Soma ~ England

Epsilon (1991)

As mentioned on the Dreamtime review, I stated that Soma were a band that didn't live up the hype thrust upon it - that hype something akin to "better than Ozric Tentacles". But as I listen to this album for the first time in forever, I have to say the album doesn't live up to the promise of the very first sequence of tracks presented here. The near 13 minute "first track", which comprises of 'Being - Ghandarva - My Skin (Turns the Colour of the Sand)', is absolutely phenomenal. Some of the best space rock ever committed to tape, with incredible atmosphere, build up, and finally release. The middle section with the solo riffing guitar blazing out of the Moog tweets is jaw dropping in its execution. But the band couldn't keep up the intensity afterward - and it sort of peters out by the end. And the dullish, quiet mix doesn't help matters any. Seems the band could have benefited from an Ozric like production. Still, as with many of the UK festival psychedelic albums, this one has aged well for me.

Mystic Stones, along with Demi Monde, were one of the original leading lights of the creative underground space rock movement in the late 80's and 90s. Strangely the label never did put out a "monster" album, though they have plenty of really good ones - perhaps Mandragora's Temple Ball being the highlight.

Ownership: 1991 Mystic Stones (CD). Acquired in 1992.

1992; 10/5/11 (review); 8/7/18

Dreamtime (1992)

For those of you who remember when Ozric Tentacles broke out big-time in the late 1980's, then you'll probably also recall a host of other bands coming from the UK Festival scene, as well as other astral travelers from the world over. Soma's debut Epsilon was preceded by quite a bit of hype - something akin to "if you love Ozric, then you'll be blown away by Soma". Always a dangerous thing to do, and sure enough Soma's album didn't live up to such a lofty reputation. That's probably no fault of the band, but finger pointing goes to those that were trying to market it to a new, hungry, but discerning audience. However, not living up to an exceedingly high bar is not the same thing as saying the album wasn't any good. Quite to the contrary.

Fast forward to 1995, and Soma's long delayed second album finally gets released on CD (originally released on cassette in 1992). By the mid 1990s, as mentioned in the Mr. Quimby review, a certain blasé attitude had penetrated the targeted audience. Whether through overexposure, redundancy, or saturation - who knows - but many of us were exhausted of the style. And to top it off, Soma's album was already three years in the can, and was now finally being issued by an obscure Italian label with little distribution. I gave it the short shrift back then, tossed it quickly and said "same ol' same ol'" It wasn't fair, but I was still digesting hundreds of new albums in the mid 90s, and only the best of the best were standing out. I recently received a second chance to buy the CD through a used set sale, and I jumped on it.

A revisit has been kind to Dreamtime. In reality, you can hear the band had actually matured, while expanding their sound to incorporate more sophisticated structures. As such, Soma's final album isn't so much a space rock rave-up, but rather a progressive rock album via the Hawkwind lens. Complex meter shifts, and vocal fronted rock music aren't necessarily the common tools of the jamming space rock trade, but are more than welcome to this listener anyway. Too bad Soma didn't really get their chance to shine in the spotlight. I bet a reunion, similar to what Omnia Opera just pulled off, would prove to be quite a revelation.

Ownership: 1995 Beard of Stars (CD). Booklet with historical narrative and lyrics. Reacquired in 2011.

1997; 5/9/11 (review); 8/23/26

5/9/11 (new entry)

Ballo delle Castagne - Kalachakra. 2011 Italy

---4/29/11 (updated)

I'm always on the lookout for modern bands who incorporate psychedelic influences into their progressive rock, and it was clear by the few reviews I saw, plus my sampling of their first album a few months ago, that Ballo delle Castagne are one such band. One only has to look at their label name and album title to pick out a distinct Krautrock predilection. 

Given the sitar, echoed acid guitar and overall trippy effects, perhaps it's surprising that Ballo delle Castagne also possess an early 80s maudlin New Wave sound, especially evident in the vocal styling presented. In some ways, I'm hearing that most misunderstood debut album by the Italian group Runaway Totem (Trimegisto). Ballo delle Castagne's second album, for me at least, improves significantly as it progresses on - losing some of the 80's song narrative, while bringing forth their 1970s Krautrock influences. The moody and atmospheric 'La Foresta dei Suicidi' is my pick for best track.

---9/23/24

Interesting how 13 years can change a perspective. As many albums have lost their space in the collection, an effort like Kalachakra sounds more fresh to my ears now than (apparently) then. The group describe themselves as a mix of hard rock, progressive, and New Wave. The latter was something I wasn't into so much when I heard this. Now I even hear an obscure genre like Italo-Disco which I had no clue about until the last couple of months (think Kraftwerk). One can hear similarities to fellow Italians Il Segno del Comando, another band that seemed to enjoy New Wave, especially the more gothic side of the house. The twist here is Ballo delle Castagne's fondness for early 70s Krautrock. My favorite track remains 'La Foresta dei Suicidi' which recalls Popol Vuh, a band that Ballo delle Castagne clearly has a fondness for. I can't think of another album like this in my collection. That gets you a +1.

Ownership: CD: 2011 Hau Ruck SPQR. Digipak. Lyric booklet with artistic photos.

4/29/11 (first listen / review / new entry); 9/23/24 (update)

Klotet - En Rak Höger. 2008 Sweden

Klotet are a modern instrumental band who play in a very Swedish 1970's sort of way. Utilizing only analog keyboards, and a fuzzy electric guitar, Klotet conjures up classic Kebnekaise, Harald Hedning, Lotus, and Flasket Brinner. The foundation of the melodies can be found in Swedish folklore, whereas the music approach is pure early 1970s. An excellent combination.

Ownership: 2008 Musea (France)

4/28/11 (new entry); 9/8/18

Architrave Indipendente - Azetium A Otto Piste. 2009 Italy

Architrave Indipendente's sole album is the closest I've heard yet of a band sounding like the original 1973 Italian progressive rock movement. There are many groups today that emulate the sound, especially from a compositional standpoint, but they still sound like they're a modern troupe (vintage equipment not withstanding). For example, groups such as La Maschera di Cera, Il Tempio delle Clessidre, and La Torre dell'Alchimista all are clearly retro focused, but still are very much of our own era (and that's also a good thing). Architrave Indipendente are hardcore, right down to the recording techniques and LP only release (though a year later some handmade CD-R's were made to meet digital demand). It's as if they immersed themselves directly into the Italian culture of 1972. That's not an easy thing to accomplish. Great album that is closer to the romantic sounds of Celeste, Errata Corrige, and second album Quella Vecchia Locanda rather than the harder edged bands like Il Balletto di Bronzo, Biglietto per L'Inferno, or Museo Rosenbach.

Ownership: LP: 2009 Retroguardie. Gatefold with 2 inserts and a circular patch. Numbered edition (mine is #109). Stunning package.

2010; 4/27/11 (new entry)

Mysteries of the Revolution. 2007 England

Their website says "MYSTERIES OF THE REVOLUTION features BB Davis of the legendary Red Orchidstra and virtuoso French virtuoso keyboardist Dan Biro. Influences range from Miles, Hancock, Zawinul, George Duke, Roland Kirk, Corea, Coltrane, Mahavishnu, Lifetime to Hendrix, Zappa, Led Zep, Doors, Steely Dan to neo-classicism and psychedelica all dished up in a sweaty, heady brew of heavily jazzified, passionate, funked up, blissed-out, head-on grooves with a whole dash a' finesse n' panache - yeah, really."

Yea, really. And no kidding. Damn. Here's a band that not only is current, but is already completely obscure. C'mon, this isn't fair! I think part of the problem here is it appears the band is being marketed to a jazz audience. And while that's not entirely wrong to do, I think the progressive rock buying public would perhaps be more interested in Mysteries of the Revolution.

Mysteries of the Revolution combine instrumental retro Hammond and flute driven rock with a modern jazz approach. On this latter point, despite the analog instrumentation, one can hear the crystal clear production and modern percussion ever so slightly calling out St. Germain for example. But by no means is this a techno jazz album. Just listen to The Crunch and you'll swear it's from a 1971 English proto-prog album. And they use a regular drum-kit. About the only group I can think of in this space is the Norwegian band Elephant9, but Mysteries of the Revolution are more varied and not quite as much in "Hammond overdrive" as Elephant9 are. Let's hope this isn't all we're going to hear from these guys, as they've shown tremendous potential here.

Highlights: 2. The Crunch (10:16); 3. Storius Sensorius (5:58); 7. Secret Fire (5:34)

Ownership: CD: 2007 Blue Serene Focus

4/25/11 (new entry)

Porcelain Moon ~ Finland

...As it Were. Here and There (2009)

Debut album from very promising new band from Finland. Porcelain Moon are midway between the classic post-Jefferson Airplane European female vocal lead progressive rock groups of the early 1970s (Sandrose, Julian's Treatment, Circus 2000, Goliath, etc...) and the modern airy symphonic folk groups like Magenta, Iona, Mostly Autumn, etc... What I like most from Porcelain Moon is the analog instrumentation and psychedelic predilection (organ, Moog, fuzz, and wah-wah guitars) - and it's clear to me early Pink Floyd is an influence too. Personally I'd like to see the band focus entirely on this latter aspect, as there has never really been a specific retro movement on what was once a thriving scene throughout Europe as noted by my Post psychedelic, proto progressive with female vocals list. The final two tracks are the winners, with the mysterious 'Markens Grode' and especially the stunning 'Vinden'.

Ownership: 2011 Musea Parallele (CD). Booklet with photos and recording details. Acquired in 2011.

The original private press, under the band name Porcelain was extremely difficult to find. Fortunately Musea picked them up and is easily one of the best new albums on the imprint. During this process, a name change occurred resulting in Porcelain Moon. A good idea I think, especially if one considers Google searches.

4/24/11 (review); 8/12/16; 4/16/26

4/24/11 (new entry)

Amoeba Split - Dance of the Goodbyes. 2010 Spain

Amoeba Split are one of two current Spanish bands (that I'm aware of anyway) playing in the Canterbury styled jazz rock space. The other is the more known Planeta Imaginario. Of the two, I'd say Amoeba Split are the more purest when referring to the classic bands of Soft Machine and National Health. The instrumentation is right out of the 70's: Hammond organ, piano, Mellotron, Mini-Moog, flute, sax, guitar, bass, and drums. The major differentiator here is the female vocals, which are admittedly a bit shrill. Her slightly accented delivery is a bit odd, but I have a feeling that will add to the charm on repeated listens. She's really not that far from some of the early 70's shrieks of Sandrose and Joy Unlimited. But it is unusual in this setting, where we're used to the soft affected tones of The Northettes. Amoeba Split score well on both of the style's major attributes - melody and complexity. A no-brainer pickup for fans of the 1970's UK Canterbury scene.

Ownership: CD: 2010 Creative Commons. Housed in a fine mini-LP sleeve with booklet. Numbered edition (#311 / 500). Purchased new not long after release.

4/24/11 (new entry); 10/12/23

Neom ~ France

Arkana Temporis (2009)

Neom's debut is a slow burner, built on intense thematic melodic lines while adding guitar, Rhodes electric piano, wordless voice, and of course the all important driving woody bass and percussion. The guitar is a unique dimension for the Zeuhl style, and only on the debut by Eider Stellaire will you hear so much of the instrument in this context. The fact that they can write beautiful melodies within the confines of the martial style of Zeuhl is a testament to Neom's talent.

Ownership: 2009 Soleil Zeuhl (CD). Booklet with recording details. Acquired in 2011.

4/9/11 (review / new entry); 8/30/26

Polestar 1 ~ USA ~ Baltimore, Maryland

Flying Thru the Universe (1980)

Polestar 1 were a Baltimore based heavy progressive rock band that in many ways reflect the same standards and sound as their Midwest brethren close by. There's a certain directness from America's premier political region, and you hear it in bands such as The Muffins, Oho, Heavy the World, Mars Everywhere, and Id's Where are We Going. The latter two groups in particular seem to have parallels with Polestar 1, especially the cosmic themes, vocal styling and guitar-centered space rock nature of the recordings. Like the Midwest groups, the playing is compact but complex.

Ownership: 1980 Rascal (LP)

No reissues as I update this post (2/21/25)

3/29/11 (review / new entry)

Deus Ex Machina. 1993 Italy

I feel sometimes that this album, Deus Ex Machina's second offering, is the forgotten work in their canon. Since much of their live repertoire is taken from this album, it appears to contain their strongest material from a composition standpoint - at least as the band sees it. The execution isn't as crisp, and the sound quality isn't dynamic (a bit of a flat digital sound - typical of early 1990s albums). Singer Alberto Piras demonstrates here what a force he was to become. A very good album that has aged well and I feel a slight improvement on their chaotic and unfocused debut.

Ownership: CD: 1993 Kaliphonia. Jewel case release.

1993; 3/13/11 (new entry); 4/13/18

Avel Nevez ~ France

Service Compris (1979)

There's a fine line between electric folk rock and folk influenced progressive rock. With Brittany, the majority of the bands are the former (Malicorne, Gwendal, etc...). Avel Nevez, on Service Compris at least, is probably the most clear example of the latter, at least from this most unique of French regions. There's no mistaking the patriotism and indigenous melodies that define the Breton area (the regional map in the trashcan says all you need to know politically). However the guitar, and in particular the synthesizer work, points to a deep 1970's knowledge of French and UK progressive rock. If you're familiar with the mid 90's band Kadwaladyr, then Avel Nevez is probably closest in sound to that high spirited bunch.

Ownership: 1979 Arfolk (LP). Acquired in 2000.

No reissues as of 10/18/26.

2000; 3/30/11 (review / new entry)

Flying Island ~ USA ~ Connecticut

Another Kind of Space (1976)

When I think of Flying Island, I tend to categorize them as a fusion band. But this listen proved to me that's not really the case. Even though there's a little funky business, I would say that Flying Island are more of an instrumental progressive rock band. The lead instruments are violin, guitar, and organ, and this is definitely no chops fest. Compositions are first and foremost, while instrumental dexterity backs up the highly melodic, but complex music charts. The violin in particular will remind the listener of Curved Air and Darryl Way's Wolf.

According to Chris Fox of Helmet of Gnats - the band are from his hometown of Greenwich, Connecticut.

And another interesting note: Violinist Faith Fraeoli later played on the Perfect Symmetry album by Fates Warning (also from Connecticut).

Ownership: 1976 Vanguard (LP). Acquired in 2003

No reissues exist as of 2/21/25.

2003; 11//05; 3/3/11 (review)

Also own: Flying Island

3/3/11 (new entry) 

Black Bonzo - Sound of the Apocalypse. 2007 Sweden

Following on my review of the first album, here is Black Bonzo's highly anticipated second album. While the debut represented the early 70s UK sound - anywhere from the heavy rock of Uriah Heep to the gentler tones of Caravan - Black Bonzo's second album Sound of the Apocalypse shows the band moving to top billing on the arena stage. This album has what I would call a BIG sound. Mellotrons and organ, fat bass, loud guitars, and crashing drums. From the dynamic moments of King Crimson and Yes, to the more progressive sounds of Kansas and Styx is where you'll find the music of Black Bonzo's second album. You'll also spot Gentle Giant and VDGG, so all the big names are here. In effect, Black Bonzo moved the needle of the time machine from 1971 to 1976. And perhaps they also sailed from England to America. I find the album lacks a distinct personality, but it's hard to root against it. This is hardball progressive rock.

Ownership: CD: 2007 Laser's Edge (USA). Purchased not long after release. Fine tri-fold digipak with a booklet filled with lyrics.

2/22/11 (new entry); 2/27/22

Il Tempio delle Clessidre. 2010 Italy

Il Tempio delle Clessidre's debut is one of the finest retro Italian progressive rock albums I've heard to date. Lead by the beautiful keyboardist Elisa Montaldo, Il Tempio delle Clessidre is the classic five piece Italian band working its way through increasingly complex compositions, but with melody and passion. The crowning touch was the recruiting of Museo Rosenbach's front man Stefano “Lupo” Galifi, who pretty much sounds the same here as on Zarathustra (37 years ago!).

There are no weak tracks on Il Tempio delle Clessidre, though the album starts more measured and stilted, before it slowly morphs into its own creative genius. By the time of 'La Stanza Nascosta', the album has found its footing. And it peaks on the frenetic 'Danza Esoterica di Datura'. From there it maintains its intensity and brilliance. If you miss the spontaneous creativity of the original Italian progressive rock scene of 1973, and can't get enough of the analog sounds of the era, then Il Tempio delle Clessidre is a no-brainer pick up.

Ownership: CD: 2010 Black Widow

2/19/11 (new entry)

Metropolis ~ Germany

Metropolis (1974)

Musically, Metropolis' sole album is difficult to pigeonhole. It's a panoptic view of the Krautrock genre. I hear elements of other German groups as diverse as Joy Unlimited, Nine Days Wonder, Pell Mell, Lily, Os Mundi, Eiliff, and Ardo Dombec. Plenty of superb electric / acoustic guitar, organ, mellotron, horns, flute, female & male vocals. Final nine minute piece 'Ecliptic' is a total monster. Suffice to say, if you're a fan of the early 70s German underground rock scene, then Metropolis is a no-brainer purchase.

Ownership: 1974 Pan (LP)

No legit reissues as of 2/21/25.

1997 (first listen); 2/5/11 (review / new entry); 1/18/20

Thors Hammer ~ Denmark

Thors Hammer (1971)

On Thors Hammer's one album, the band plays a hard driving jazz progressive rock, typical of the UK 1971 movement ala bands like Raw Material, Diabolus, Hannibal, Aquila, etc.. Perhaps an even more accurate portrayal would the German group Nosferatu. An excellent album throughout.

Ownership: 2005 Thors Hammer (CD). Extensive historical liner notes. 

9/10/99; 2009; 2/6/11 (review / new entry); 2/17/25 (update)

Arcane ~ England

Future Wreck (2000)

Oh my, what do we have here? Well, we have Rubycon but it flows like a techno album. Introspective flute mellotron and piano is offset by intense sequencing bordering on beats, but it is still pure EM. I haven’t heard anything this devastating since the discovery of Redshift. After the 21 minute+ opening title track, they shift gears to a more modern era of Tangerine Dream. Perhaps to the best of their 1980's albums: Logos. There is something very special about that album that is hard to put in words. It’s a rare combo of melodies and moods. But Arcane is clearly operating in that rarefied territory on track 2 'The Plastic Eaters'. By track 3 they are marching through the 80's and hit Hyperborea for 'The Visible Empty Man'. The first part of the track is what that TD album should have been like – with more haunting atmospherics and it doesn't dawdle. Oh dear, the second part of this song heads into bouncy Le Parc land. How did we get from Rubycon to Le Parc? Who’s bad idea was that? Well, this part isn't a highlight of the album for sure. Fortunately they close back in the Logos area. Or maybe Tangram, with a nice introspective sequence. The finale 'Planet of the Blind' gets back to some mellotron / sequencer business with a bit of White Eagle thumping and a rare synth solo done in guitar hero fashion. Well, it’s a romp through the Tangerine Dream history book, but what the hell – I like the mix, different from any others I’ve heard.

Ownership: 2000 Neu Harmony (CD). Acquired in 2005.

3//05 (review); 3/15/10

Also own: Gather Darkness; 33 1/3 RPM

1/15/11 (new entry)

Dennis - Hyperthalamus. 1975 Germany

Dennis were a supergroup of sorts featuring members from Frumpy, Kravetz, A.R. &  Machines, Xhol Caravan, Kickbit Information, Thirsty Moon, Tomorrow's Gift, and Release Music Orchestra. With a lineup like that, one would expect a fusion album with Krautrock psychedelic ambitions. And that's exactly what Dennis is. Four long tracks, that are built upon a psych premise, but with more traditional fusion instrumentation (Rhodes, sax, flute) amongst the usual guitar, bass, and drums. A unique album in many ways. Unfortunately the recording isn't too great, at least as found on the original Nova LP release, of which I'm reviewing right now. I wouldn't be too surprised if the masters were in much better condition and a proper reissue could do wonders.

Ownership: LP: 1975 Nova. Single sleeve. Online acquisition from a UK dealer (1999).

In August of 2017, a CD reissue has finally appeared. Unfortunately it's part of a 5 CD box set that includes other unrelated CDs that have already been reissued. Bummer. As of now, I have no intention of buying this set, so I won't know if they improved upon the sound. Somehow I doubt it.

1999 (first listen); 12/27/10 (review / new entry)

Toshiaki Yokota & The Beat Generation - Flute Adventure. 1971 Japan

Yokota was the flutist on the Love Live Life + 1 album (I always presumed he was the "+ 1" but I'm not sure of that). He was also a guest on Kimio Mizutani's excellent A Path Through Haze as well as Hiro Yanagida's Milk Time. Yokota was definitely embedded in the Japanese underground brain-scorched Rat Pack that's for sure.

Flute Adventure is a mix of flute based underground acid psych and ethnic woodwind journeys, drizzled with a dash of cocktail lounge. So yes, a little Yatha Sidhra, a little Bjorn J:Son Lindh, some Jeremy Steig, even a smattering of Herbie Mann – all through the Ohr label aesthetic of phased out head exploders like Annexus Quam. And it’s a full band effort, not just an album with solo flute. No, this one has plenty of fuzz guitar and tribal percussion to add to the frenzied party. Absolutely essential for the freakshow hidden deep within you.

CD: 2007 King

Interesting to note that all the tracks are in either French or Portuguese (thanks Isabel!).

Macondo ~ USA ~ Los Angeles, California

Macondo (1972)

Other than 'Cayuco' and, to a lesser extent 'Almendra', Macondo do not really attempt a Santana like sound. Macondo are more a gritty street-level fighting group. Probably 'Do It to Me' and 'Get It on Girl' are the most bare-knuckle tracks on the album, and are here to let you know Macondo mean business. 'Why' is the most out of place song here, sounding like a Latin rock version of Crosby Stills and Nash. I found it a highly appealing combination myself. 'Sneaking in the Back Door' is a straight up hard rocker whereas 'Wishes' has more of an AM radio focus, but is still appealing. 'Can't Make Love Alone' and 'Battery' are what define Macondo best. A heavy rocking sound, nothing too complicated, with some great grooves and organ / guitar solos. In fact both could be considered a proto-Chango, and for moi, there is no better Latin rock album than Chango's debut. 'Never Thought I'd See You Gone' is the other odd track out along with 'Why'. There's a distinct late 60s Haight-Ashbury hippy vibe, but with some very interesting heavy Hammond organ leads.

Overall an excellent album, though probably not fair to compare to Santana. Different outcome from a similar scene.

---5/12/20

Because the CD is a bare-bones issue on Wounded Bird, I don't know much about Macondo (nor does the original LP afford much). Reading online, it appears they were from East L.A. and discovered by Sergio Mendes (and it's produced by his company). Macondo were one of many Latin rock groups actively playing in the early 1970s, hoping to cash in on the success of Santana, or even other local California favorites like Malo and El Chicano. A typical one-and-done band that time forgot.

Ownership: 

1972 Atlantic (LP). Acquired in 2001.

2010 Wounded Bird (CD). Acquired in 2010.

2001; 11/1/10 (review / new entry); 5/12/20 (update)