber, and folk. Make no mistake, this is Agusa at their psychy proggy best, but with more variety. 

The five "bonus" tracks seem more like they appended a new EP at the end. Focusing more on their Krautrock tendencies. Perhaps even better than the album proper. 

Great music overall and I can see this title being a grower.

Ownership: 2024 Kommun 2 (CD). Digipak. Acquired in 2024.

12/28/24 (review)

Prima Materia (2023)

I find it fascinating on how we sometimes as listeners connect with albums. I currently have almost 200 albums in my collection that I rate 5 stars on RYM or 13 or above on Gnosis. They - appropriately enough - reflect a very small percentage of my overall listening experience. But those that make this list are very special to me for obvious reasons. Almost all of these go back to my formative years of deep diving into the vast world of underground music, with an occasional nod to a more well known album. It is very unusual for a newer album to transcend into this rarified territory. There are many reasons for this, mostly associative emotion - that which represents a time and place in one's life. When you're almost 60, the emotional aspect of the individual has (usually) stabilized. Those zenith moments are much fewer and far between. Much of this is familiarity and experience. In life it's the "been there, done that" factor. In music, we tend to recognize familiar patterns. Some are as comfortable as putting on your favorite pair of jeans. Others become tedious after close to 50 years of the same ol', same ol'.

I bring all of this up here on this review, as Prima Materia is (as I'm sure you've guessed by now) one of those rare albums. Even though Agusa have been around since 2014, and I own all of their studio albums plus one live outing, the group continues to evolve in the same manner as I have. And every single trigger and button got pushed for me, for a magical first time listen (and immediate subsequent listens). Perhaps this wouldn't have been such a great revelation for me 20 or even 10 years ago. But where my mental state is today, Prima Materia represents my personal soundtrack.

If you already know Agusa, then Prima Materia isn't really that much different than anything else they've released to date. Their stock and trade is that of the Swedish folk melody contrasted with the beautiful melodicism and instrumental progressive rock of a Camel (as but one example), or more close to home, Flasket Brinner. Flute is front and center to their sound, along with vintage keyboards and a delicious fuzz guitar tone. In addition to their normal approach, I picked up a distinct Brazilian bossa nova sound for this outing. It's the perfect complement to their recipe. This may come as a surprise if you weren't already aware of Sweden's long time fascination with Latin jazz.

As with any album that transcends the highest tier, words alone cannot express my adulation for such a beautiful piece of music. It's another kind of emotional language - one that if we all mastered, there would be world peace.

Ownership: 2023 Kommun 2 (CD). Digipak. Acquired in 2024.

3/31/24 (review)

En Annan Värld (2021)

En Annan Värld is Agusa's 4th studio album made up of two long tracks totaling 46 minutes. The first opus presented here is largely a continuation of what Agusa had established on their self titled 3rd album. On that review I stated that Agusa seems to be the next generation of Flasket Brinner, with organ, psychedelic guitar, and flute leading the instrumental parade. Their overall sound is very organic, and while complex, it doesn't seem overtly so. Melody and warm analog tones are their key drivers. The second track is a bit of a departure and introduces a Krautrock element. Oh darn, not that. lol. Elements of late 60s Pink Floyd trickle in, as Agusa flows into a deep space. The instrumentation remains the same as everything else they've done, so this is not a cold clinical exercise in modern post rock, which I usually find to be boring. Rather, Agusa are pure analog bliss, with a trippy 60s mindset. Doesn't get better than that. This is the second album in a row that Agusa transcends the competition to the highest level. And now I'm reading about a new 5th album. Might break down and get that one upon release. I don't do that much anymore.

Ownership: 2021 Kommun 2 (CD). Digipak. Acquired in 2023.

7/1/23 (review)

Agusa (2017)

Agusa is back with their 3rd instrumental studio release, and continue on with their unique take on the 1973 Swedish landscape. No change in style, but the execution continues to accelerate in a  positive way. The songwriting is memorable, and the instrumentals more kinetic than even before. It's as if the Silence label just released the next Flasket Brinner album. The usual instrumentation of organ, psychedelic guitar, and flute continue to drive Agusa's sound. To my ears, this is Agusa's best album to date. It's a much welcome style, and one that isn't over copied. I can listen to this kind of music all day. Brilliant really.

Ownership: 2017 Laser's Edge (CD). Digipak. Acquired in 2017.

12/16/17 (review); 9/18/26

Katarsis (2016)

Agusa's first live album, and third album overall, sees the band do what they do best: Jam. Recorded in Greece (Feb 12, 2016), and released on CD in the same country, this was obviously a planned event and Agusa clearly prepared heavily for it - meaning the band is sharp on all fronts. The material is culled from two tracks taken from their debut. Both are stretched considerably here, especially 'Kärlek Från Agusa' which was only a short bonus track on the original. Musically, the band hasn't changed one iota. This is 1972 Sweden brought forth and distilled for the modern age. Folk based melodies, progressive rock structures and changes, with psychedelic sounds (organ, flute, acid guitar, pulsating bass, and pounding drums). It's a recipe that has patrons lined out the door for more. No point in tweaking that now. Given the improvisational nature of the concert, this album is entirely unique to the studio offerings, and as such, is a worthy investment on its own.

Ownership: 2016 Sound Effect (CD). Oversized papersleeve. Copy #136 / 150. Acquired in 2016.

12/6/16 (review); 11/26/25

Två (2015)

Agusa quickly follows their highly regarded debut Högtid, with the old school moniker of "2" (Två / Tva), in Swedish of course. If you were hoping for some modern development, you've come to the wrong place. Agusa's mindset defiantly remains in 1971, and that's exactly what their audience wants to hear. In addition to Hammond organ, psychedelic electric guitar, and a pulsating rhythm section, Agusa have added the always welcome ingredient of flute. Well, that just about covers the landscape of 45 years ago. As with Högtid, Swedish folkloric melodies are the centerpiece, particularly on the first side long track (ah, it warms the cockles of my heart to say "side long track") 'Gånglåt från Vintergatan'. It's Kenny Håkansson fronting Flasket Brinner with a dollop of International Harvester on the side. Even better is the darker and less familiar 'Kung Bores Dans' - yet another side long opus. Agusa's music is organic and free flowing. There are no jaw dropping breaks or instrumental flights of fancy. I never tire of music such as this. This is the kind of album where you lay down, close your eyes, and let the music take you to new and unknown places. Soothing, comfortable, and entirely psychedelic.

Ownership: 2015 Laser's Edge (CD). Digipak. Acquired in 2015.

9/2/15 (review); 9/22/23

Högtid (2014)

Agusa are a new band from Sweden that has ties to two other UMR favorites: Sveriges Kommuner och Landsting and Kama Loka. Seeing the album is on Kommun2, and the description read that the music is in a similar 70s retro vein, it seemed a guarantee I would like it. And indeed it came to pass - I love it. Once again we are presented with a heavy - yet subdued - primarily instrumental psychedelic rock album, with Hammond organ, acoustic and fuzz guitar, wordless voices, pounding percussion - all with that distinct Nordic touch (while occasionally looking east towards Asia), that shows up in the melodies and overall atmosphere. There are no pyrotechnics here - this is an album for reflection and careful study. For fans of Flasket Brinner, early Trettioariga Kriget, Kebnekaise, Saga, and other classics from the Swedish 70s underground.

The CD adds a short track that is fleshed out greatly on the Katarsis live show.

Ownership: 2014 Kommun 2 (LP). Gatefold. Acquired in 2014.

5/10/14 (review); 6/6/26

5/10/14 (new entry)