Kyrie Eleison ~ Austria

The Fountain Beyond the Sunrise (1976)

As you probably have noticed, I write about a lot of albums - especially in these last few years - that have little to do with progressive rock. There is no mistaking where Kyrie Eleison comes from in the continuum of genres. I bought this at a time when I was starving for anything that might resemble the classic 70s progressive rock sound, especially obscure albums that were actually released back then. The cover alone is just perfect, so the contents within must be magnificent. To this day, Kyrie Eleison has been a permanent fixture on my "wall of albums". Foxtrot era Genesis is obviously the name of the game here, so let's dig in.

After 35 years of owning this LP, I can safely say it hasn't improved any more to my ears than on the first listen. The analog instrumentation and lengthy compositions are all welcome of course. Their heart is absolutely in the right place. The execution is what is lacking. The production is distorted. The English vocals are iffy at best, a common issue with continental European prog bands of the 70s. They are intended to replicate Peter Gabriel's theatrical mannerisms, but come across oftentimes as irritating. The songs themselves lack those magical highs that make prog such a brilliant genre. There's no soaring guitar solos like on 'Firth of Fifth', or the fuzz bass proclamations of a 'Close to the Edge'. The Fountain Beyond the Sunrise grinds through their compositions without the clarity needed to create a next level experience.

If thinking what I'm saying above means I don't like The Fountain Beyond the Sunrise, that would be the incorrect conclusion. It just never really met my rather lofty expectations. Whether while I was still in my early 20's or now (gasp) 60. Back on the wall it goes, perhaps another visit in a dozen years will finally reveal what I've been looking for.

Ownership: 1984 Merlin (LP). It's easy to tell the difference between this reissue and the original - the cover is more distinctly yellow in color, the back cover is white, and the inserts are photocopied, rather badly at that. One of those inserts is an advert for Indigo, their current band at the time. I've seen many folks try to pawn this version off as an original, so just be sure to look for these details. Originals are much tougher to source. Discogs has an entry for a Swedish release, but looks incorrect. I don't have the energy to correct the record, so to speak.

Archie at Eurock brought in many of these obscure European prog albums in the late 80s (his forte was more towards electronic and what we now call avant prog). In phone conversations with him back then, I don't think he really liked symphonic prog too much. Some of what he brought in are going for the same price now as then. Others have skyrocketed. I only bought a few, because that's all I could afford, and still own some.

His catalogs tended to be hype machines, every album was incredibly great. He offered that kind of praise for the Indigo album and I bit. What a huge disappointment! I need to conduct a recent objective listen, as I'm sure my ears will provide more of an historical context. But at the time, it was exactly the kind of hollow "neo prog" (=80s arena rock) I was trying to avoid.

1//89 (first listen); 5/29/09; 10/19/24 (review / new entry)

Crucis - Los Delirios del Mariscal. 1976 Argentina

Another one of those albums I've owned since the 1980s, but didn't really have a grasp on the music. I've always liked this title, but I came close to a +2 listen recently, only pulling back to +1 at the end. A strong mix of the classic Argentine symphonic progressive rock sound with Spanish vocals - and absolutely lethal fusion tendencies. A rare combination and it's the former that I had somehow missed in my recollection.

Ownership: 1988 RCA (Japan). Single sleeve. Acquired in a collection buy (1997). This replaced the Argentina reissue, which was my introduction to the album (1988).

CD: 1995 Record Runner (Brazil). Known as Kronologia, this CD includes both their albums. I'll for sure keep this even though I have the debut on LP as well. First division music for me.

1988; 1997; 2/15/23 (LP 4.8); 4/13/23 (new entry)

Sloche - J'un Oeil. 1975 Canada-Quebec

I've owned this album for 31 years, and always liked it - solid 11 in my mind. But earlier this year I experienced a +2 listen. After all these years it finally hit me on how really great this album is. That perfect blend of symphonic rock and fusion. Perfectly produced with many twists and turns. French singing is a bonus. The final track shows a clear Yes influence as well.

Ownership: LP: 1975 RCA. Single sleeve. Acquired from a mail order dealer (1992).

CD: 2009 ProgQuebec. Because of the epiphany above, I'm also keeping this CD, which features a nice history. Definitely an album worth having on both formats.

1992; 2009; 2/19/23 (LP 4.10); 4/12/23 (new entry)

Amenophis. 1983 Germany

Plenty more Round Ups to add back in, but let's blend in some of those revisit items I referred to.

There's a comfort level I experience with albums like Amenophis. No matter how wide my stylistic brush continues to go, I still enjoy coming back to the warm tones of European progressive rock. This is my happy place (I'm soooooo modern and sensitive lol). Amenophis were part of that large German movement of symphonic prog bands starting in the late 70s who looked towards England for their muse. Almost a rejection of the wild and wooly Krautrock that dominated the country throughout the early part of the decade. Genesis and Camel are two bands that leap right out. And Amenophis also has a strange predilection for Spanish music it would seem, noted in the rhythms. Take away the awkward English vocals, and you could convince me they're from Catalonia. 

Ownership: LP: 1983 private. Super thin oversized single cover. Like two poster cards glued together. As such the cover can be easily damaged, though my copy is fortunately pristine (better than these stock images - though my copy doesn't have the lyric inner). Purchased from a mail order dealer in 1992. For many years I also owned the Musea CD. As is usual with the label, they feature excellent historical liner notes. The bonus tracks, however, are modern and irrelevant. So I photo'd the liners and sold the CD.

1992; 3/27/23 (new entry)

Charles Kaczynski - Lumiere de la Nuit (Light of Night). 1979 Canada

Charles Kaczynski is a fairly obscure artist who pops up now and again on the internet and then disappears. His debut album Lumière de la Nuit has long been known to collectors as a very good example of the symphonic style of progressive rock. He's basically a one man orchestra here, and the (primarily) instrumental music is beautiful and rich. Though there's a multitude of instruments played by the talented Kaczynski, violin is clearly his instrument of choice. By Side 2, the music begins to become overly familiar, and it's clear Kaczynski could have benefited from the synergy of his peers. The compositions are well written, and it's too bad this was the end of Kaczynski's progressive rock career during the classic era.

Ownership: LP: 1979 private - Light  of Night (English edition)

The LP has 2 editions, one in the native French, the other with the English title Light of Night. The CD was also originally pressed privately, and later distributed by ProgQuebec with a sticker affixed with their logo on the back of the digi-pak. As such, there is no history as per protocol for the label.

First entered into the UMR: March 4, 2010 and updated.

Deja-Vu - Baroque in the Future. 1988 Japan

It all starts here for keyboard wizard Motoi Sakuraba, the famed video game composer from Japan. His debut solo album Gikyokuonsou is among the very best progressive rock albums from the fertile late 80s and early 90s Japanese scene. Deja-Vu was his rock band before going solo, and with that comes the advantages and pitfalls of a group setting. In general I'm of the mind that the synchronicity of a group usually outweighs the monolithic viewpoint of the individual. But in this case, I have to say the band is something of an encumbrance. Sakuraba is the primary songwriter, and fortunately most of the album is made up of instrumental work. And here Deja-Vu shines, though some of the synth tones are a bit too much late 80s if you know what I mean. One of the best tracks is 'Byzantium', the only song Sakuraba ported over for his debut, and is instantly recognizable. The downside of the album is when the band goes for traditional songwriting. The vocals are weak, and the songs tend to plod without much direction. They appear to be nothing more than a distraction until we can get to another cool instrumental section. So put Deja-Vu somewhere in between Social Tension, Providence, Gerard, and Outer Limits. Very much a product of the late 80s Japanese progressive rock scene. The beautiful cover cinches it as a keeper, but this isn't the best place to start either.

LP: 1988 Made in Japan

This is one I bought real time, and I probably hadn't heard it in 20 years until now (like a lot of my collection unfortunately).

July 22, 2019 update: Sold LP

Tai Phong - Windows. 1976 France

Tai Phong are basically French Indochina's (historical reference...) version of Yes. On their second album Windows, one will hear some fantastic quality instrumental work, for example on both the opener and closer, as well as on 'Circle'. The high pitched male voice (sounding every bit like a female) is also perfect for the setting. Yes of course, there is some pop slop to sit through like on 'Games' and 'Last Chance'. So it's not perfect by any means, but certainly not bad at all in the aggregate. Worth owning for fans of the genre.

Personal collection
LP: 1976 Warner Bros.

The fine textured gatefold cover makes me want to keep this one longer than others of its ilk.

Proud Peasant - Flight. 2014 USA-Texas

Proud Peasant are a symphonic progressive band from Austin, Texas, an area more known for country blues or cutting edge indie rock (it's for certain the hipster capital of Texas) - and as such the band find themselves at complete odds with their hometown brethren.  There are 3 lengthy instrumental tracks (12:28, 19:34, 13:20) on Flight, and what sounds to be mostly charted music and well rehearsed. There's a large palette of instruments on display, beyond the usual rock quartet with 70s analog keyboards. Proud Peasant's trademark sound would have to be simply described as BIG. Not in the Godspeed You Black Emperor post rock manner, as this is music that is definitely rooted in the 70s. With that era's analog instrumentation though perhaps as played and produced in the 1990s. Comparisons do not come easily, but Rainbow Theatre at the time of Fantasy of Horses is one such album. Like that album, there is a classical bent to the compositions - but wholly their own and nowhere near a cheesy "rock the classics" kind of endeavor. Given that Proud Peasant are instrumental, you also won't have to battle the pseudo operatic vocals either (though there is some acapella actually (a bit like Pulsar's Halloween), which is mixed creatively with fuzz bass and Moog synthesizer). It's hard to imagine the band being influenced by such an obscure album from Australia, as I would suspect they would react with a collective "who?" - but it's always interesting to see how disparate bands from different eras can come up with similar music conclusions (though I should reiterate the obvious - they are still very different). Perhaps another comparison, though far more superficial, would be Camel's The Snow Goose, another classical styled work with beautiful flute. They saved the best track for last, 'The Precipice', which combines the sounds above with the Scandinavian School of retro prog, especially that of early Wobbler.

Ownership: CD: 2014 Basement Avatar. Purchased new upon release. Comes in a digipak with recording details.

7/23/14 (new entry)

William Sheller - Lux Aeterna. 1972 France

William Sheller (nee Hand), will never be mistaken for a subversive underground rocker. He comes from a well-to-do past and was formally trained in music at various academies. And while he had a passing interest in rock music, like everyone else due to the mid 60s fun of The Beatles, it was never his true passion. Lux Aeterna was composed to celebrate the marriage of dear friends (you can just picture the gallant ball already). This is true symphonic progressive rock. Sheller didn't need cheap imitations like mellotron to produce what he had envisioned. He had a whole orchestra and choir at his disposal! Of course there is a significant rock element present, which is how it hit the underground collecting channels. The lush, but dark, nature of the compositions coupled with psychedelic guitar and drums is a very powerful musical statement. The album gets heavier and darker as it goes, and thus the acid guitar solos really pack a punch in this setting. A truly exquisite work, and proves that Sheller - had he wanted to - could have been a brilliant progressive rock "star". But that would have been far too restraining for the young Sheller, and he has since gone on to release dozens of albums in a variety of styles. Lux Aeterna is the perfect complement to the Jean-Claude Vannier L’enfant Assassin des Mouches album.

CD: 2012 Omni (Australia)
LP: 1975 CBS
CD: 1989 CBS (France / Japan)

My first copy of this album was the second LP press featuring the dapper Sheller on the cover. The top cover is the original, which is also (fortunately) used on both of the CDs. The 1980s press was one of the rarest CDs in my collection for many years. It was pressed in France by Columbia and distributed, I think exclusively, by Marquee in Japan. It came with a full back plate obi, with a biography of Sheller, written entirely in kanji. I traded for one out of Japan sometime in the 90s, and I don't think I ever saw a copy again. The CD was so obscure that when Omni came along with their CD reissue, they stated it was the first legitimate press on the market. There were pirate editions floating about, so I can understand why they said that. But the 1980s press is absolutely legit - but no one knew about it!

All this to say that the Omni CD is by far the best way to go if you're looking to own this. It too has proven to be a bit difficult to obtain here in the US. Not only does the CD feature the entire Lux Aeterna in its best sound yet, but you also get the very rare 1969 Erotissimo EP and no less than 8 other rare singles recorded from 1967 to 1970. One of these singles was a huge hit in France called 'My Year is a Day', a Sheller penned song for an American student group (sons of diplomats living in Paris) called Les Irresistables. The financial windfall from that single helped to fund Lux Aeterna. We learn all of this from the fantastic liner notes of the CD. A great job all around. It would be great if Omni reached a little further into the vaults and released the Popera Cosmic album, which Sheller produced. It too will need bonus tracks, since I recall it being under 30 minutes long.

Earth and Fire - Atlantis. 1973 Netherlands

Continuing on from Song of the Marching Children, Earth and Fire doubles down on the progressive quotient and throws in yet another high minded concept side long composition. Of course, we all know by now that Earth and Fire is a pop band in progressive dressing, and thus these are individual songs that segue into one another with seemingly no connection beyond the lyrical theme. Side 2 sees the band unmasked for what they really are, with the stunningly simple 'Maybe Tomorrow, Maybe Tonight' - the kind of song that most aspiring Top 40 bands would sell their soul for. This track would propel Earth & Fire to pop stardom, something they were trying to achieve from the beginning, but went about it in an awkward, perhaps academically, self-conscious way. While it may seem I'm looking down my nose at this band, that could not be further from the truth. I love a good melody weaved into a more mysterious compositional style, so in some ways, Earth and Fire are my ideal type of band. Top that with competent musicianship and superb period instrumentation (mellotron, organ, flute, loud psych guitar, sweet feminine vocals), and you have yet another home run from one of the Dutch progressive rock Masters.

LP: 1973 Polydor
CD: 2004 Universal (Japan)
LP: 1973 Polydor (Germany)
CD: 1987 Polydor w/Song of the Marching Children

Earth and Fire wisely adopted the style of the inner gatefold of Song of the Marching Children to make arguably their most appealing album cover of the band's entire catalog. The second cover shown above is the dreadful original UK release that I cannot imagine anyone wanting to own in light of the original. There's also a German press, similar to the Dutch original, except it splatters the name of their hit 'Maybe Tomorrow, Maybe Tonight' to ensure they added unnecessary graffiti to a beautiful painting.

Hoelderlin - Clowns & Clouds. 1976 Germany

Clowns and Clouds, Hoelderlin's third album, is a diverse work from this classic 70s German symphonic progressive rock band. No doubt Genesis is a major influence here, especially on the 'Clowns' side (tracks 1 to 3). 'Madhouse' could easily have been lifted from Genesis' Trick of the Tail, but with the addition of viola and squealing sax, which gives it an entirely unique sound. 'Your Eyes' is interesting to me, because it sounds like something you'd hear on a late 70s / early 80s Alan Parsons Project album, though the instrumental sections are much more progressive rock oriented. The 'Clouds' side is considerably more unique and is what makes this album special. Here, Hoelderlin offer up a more laid back and cosmic rock music. Violin, flute, sax, Rhodes, synthesizers, acoustic + electric guitar, and a steady rhythm section make for a serene and beautiful experience. Difficult to find comparisons for this side of their music, but perhaps the instrumental sections of Novalis' second album and Dawn-era Eloy can provide some context.

Ownership: LP: 1976 Spiegelei. Single sleeve cover with a cool water painting. Recent online acquisition (2012). My first copy came a mail order dealer in 1993 and was replaced by the WMMS CD a couple of years later, which I've since released.

1993; 1995; 5/8/12 (new entry)

Epidaurus - Earthly Paradise. 1977 Germany

If there's ever an album that is misunderstood, it's this one. Naysayers are a fact of life in the progressive rock world, and boy do they line up to skewer this baby. They hyperventilate in their glee to scream "overrated!", "overhyped!", "over-everything-I-hate-about-progressive-rock-collectors-even-though-I-am-one!". Favorite target of course is vocalist Christiane Wand. She sings soprano, which sounds a bit disorienting at first, but actually adds a certain amateur charm. Her total impact? About 4 minutes of the disc - all on Side 1. Yep - that's about it. 4 minutes. And her wordless voice is quite enticing, further adding to her value. You'd think by reading many reviews she was all over this thing like Diamanda Galas.

So even if her rather strange voice is not according to your taste, there is close to 30 minutes (it's a short album anyway) of high quality instrumental dual keyboard-driven progressive rock. The album is loaded to the gills with mellotron, Moog, organ, flute, Taurus pedals, active rhythms, the works (no guitars though). It has a very fat sound that I find highly appealing. In fact in some ways, Side 2 could work well as an excellent example of Berlin School sequencer based electronic rock (think Schulze's Moondawn, Wolfgang Bock's Cycles, or You's Electric Day) - especially the track 'Mitternachtstraum'.

Don't let the wet-blanket crowd get you down. This one is truly a gem.

CD: 1991 Penner
LP: 2010 Garden of Delights
LP: 1995 Resurrection

This is release number #1 for the famed Garden of Delights label (then known as Penner), and is considerably weaker from an archival perspective (sound is great!) than later reissues. There's a very brief bio, all in German, and one fuzzy photo - and that's it! They were to improve dramatically as a label from here though. I bought the CD shortly after it was released and was the first time I'd ever even heard of the band! I've also owned the Resurrection LP reissue which is definitely a high quality job, but ultimately decided to sell it as the overall package isn't that much of interest. No regrets. Years later I did pick up the Garden of Delights LP version, and this time they've expanded the biography greatly. Worth owning both I think. Original LPs are quite rare and expensive.

Wallenstein - Cosmic Century. 1973 Germany

Wallenstein are not an easy band to pigeonhole. Generally lumped in with the Cosmic Joker crowd, and for good reason given various band members' participation, their albums proper are nothing of the sort. Well maybe the debut Blitzkrieg has some classic Krautrock styling (and we'll cover that at another time), but by their 3rd album Cosmic Century, the band were trying their hand at 70s English symphonic rock. So the title of the album is quite misleading, not to mention their appearance on the venerated Kosmische label. Even though one can still find the Dieter Dirks phasing tricks thrown about here and there to keep it interesting. Definitely a swell album, if not particularly groundbreaking or inspiring.

LP: 1973 Kosmische Musik
CD: 2011 Belle Antique (Japan)