Arabesque - Tales of Power. 1976-1979 USA (archival)

Arabesque were a Pittsburgh area progressive rock band, and these recordings date from 1976-1979. All you have to do is look at the track titles like 'An Epic: Krall Mountain' (11:53), 'Cobbler's Knob' (11:42), 'Arcanum of Atlantis' (10:37) and the associated timings, to know these guys fit squarely within the 1970s over-the-top ultra complex Midwest US progressive aesthetic. Pentwater's 'Out of the Abyss' would be a good benchmark, though the recordings here aren't quite ready for prime time. One can only imagine how amazing this would have been with the proper studio time. In fact, in overall sound, complexity and mindset, I was mostly reminded of Skryvania from France. If all this sounds good to you, then Arabesque is a must pick up. I usually have little tolerance for less-than-ideal recording standards, but this one is an easy exception.

CD: 2002 Shroom

CMU - Open Spaces 1971 England

Converse to its successor Space Cabaret, Open Spaces starts excellent, with an ideal English styled psych rock track in 'Henry'. 1971 is a little late for the type of psych they're doing here, but it would have been the perfect soundtrack to a Swinging' London film like Otley or Blow Up. However, the middle of the album tends to drag, with their interpretation of Pharaoh Sander's 'Japan' being a low point. But, like Space Cabaret, the last two tracks save the day, with the super sweet and exotic 'Mystical Sounds' followed by the weird psych space jazz title track, sounding like Kalacakra and Furekaaben jamming on the MPS label. Apparently the song 'Open Spaces' was commissioned for an interactive sculpture exhibition with a psychedelic light show. Any chance I can go back in time and see this?

CD: 1993 See For Miles

The CD release from See For Miles contains both albums. But in order to fit them in, they excluded one 6 minute track from Open Spaces. This version also has unique liner notes.

Gomorrha - I Turned to See Whose Voice It Was. 1972 Germany

For the 3rd album on the legendary Brain label, the very cleverly titled I Turned to See Whose Voice It Was (referencing the Biblical story of Lot's wife no doubt), I can recommend this one easily. Now this is true hard styled Krautrock. The kind of album where fans of complex progressive rock go scratching their heads wondering what the big deal is. It's underground rock, baby. Nothing more than simple blues rock motifs, gruff vocals, pounding drums, organ shards, and the cherry topping is the long stretches of fuzzy guitar solos, all played at "11" of course. And since it's on Brain, naturally Conny Plank was at the controls, so you can expect all sorts of echoing, phasing, and every other studio trick that just plain sounds cool. So while not necessarily memorable, it is the kind of album that sounds great while playing it. And really, isn't that when it matters most? So strap your seat belt on, plug in your air guitar, and get ready to jam. Best track is 'I Try to Change This World' (9:31). According to the liner notes of the Repertoire CD, this was it for the band, and they quit music and went into the workforce. A pity really.

LP: 1973 Brain
CD: 1997 Repertoire
LP: 2013 Long Hair

Originals come in a fine gatefold cover. Apparently the original press comes in a non-laminate cover with spelling mistakes in the inner gatefold.  The second press (1973) fixes these while laminating the cover. Apparently most of these laminates have peeled through the years. This is the version I own and can validate this finding. The CD on Repertoire is excellent, as were all of their Brain releases, with unique liner notes, photos, etc...  The Long Hair LP adds new liner notes.

Body - The Body Album. 1981 England

I seem rate this album higher than most of my peers, and I'm not entirely sure why. Body are a really good space rock band that is completely incongruous with anything else coming from England in 1981 (other than maybe the first Twelfth Night album). There are very few references to the early 80's UK synth pop scene though a couple of tunes are musically relevant 'Brave New World' being the most obvious whereas 'Lights Out' could have easily been a hit single during that era. Overall I hear elements of You era Gong as well as the obscure Italian group St. Tropez here. The near 15 minute spaced out 'Andromeda' is the song Pink Floyd never made after Ummagumma and is the standout track on the entire album. The bonus tracks are uniformly excellent except for maybe the goofy Falkland Islands political rant - but no matter - it was, after all, an important topic in the mid 1980's!

CD: 1997 Ozit
CD: 1992 World Wide Records (Germany)

My introduction to this album came via the SPM/World Wide CD that I purchased upon release (1992 or so). The Ozit release (scan above) comes with 4 bonus tracks, a full history, photos, and is overall a great reissue. Definitely a marked improvement on the bare bones SPM version.

Simon Says - Ceinwen. 1995 Sweden

There have been bands trying to copy the classic Genesis sound ever since... well... ever since Genesis stopped putting out progressive rock music themselves. In the late 1970's and early 80's, bands from Germany (Ivory, Neuschwanstein, M.L. Bongers Project, Sirius), The Netherlands (Saga), and Austria (Kyrie Eleison) gave it their best shot (and all did an admirable job I might add). Entering into the early 80's there was even a celebrated movement called the New Wave of British Progressive Rock (now saddled with the derogatory "neo prog" tag), where classic Genesis was clearly the blueprint - most notably found in the sound of well known and respected bands like Marillion and IQ. By the late 80's this particular genre was starting to get a bit long in the tooth - almost cartoon-ish even (witness the Swiss band Deyss on their roll-on-the-floor it's-so-bad-it's-bloody-awful 'At-King' album).

So what am I doing talking about a band who did basically the same thing - as late as 1995? Because it's damn good, that's why. Simon Says are definitely post-Anglagard Genesis copycat, and for that they deserve some credit at the very least. Gone are the cheap synthesizers, brass patches, gated drums, pig squeal guitar leads and thin production. And in its place are acoustic guitars, flute, Hammond organ, fat woody bass, loud acid guitar, Mini Moog solos and best of all, the glorious MELLOTRON blaring its sampled string sounds - 8 seconds at a time just as God had intended. It's in the Bible somewhere. Dammit.

Even if you would want to take a pass at this point, then at the very least go to the final track, with the brain blowing 16 minute 'Kadazan' which basically sounds exactly like Anglagard doing their best Nursery Cryme imitation. Even the most cynical amongst you out there ought to at least give THAT a try before making final judgment.

Ownership: CD: 1995 Bishop Garden. Purchased new upon release.

1995; 5/16/11 (new entry)

Ocarinah ~ France

Première Vision de l'étrange (1978)

Ocarinah's sole work is a real gem to be found in the French underground mine. Try to imagine the first two Clearlight albums - but as strictly a keyboard trio (with occasional guitar) - combined with a strong dash of metronomic rigidness similar to the Canterbury movement. In particular the early albums by Egg come to mind. Première Vision de l'étrange contains five long tracks of incredible creativity and complexity. An easy-to-listen-to masterpiece of the style.

Ownership: 1978 Calypsia (LP) 

As of this update (2/21/25), the album has not been legally reissued in any format.

1994 (first listen); 5/13/11 (review / new entry)

Lunar Dunes - From Above. 2007 England

There are scores of psychedelic space rock bands in existence these days, and that's a good thing, but there a few that clearly are rising to the top. And Lunar Dunes is in the top tier. Superior and inventive guitar work combined with a creative rhythm section define this amazing debut. The songs are well written with actual melodies, and aren't just skeletons to launch the next jam. There's a distinct Middle Eastern exotic flair, as evidenced by the hand percussion and soaring wordless female voice on 'Herzegovina (interpolating Le Petit Chevalier)'. This track is even more remarkable in that it sounds like Tony Hill from High Tide jamming with the rhythm section of Can. 'Loophole' reminds me of Ashra from their Correlations improv sessions set. The aggressive psychedelic space rock of 'The Todal Gleeps' recalls the great Omnia Opera. Lunar Dunes go into psychedelic chill-out form from 'Seaspray' through 'When I Was on Horseback'. The final three tracks feature both styles of aggression and serenity successfully.

Ownership: CD: 2007 private. Digifile

5/12/11 (new entry); 4/16/18

Last listen: April 16, 2018
Originally reviewed: May 12, 2011

TNVVNÜM - Ouroboros. 2009 Estonia

Excellent new, primarily instrumental, band from Estonia whose full name is Tõele Näkku Vaadates Võib Näha Ükskõik Mida - just rolls off the tongue doesn't it? The name translates more or less to Facing The Truth You Can See Anything.

The opening of TNVVNÜM's second album Ouroboros sits somewhere between the post rock of Tortoise and Ummagumma era Pink Floyd. The song structures meander similar to the former, but the Gilmour leads and fuzzy sounding ancient organ point to a late 1960's sound. By track 4, the album is already in full blown psychedelic rock mode, which endears itself to this listener anyway. The eerie narration/vocals of 8) give off more than a whiff of first album Trettioåriga Kriget. The album peaks on the sublime 'Bad Chemicals', an appropriate name given the disorienting psychedelic nature of the song. This song could have easily been part of the Pärson Sound repertoire of 1968.

Highlights (using the provided English translations as I'm too lazy to type in the Estonia names): 3. Seagull (3:30); 4. State of the Dream (6:36); 6. Ambrosia (4:10); 8. Solar Eclipse (6:09); 9. Bad Chemicals (5:31); 10. Earthbound (5:30)

Ownership: CD: 2009 private. Housed in a nice hard bound mini-LP sleeve.

5/10/11 (new entry)

Soma - Dreamtime. 1995 England

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 (originally recorded 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 3 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: CD: 1995 Beard of Stars

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 - Arkana Temporis. 2009 France

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: CD: 2009 Soleil Zeuhl

4/9/11 (new entry)

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)

No reissues as of 2/21/25

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)

No reissues exist as of 2/21/25.

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

3/3/11 (new entry)