Zed - Visions of Dune. 1979 France

Zed is one Bernard Szajner, a French synthesist and theatrical design artist, who would later plant his own name on future recordings. On Visions he is joined by guests on guitar, bass, drums, and vocals from various members in and around the Magma camp - though this is mostly a solo electronik musik affair. Overall the music portrays an aural painted landscape of darkness, with sequencers, Moog solos, and guitar providing the ominous atmosphere - all designed to recall the Dune novel. If this all sounds familiar, it is because fellow countryman Richard Pinhas (Heldon) did exactly the same thing with his second solo album Chronolyse one year earlier with arguably better results. Both apparently shared a fixation with Frank Herbert. Late 70s Conrad Schnitzler also comes to mind here. For fans of French dark electronic music, this one is hard to pass up.

Spalax CD sold.

8/24/12 (new entry); 7/29/19

Magical Power Mako – Music From Heaven. 1982 Japan

Solo artist Magical Power Mako provides us with fourteen musical interludes, that could be classified as incidental music for TV & film (aka Library Music). The music has a distinct psychedelic Eastern bent with sitars, fuzz guitars and indigenous scales. Mako also performs drums and percussion on occasion.

CD: 1994 Belle Antique

Music From Heaven was originally released on Tokyo's own Marquee Moon as a promo LP, and may have in fact been the first release for the label/magazine/store. Though the Belle Antique CD lists 14 tracks, everything is stuffed onto one indexed song making it a PITA to listen to one particular track. When listening to the CD carefully on headphones, you'll hear background music, as if the master tape contained other music before being overwritten with Mako's album.

2015 update: I sold the CD.

Holy River Family Band - Welcome to Riverhouse. 1997 Sweden

Welcome to the Riverhouse is the second album from Sweden's Holy River Family Band. They took the ambitious step of releasing a double CD that is chock full of space rock and psychedelic music, offering up an exhausting 108 minutes. Despite the length, I found Welcome to the Riverhouse more digestible than the debut, which was only a mere hour long. There are more actual songs here rather than the - at times - insufferable long psychedelic jams the debut brought forth.

What's most disconcerting about Welcome to the Riverhouse, is that there are no obvious sublime moments to be found here. That one track that makes you drop everything you are doing and focus intently on the stereo. There's plenty of great to go around, but not exceptional. It seems a bit more thought should have gone into the pacing, and of course some obvious editing would have helped. The vocals are also not an asset, often times you'll find yourself hoping they will end quickly. Overall, the album still falls into the "excellent" category, but on the low side. The good news is there are no clunkers here, so this is a good album to hit play, and let it reveal itself in the background. Without question if you're looking for a place to start with the Holy River Family Band, this is the CD to go with, though I'm just as fond of the debut rating wise.

Ownership: CD: 1997 The Wild Places (USA). Purchased new online upon release. If you want the full album, you'll need to get the double CD. There is a truncated version on LP, but I cannot imagine the allure beyond owning it in that format. How times have changed. In 1998, new albums being pressed on LP were rare - only a bare few labels still engaged in that practice. The Wild Places/Gates of Dawn owner Michael Piper was a major LP collector, so he would press albums on LP where he could. But there wasn't much demand honestly (including me - still the case for new albums!). Today it would be the opposite. One would expect a 5 LP set with different colors for each vinyl. And then a simple slip case CD would be included, and that would be truncated! Crazy world.

8/19/12 (new entry); 5/24/19

Holy River Family Band - Haida Deities. 1996 Sweden

Haida Deities is an excellent debut album by Holy River Family Band, a group born from The Spacious Mind, and shortly thereafter also bred Kundalini. The album starts off, perhaps predictably, more peaceful and tranquil before launching its first full force acid guitar fronted jam on 'Eztetl'. The 29 minute closing track is like eating only the frosting on the cake - especially if you're a psychedelic instrumental freak. There's quite a bit to take on at once, and watch out for the sugar rush if not careful. Guitars, organs, synthesizers, hand percussion, and a slew of exotic stringed and percussive instruments are on display. If you love the 1990s Swedish psychedelic sound, itself spawned from the early 70's works by Flasket Brinner, International Harvester, and Algarnas Tradgard, then Haida Deities is a no-brainer purchase.

Ownership: CD: 1996 The Wild Places (USA)

8/19/12 (new entry) 

Anyone’s Daughter – Piktors Verwandlungen. 1981 Germany

Anyone's Daughter return to their progressive roots on Piktors Verwandlungen, the band's 3rd effort. In fact, this was a pre-Adonis composition brought to fore for the first time on album. As such, the instrumental sections here bring back the Teutonic take on the mid Genesis sound similar to other German bands of their era like Ivory and Neuschwanstein. The German narration can be a bit much to take in, as they sort of give off the feeling of "going to church before enjoying lunch" type of delay. And that's with consideration that I actually enjoy narration as a musical vehicle - as found in bands as diverse as Flaming Bess, Latte e Miele, and Pholas Dactylus. But here the fact remains there are over 11 minutes of Hesse's poetry to endure. All in all a very good album, but with notable demerits.

The Tempus Fugit CD adds a 26 minute version of the same track from the late 70s, and has to be considered an improvement. The narration has been cut back and the instrumentation is more analog. The trimmed time seems to have highlighted more of their instrumental capabilities, and because of this, is better on the whole. And the definitive version to own.

CD: 2008 Tempus Fugit / SPV
CD: 1994 Music is Intelligence

The Tempus Fugit CD is the definitive edition. It comes in a slip case, with an essay, photos, and the aforementioned 26 minute bonus track. The CD also includes a replication of a poster from a concert in Stuttgart, resembling the album cover art.

Last listen: May 9, 2019

Christian Boule - Photo Musik. 1978 France

Christian Boulé had previously played guitar on albums and in concert with French underground rock royalty such as Clearlight, Dashiell Hedayat, Gong, Lard Free, and Delired Chameleon Family, so it was only natural he'd get his chance at a solo career. At the height of the French progressive rock movement in 1978, Boulé released his debut Photo Musik on Polydor - the current label of Clearlight at the time (and no coincidence as Cyrille Verdeaux personally made the arrangements). Adding female vocals in English, the album mixes the psychedelic space rock and electronic music of Clearlight with the oncoming New Wave styles that were just approaching on the musical landscape. At once Photo Musik recalls Ash Ra's New Age of Earth combined with more obscure French bands such as Superfreego and even Eskaton (stripping away the Zeuhl of course). All throughout, Boulé's fuzz guitar is sublime. Only misstep is '22 Broad Street' while all of Side 2 is great, especially 'Orange Climax'. Those familiar with Phillippe Besombes and Hydravion will find much to enjoy here. A hidden treasure of 1978 France.

Ownership: CD: 1999 Musea. Jewel case release that contains a booklet filled with historical liner notes. In addition, there are two newly recorded (1999) short tracks from Boulé, Verdeaux, Tim Blake, and others. Both are surprisingly relevant and very good.

8/18/12 (new entry)

Mike Selesia - Flavor. 1976 USA

Fresno, California based jazz musician Mike Selesia (who plays sax and flute) presented this fascinating hybrid of early 60s Coltrane, early 70s Miles Davis, Ravi Shankar and Jimi Hendrix. Album starts with the former and gradually moves to the latter. By the end we have an almost Kosmische Krautrock type sound, something that would have been comfortable on the Ohr and Brain labels. Wild fuzz guitar, fluttering flute, sitar & tamboura, hand percussion, haunting voices and reckless experimentation. As if the drugs kicked in about half way. Excellent album.

CD: 2012 Shout! Deep Jazz Reality (Japan)

As mentioned in the CDRWL, talk about a surprise reissue! Deep Jazz Reality is a respected label out of Japan, who reissue obscure US based jazz albums. The package is very nice - an exact replica of the original single sleeve cover (presumably, as I've never actually owned one). There's an interview with Selesia in the liner notes. The bad news is it's been translated to Japanese, so not much help for us English readers. Maybe someone can translate it for us one day.

Manfred Mann Chapter Three ~ England

Manfred Mann Chapter Three (1969)

Manfred Mann leaps from his mod pop days and into the murky waters of the British rock underground. As such you have a seasoned veteran who bridges the gap from other pros such as Ian Carr's Nucleus with newcomers like Locomotive, Raw Material, Ben, and Tonton Macoute. The songwriting is top notch, and you get some great jazz inflicted background music complete with sax / flute / trumpet solos and a horn section. But of course it's Mann's creaky organ that puts it all together, and sends this one to a higher level. It does get a loose in places ('Devil Woman', 'A Study in Inaccuracy'), which can be annoying depending on your preference. For my tastes, the best track is 'Snakeskin Garter' followed by 'Time' and 'Mister You're a Better Man Than I'.

The CD adds four bonus tracks which are pretty much worthless as they are single and / or mono versions of tracks from the album.

Former ownership: 1999 Cohesion (CD). Features a two page essay and full recording details. Acquired in 2012. Downsized in 2020.

8/13/12 (review); 4/15/18

8/13/12 (new entry)

Bonfire ~ Netherlands

Bonfire Goes Bananas (1975)

The comparisons to Focus and Finch are hard to avoid when talking Bonfire's sole album. The melodic nature of the former is met with the driving guitar fronted fierceness of the latter. I would also throw in the playfulness of another Dutch group - that of Pantheon (of Orion fame), which Bonfire perhaps shares more in common with (minus the saxophone). Worth noting that the 3 bands above are all instrumental, as is Bonfire. In addition, some of the humor-in-rock recalls the Flemish band Kandahar as well as the Danish group Dr. Dopo Jam. An excellent album.

The CD includes over 17 minutes of bonus tracks. Of these, the first two are from a single that I reviewed over at The 45 Revolution. The last two fast forwards to 1980 and introduces vocals. Much better than you might think with those parameters, as the music remains progressive even though there is a pop element. The final track brings us back to the style of the album proper, and the bass work recalls Zeuhl to some extent. A super close to the package.

Ownership: 1975 EMI (LP); 1994 Belle Antique (CD)

1994 (first listen); 8/10/12 (review / new entry); 1/25/25 (update)

Barrett Elmore - Woodlands. 2012 Sweden

The first significant track here, 'The Creek', gives us a sleight of hand, as it purports that Barrett Elmore are coming from the neo-psych / shoegaze camp. But my fears were quickly removed by 'The Nixie', and the album manages to get weirder, more psychedelic and even progressive with each track. By the end of the album, on the 12 minute bonus track 'Psilocybe Semilanceata', Barrett Elmore are firing on all the right cylinders (or dropping all the right tabs). This is the kind of album one would expect to come out of the Subliminal Sounds stable with Gustav Ejstes writing the songs and Reine Fiske providing acid fuzz leads. File next to your three Smell of Incense albums.

Ownership: 2012 Trail (CD)

7/2/12 (new entry)

Änglagård - Viljans öga. 2012 Sweden

For years there was talk of a comeback. To the point of ridiculousness. It became something of a running joke. If not for the participation of actual band members on the various progressive rock focused chat boards, the whole thing would have been discredited. Then, seventeen years after Epilog had been released, another one of those tired announcements arrived: Änglagård has reformed and will have a new album out soon! Weee. Yawn. Heard that before.

Except this time it was real. The album cover was posted. The minute I saw it I just knew this was going to be special. Of course the naysayers were out in full force decrying the cover. Really? Where is the optimism of our planet anyway? To be honest, cover notwithstanding, I was still a bit skeptical. Spiritual leader Tord Lindman was no longer involved. And most importantly - 17 years is a long time. Really no band, in any era, is able to capture the spirit and angst of their youth. Anyone who has scaled challenging mountains, and the metaphoric equivalent in daily life, will tell their mighty tale on what a wonderful achievement it was - except the thought of doing it again is fatiguing. There's a price to pay for greatness. You have to exceed your mind, body, and spirit to accomplish it. And all of that is hard to regain, especially after going about the normal/mundane daily routine as we do.

But this is Änglagård, and they were always different. Personally, I'm floored by how great Viljans öga is. It sounds like classic Änglagård for certain, but it's still quite unique. They have changed some, and perhaps for the better. In fact, the two middle tracks 'Sorgmantel' (12:07) and 'Snårdom' (16:14) might be some the best compositions they've ever performed. Is it their best album? No, I'm not willing to say that. All three studio efforts are brilliant but I'm still partial to Hybris, perhaps the nostalgia factor wins the day.

So the question remains: Is this the bookend to a great era of progressive rock? Or are we about to embark on a new journey? I hope for the latter. Of course.

Ownership: LP: 2012 private. 2xLP. 45 RPM. Gatefold. Full sized booklet.

CD: 2012 private. Digipak.

CD: 2013 Arcangelo (Japan). Papersleeve edition. Part of a 3 mini-LP box set.

6/30/12 (first listen / review / new entry)

Anyone's Daughter - Adonis. 1979 Germany

The post-Genesis movement had gained some traction in Germany and Anyone's Daughter (named incongruously after a Deep Purple song from Fireball) was one of the more marquee groups to climb out of the scene (other more obscure references include Neuschwanstein, M.L. Bongers Project, Sirius, Ivory). Anyone's Daughter's music was one that had the good sense to watch the pop charts while infusing quite a bit of complication to the mix so as to maintain a certain musician integrity. Anyone's Daughter had anticipated the neo progressive movement by about 3 years, and actually did benefit financially (a little anyway) from the exposure, though they came at it from a right angle. 1980s era progressive catalogs would always include Anyone's Daughter as they were, along with Eloy, easily Germany's number #1 export in this category. Hoelderlin's Clowns and Clouds is another good benchmark. Adonis is a very good album and if you like the more melodic side of progressive rock, then Anyone's Daughter's debut should be considered a must for the collection.

LP: 1979 Brain
CD: 2010 Tempus Fugit / SPV

The Tempus Fugit CD is splendid. This CD, which restores the original cover art, features not only two lengthy extended progressive rock cuts that total close to 20 minutes ('The Taker', 'The Warship'), but also a cool video of the album opener. It also features a full-sized poster (from a cover they would later use for an album called Last Tracks), and a booklet with a full band history and unique photos. The second scan was the cover used for the first round of reissues.

Last listen: August 8, 2019

Cuprum - Musica Deposita. 2011 Czech Republic

With Cuprum what you get is good old fashioned hard rock meets progressive with loads of fuzzy guitar, Hammond organ and a little flute. Sure, it's retro 1971 England or Germany, and a sound you've heard from other modern bands like Wicked Minds (Italy), Seid (Norway), Siena Root (Sweden), Blood Ceremony (Canada), Hypnos 69 (Belgium) and a few others. But the Czech Republic has no such tradition, and hearing this style performed with the Czech language is quite interesting indeed. About the only band from 1970's Czechoslovakia that even came close to this sound was Flamengo and maybe Modry Efekt - both groups only at their most hard rocking selves. The songs for the most part are quite compelling, even though it does possess that been-there-done-that feeling. I think if Cuprum expands their instrumental palette, adds a few more ideas per composition, navigates the twisty road and turns on a dime capriciously and truly does "go for the gusto", then they will hit Masterpiece status. Even as it stands, I'm quite happy with what they accomplished on this most extraordinary debut.

Ownership: CD: 2011 private

6/11/12 (new entry)

J.E.T. - Fede, Speranza, Carità. 1972 Italy

There are few albums that open as strong as this one. The 11 minute title track is right there with the absolute best of the original Italian progressive rock movement - say primo Il Balletto di Bronzo. FAY DAY, SPA RAN ZA, CA REE TA leads right into the first couple of incredible minutes of 'Il Prete e il Peccatore' and then… ugh… the album breaks into a more typical Italian singer songwriter style. Well not exactly as dire as that, but the intensity of the first 13 minutes is never regained. This album usually gets listed as a disappointment by many because of this trend, but I think a lot of that has to do with the expectations that were delivered early on. I've always been partial to the dramatic 'Sinfonia Per un Re' and it sounds better now than ever (love those fuzz guitar solos and Hammond washes). And closer 'Sfogo' is a good - fun - energetic instrumental with wordless voices piece. Oh.............. but that first track - been listening to it for over 20 years and it still blows me away!!

Ownership: CD: 2005 BMG (Japan); LP: 1993 Si-Wan (Korea). The album was originally released with a die-cut textured chalice cover. The chalice itself is a pretty thick cardboard piece (I have a friend who owns a nice original copy). Missing from some online discographies is the next issue, which was both a CD and LP on the Crime label (each 1988 Japan). It is this 1988 issue that you'll commonly see two extra tracks for Side 2. These two tracks are both taken from a rare 45 and not on the original LP. I once owned this Japan CD, and can confirm. Also - the original LP does not list the final track 'Sfogo' on the back cover even though it's listed clearly on the label. The Japan LP from 1988 came with a perforated chalice, that you could detach yourself and paste into the gatefold. Obviously not the best option and doesn't truly replicate the original, but an interesting idea all the same. The 1993 LP from Si-Wan (Korea) features the original gimmix cover, but the cover is smooth and the chalice is a thin sliver not reminiscent of the original. It isn't until 2005 that the original LP is finally duplicated exactly with the thick chalice insert - in the mini-LP CD format from BMG (Strange Days), which I own as well.

Babylon ~ USA ~ Tampa, Florida

Babylon (1978)

Well it's quite apparent by reading many reviews, that a lot of folks (mainly progressive rock fans) aren't too keen on the sole studio Babylon album. Not to be a contrarian, but I like it immensely. The CD liner notes say that Babylon were influenced by Genesis, King Crimson, Gentle Giant, Van Der Graaf Generator, Happy the Man and "various European and American progressive bands". Yea, whatever. It's 98% Genesis circa 1970-1973 and 2% the rest and maybe Yes is 50% of the 2%. So they ape the sound of Trespass through Selling England By the Pound. Is that so bad? The songs are entirely original, but the style is ridiculously similar to Gabriel and crew. The US landscape of 1978 is filled with bands that mixed progressive rock with AOR styled pop rock. Not Babylon. This is progressive rock made by geeks to be listened to by progressive rock geeks (I'm guilty as charged). Personally I think 'Dreamfish' is their masterpiece and a song that perfectly fits their sound. It's like Genesis extract: Hyper, intense, dramatic and complex. A great album, and Tampa Bay's one sole contribution to progressive rock... long before they would become the Death Metal capital of the world.

Ownership: 1978 Mehum Music (LP). Acquired in 1993.

1993; 1999; 2004; 3/11/10; 6/10/12 (review); 7/5/26

Once owned: Better Conditions For The Dead; Night Over Never

6/10/12 (new entry)

Flamengo - Kuře v Hodinkách. 1972 Czech Republic

This is an extraordinary album given the time and place. Flamengo's music is similar to some early 70's UK underground bands such as Raw Material, Tonton Macoute, Web's I Spider, and especially Diabolus. It would be hard to imagine that Flamengo would know any of these albums, and thus came to a similar musical conclusion through a completely different lens. Sax, flute, guitar and organ are the primary solo instruments. Incredible songwriting with memorable melodies, that does remind the listener of the early 70s Italian scene (PFM, Celeste, QVL). Passionately sung in Czech, and I wouldn't want to hear it any other way. Also worth noting is the awesome production, which sounds like it was recorded in Germany or England. Too bad the oppressive governments of Eastern Europe didn't allow more artistic freedom in the early 70s. Flamengo's sole album gives us perhaps the best example of what could have been.

Ownership: CD: 2012 Supraphon; Of all their reissues, this CD trumps them all. What a magnificent package. It comes in a tri-fold digipak (with original album cover art) that fits comfortably into a cardboard sleeve. This version features 3 bonus tracks and all the Czech lyrics. The sound of the album itself is even better than the 1990 disc. I cannot stress enough how great the original production was for this album. It is truly up to Western European standards.

LP: 1972 Supraphon. Recent online acquisition (2019), and comes in a flimsy single sleeve. It's simply a trophy for me. The CD remains the primary.

6/3/12 (review / new entry); 4/7/14 (update);

Buffalo - Only Want You for Your Body. 1974 Australia

A friend recently pointed out that one of Buffalo's third album influencers was none other than Terrible Ted Nugent. They've moved on from the Sabbath inspired Volcanic Rock album and upped the pace, while maintaining a certain lascivious standard as on 'I'm a Skirt Lifter, Not a Shirt Raiser', 'I'm Coming On', and 'Kings Cross Ladies'. Great guitar leads that would make Detroit's buffalo hunter proud (hey, wait a minute...). Seriously, every stoner band worth its bong has tried to emulate Dave Tice's voice. Do not even claim to be a fan of said scene without at least paying homage to the originator. And the track 'What's Going On' predates British Steel era Judas Priest by six years.

Sadly, Buffalo would slide way downhill from here. Boogie rock was the all the rage downunda, and Buffalo succumbed. Gotta make a livin', I can understand that.

Ownership: CD: 2005 Aztec. Six panel digipak with liner notes. Includes two relevant bonus tracks.

5/27/12 (review / new entry); 1/22/24

Ñu - Cuentos de Ayer y de Hoy. 1978 Spain

Jose Carlos Molinas is the charismatic leader of Ñu and he employs a unique dramatic vocal style and also plays a mean flute. Heavy guitar (bordering the early 80s heavy metal style) and violin round out the major components of their sound. Ñu are generally compared to Jethro Tull, but I don’t hear it myself. As we know, any time aggressive rock is mixed with flute, you’ll get that reference. In some places Ñu is like a proto Deus Ex Machina, especially when you compare Molinas' histrionic singing with Alberto Piras' style. The last two tracks 'El Juglar' and 'Paraiso de Flautas' are extended complex compositions with copious flute and violin.

Ownership: LP: 1978 Chapa Discos. Gatefold. Online acquisition (2011).

CD: 1992 Crime (Japan). Jewel case. Features one bonus track, taken from a 45.

1993; 5/20/12 (new entry); 7/19/19

Pentwater - Out of the Abyss. 1973-1976 USA-Illinois (archival)

Out of the Abyss is off-the-rails hyper complex mid 1970's US progressive rock. If you like non stop complexity similar to Yezda Urfa and Mirthrandir, then this album is for you. It certainly is for me! Get ready for a brain-load.

Without a doubt, Pentwater's release remains my favorite of the 1970s archival releases. It's truly a shame that this band never had a chance to properly record an album until they were past their prime, managing to get one album out in 1978 (which I'll feature soon). They did reform recently, and have proven once again what a talented bunch they are.

As with the Neuschwanstein that was recently posted, I also managed to get a more formal review of this album out for I/E back in 1993. The below is that review, though updated and cleaned up a bit:

About a year ago I was talking to Greg Walker, head of Syn-Phonic, and asked "What's your next project?". He replied "Pentwater". "PENTWATER!" I cried. "What's so progressive about Pentwater?" I already knew of their sole 1978 album, and while good, it wasn't great. Greg quickly responded "No, not their album but some awesome unreleased stuff !" Well, the CD is out, and "Out of the Abyss" proves Mr. Walker was right. In a big way. Pentwater (who hail from the Chicago area) are but another example of how awesome the underground progressive scene was in America. It's really a shame that the major labels were (and still are) too focused on pop radio airplay potential to recognize where the true talent lies. But hey, all progressive rock is pompous, pretentious, corporate-fed, getting-away-from-rock-n-roll's-original-intentions mumbo jumbo right? It's true, read your Rolling Stone Record Guide...

Pentwater's music is quite similar to other superb American bands like Cathedral, Easter Island, and Mirthrandir. As with the aforementioned bands, Pentwater play an extremely complex and intricate music that embodies the best parts of the English masters like Yes, Gentle Giant, Genesis, and King Crimson yet in no way plagiarizes their music. The 8-minute 'EM 54' that opens this CD demonstrates just how involved a work this is - a constant barrage of sounds, ideas, and instruments are all tossed and turned to deliver an overwhelming, yet always exciting, piece. The first 2 minutes must of taken a month to write and record alone! Aside from traditional rock instrumentation, this highly talented 6-piece play flute, harpsichord, Mellotron (YEAH!), Mini-Moog, oboe, Theremin, violin, and assorted percussion ranging from anvils (?!) to tubular bells. Pentwater began in 1970 and lasted until 1978 (the year of their LP). The material for this CD was taken from 1973-76. During their existence they recorded 54 songs from which, according to Mr. Walker, future projects will come about.* Good deal.

* Well, Greg, it's been 20 years now Bud. Don't hurry. No rush. :-)  (Greg is a good friend. I have to rib him....)

Ownership: CD: 1992 Syn-Phonic

5/19/12 (new entry)

Neuschwanstein – Battlement. 1979 Germany

The below is a review that I originally wrote for I/E magazine in 1993. Remember them? I've altered it somewhat to reflect new information, and perhaps clean it up a bit. I can't remember if this one got published or not - but the magazine was always very kind to me.

There seems to be some debate as to whether or not Neuschwanstein is similar to Genesis. I think they are, and it's not entirely a coincidence, given the many other bands in late 70s/early 80s Germany who attempted a Genesis-like sound (Ivory, Sirius, ML Bongers, Zarathustra (1982)). But by no means are they plagiarist. In fact, Battlement actually expands on the classic sound, though there's still no mistaking who provided the influence. The opening two tracks 'Loafer Jack' and 'Ice with Dwale' are straight-on Selling England by the Pound style and reminds me quite a bit of another excellent Genesis styled band: The Austrian group Kyrie Eleison. 'Intruders and the Punishment', 'Beyond the Bugle', and 'Battlement' follow and its here where we separate the men from the boys. An overabundance of time changes, guitar and synthesizer soloing, phased voices, and all sorts of unexpected twists and turns distances this release from the wannabees. The CD reissue comes with the ubiquitous bonus track. According to the bio, 'Midsummer Day' was omitted from the original LP due to its commercial nature. A strange statement considering how progressive it really is. So in conclusion, if classic Genesis is to your liking then you will love this. If not, then you may still like it. This one comes highly recommended.

LP: 1979 Racket
CD: 1992 Musea (France)

This is one of those albums I first learned about via the Eurock catalogs of the late 1980s. Eurock was a goldmine of information back then as well as the only place you could buy something like this. I bought quite a few LPs from Archie in the 1980s, with the limited funds I possessed. As for the CD, Musea sent me the liner notes script and asked that I proofread it, asking that I not be "too American" in my delivery. They didn't ask me again, so I think I failed at being "English" LOL. They were nice enough to give me credit in the liner notes anyway.