Patrick Vian ~ France

Bruits et Temps Analogues (1976)

---1/26/07

Bruits et Temps Analogues is pretty much an eclectic brew, in the French tradition, with Berlin School sequencer based electronic ostensibly being the album's main premise. No doubt Richard Pinhas (Heldon) was an influence here, with the mix of Moog synthesizers and electric guitars. But Bruits et Temps Analogues is more upbeat, and perhaps even more world music influenced. Vian previously headed up the much more polarizing, and politically charged, Red Noise from a few years before. There's very little of that angst and radicalism present here. 

---4/22/25

Georges Granier's marimba plays a major role in the world music influence. And Bernard Lavialle (Ame Son, Nyl) gives us our Richard Pinhas moments. The further we get away from the 70s the more I gravitate to the analog sounds of the pioneering electronic albums. It was one of the very first underground styles of music for me to get into during the middle 80s, and the more I hear, the more I appreciate the artists who tread down this path. Naive, perhaps without purpose, yet emphatic all the same.

Ownership: 1976 Egg (LP)

1988 (acquired); 1996; 1/26/07 (review); 9/11/13 (update / new entry); 4/22/25

Wurtemberg ~ France

Rock Fantasia Opus 9 (1980)

Piano and flute dominate this fine instrumental progressive rock work from Wurtemberg, despite the fact that main composer Alain Carbonare was at the time (and maybe still) a craftsman for custom stringed instruments, that were also featured on the album, though primarily in the background. No doubt it's his handiwork that's featured on the front cover (left to right): Dulcimer, Lyre, and Psaltery. The introspective nature of the music recalls early Mike Oldfield, and when Wurtemberg rocks out, Snow Goose era Camel comes to mind. There's even a couple of places one can hear the prototype for the future Medieval French progressive rock act Minimum Vital. A remarkably consistent album, where the closing seven minute track 'Rockopus1' would have to be considered the highlight.

Ownership: 1980 Sterne (LP). Gatefold. Acquired in 1993.

1993; 9/10/13 (review / new entry); 2/7/23

Trilogy - Here It Is. 1980 Germany

Of course when you name your band Trilogy, and keyboards are the main focus, then you are more than likely to draw comparisons to ELP. And if you're German: Triumvirat. And those obvious references aren't entirely off the mark. But they only tell half the story. First off, Trilogy are a 5 piece band with two keyboardists and a guitarist. Now the trick is - can they keep the album interesting as an entirely instrumental album? The answer is a resounding yes! Trilogy moves though various themes, colors, tones, moods, and textures with ease. All the while the rhythms are constantly changing to keep one guessing throughout the session. The solos carry melodic lines within them, creating a remarkably memorable album. At times I'm reminded of the instrumental side of Epidaurus. Here It Is is a striking example of a band, against all odds, that were able to create a superior progressive rock album that has stood the test of time. 

Ownership: CD: 1993 Musea (France). Purchased new shortly after release. Comes with informative liner notes and one excellent bonus track that was to be issued with a compilation. This was my introduction to the album and I consider it the primary copy.

LP: 1980 Cain. Single sleeve. Acquired online (2010) primarily because I like to have originals of my favorite albums when affordable (and this one is). Even though the band apparently wasn't involved with the design of the cover, I tend to like these no-relation-to-the-music-whatsoever type of artwork. The Musea CD looks '90s Photoshop to me - and most of their contemporary acts of the day had similar type covers.

1994; 2008; 6/3/13; 9/9/13 (new entry); 8/27/23

Egonon - Risveglio. 2011 Italy

The 1970's Italian progressive rock greats are regarded as such because of their innate ability to compile and distill the influences of their day. Namely classical, jazz, rock, indigenous folk, avant-garde, and canto. And a big old scoop of youthful exuberance. Considering this, Egonon are true to the philosophy of their ancestors. Rather than recreate the sounds of the 70s, as many Italian bands are doing today (and wonderfully so I might add), Egonon are assimilating their own influences. In their case, the list might look like: Heavy Metal, Alt-Rock, World Music, funk, and... everything that was also included in the 1970s Italian progressive rock scene, including the end result of said scene, which they clearly respect and pay homage to. It may be a restaurant with too many items on the menu, but no doubt a fascinating place to visit. Give them a try and taste for yourself.

Ownership: CD: 2011 private

9/8/13 (new entry)

Flyte - Dawn Dancer. 1979 Netherlands-Belgium

Flyte are originally from Breda, a Dutch town that borders the Flemish regions of Belgium. As such, they are a mixture of both countries. But musically, they might as well be from Cincinnati, and would have been a perfect addition to my Midwest USA list. All the tracks are between 4 and 6 minutes, with that unique combination of commercial aspiration and complex progressive composition. The heavily accented English vocals won't push Flyte to stardom, but one can't help but admire the effort. So while fellow countrymen Lady Lake knew to keep their mouth shut for the most part, Flyte went for broke. So in the end you get progressive AOR music with badly accented vocals - and a lot of mellotron. Ehhh - why not?

Ownership: LP: 1979 Don Quixote. Single sleeve. Recent online acquisition (2013). This replaced the Si-Wan reissue which was my introduction to the album. The Si-Wan version is a gatefold, which is a nice touch.

1994; 2009; 6/15/13; 9/8/13 (new entry)

Casa das Maquinas - Lar de Maravilhas. 1975 Brazil

Starting with the album cover, Lar de Maravilhas possesses a strong resemblance to early Premiata Forneria Marconi. Somewhat mellow, song-oriented, but with a clear progressive approach. Advanced arrangements for acoustic/electric guitar, organ, Moog, and complex rhythms. Not that this album is anywhere on par with Per un Amico, but there are a few similarities. This is the middle of their three albums. Apparently the other two are more straightforward rock. I get the impression Casa das Máquinas are like those Italian pop bands, such as I Dik Dik or Equipe 84, who decided to dabble in progressive rock for a short time.

CD: 1994 Cast

I should look into getting an original, as the cover art appeals to me greatly.

9/17/13 (review / new entry)

Stranafonia - Per un Vecchio Pazzo. 1997 Italy

Yet another CD from the late 90's explosion of Italian progressive rock, Stranafonia provide a very fine, but ultimately faceless album. All the elements are in place: Keyboards, guitars, impassioned vocals in Italian, and a solid rhythm section who do an admirable job of moving things around at a moment's notice. But there's really not that much meat on the bone, even though the platter looked good on initial inspection. Perhaps it's a bit lyrical heavy, or maybe it's the tinny 90s production combined with the digital-age synthesizers in full effect, but whatever the case this one tends to blaze by without too much notice. Difficult for a die hard Italo-progressive fan like me to wash my hands of, but this isn't the first album I pull down as a classic representative of the late 90s Italian scene.

Ownership: CD: 1997 Lizard. Standard jewel case release

Removed from collection (2017)

1998; 9/7/13 (new entry); 9/14/17 (removed)

Kundalini Shakti Devi ~ Italy

Kundalini Shakti Devi (1974 / 2013)

Somewhat like a proto-St. Tropez. An odd album given the time and place and it's easy to see why no major was taking a chance back then. Not a perfect recording either, but somehow the end product is satisfying. Don't start your Italian progressive rock collection here, but if you've heard everything else, then this 1974 recording will enthrall at a certain level. Three long tracks of lyrical lite progressive jazz rock with plenty of flute, guitar, and sax solos - always pleasant and never grating. I like it.

Ownership: 2013 BTF (CD). Papersleeve. Acquired in 2013.

9/6/13 (review / new entry); 1/2/24

Era di Acquario - Antologia. 1973 Italy

Don't listen to Era di Acquario's sole album with the expectation that it's an unknown 1973 classic Italian progressive rock album. However, if you enjoy pastoral acoustic guitar, flute, and hand percussion instrumentals, then Era di Acquario will most certainly satisfy on that level. Opener 'Campagne Siciliane' is stunningly beautiful. There are also a trio of decent harder rocking electric/acoustic guitar lead pieces with vocals, two good electric instrumentals ('Fuori al sole', 'Statale 113') and, yes, one singer-songwriter dud to endure ('Idda' - track 3 on the 1995 BMG CD). Overall, this is a sweet album. Just don't expect Museo Rosenbach or Semiramis.

CD: 1995 BMG

Definitely a rare album in original form, and features a very thin rough cardboard single sleeve cover that fades easily. The parent companies of RCA maintained the rights all these years, and the CD remains in print. This is the type of album that is more popular in its home country than abroad.

I Santoni - Noi. 1972 Italy

I Santoni is somewhat typical of the transitional band from Italy going from singer songwriter beat/psych over to progressive rock. You'll hear similar bands from Italy like Capricorn College, I Califfi, and Era di Acquario. But that only tells part of the story. There are also some complex instrumental charts played by sax, flute, and Hammond organ that gives it a strong whiff of the progressive rock movement that was just about to sweep Italy for the next 5 years. In this regard, Delirium's Dolce Acqua, Blocco Mentale, and even first album Jumbo come to light. If all this reads well to you, then I Santoni's Noi is likely to satisfy at a high level. I really enjoy albums such as Noi, but it does stop short of being excellent. For those of you looking for the next early 70s Italian progressive rock monster, this isn't it. Move further on in the stack.

Ownership: CD: 1995 Mellow. This reissue is bare bones even by Mellow's standards. No booklet, just a single card with the cover. Taken from vinyl. To be fair, it sounds good despite this. These are the kind of CDs that lead people to being OK with downloads.

Willowglass - The Dream Harbour. 2013 England

As a reviewer myself, I tend to read dozens of reviews. It can be wearisome to see the same tired critiques by those who think they have something novel to say - when in fact it's the same old blather. Generally these reviews are from newbies who digest 30 albums a day via illegal download and spit out whatever is in their addled brain. They have no context or sense of history. Just bla blabla blabla. Sometimes you can tell they aren't even reviewing the correct album, but something else - probably a mislabled download or one too many bong hits. So with that in mind, I had a bit of fun with the below review, as The Dream Harbour is just the type of album that is ripe for getting picked on.

Willowglass continue to improve with each release. Now a full three piece, Willowglass is beginning to come together as a full unit rather than just a solo effort with a drummer in tow. If progressive rock is a regular part of your diet, then Willowglass are your IHOP. Good ole eggs (mellotron, organ), bacon (flute, violin), and pancakes (guitar) with syrup (soaring guitar)... and coffee (odd time signatures) is what is served at The Willowglass Cafe. Sure, you've had bacon, eggs, pancakes, and coffee a million times before. But when it's all cooked right, you walk out happy and smiling. Willowglass does that for you.

Oh, you wanted scallops with parsnip puree, l'orange spinach, and a balsamic vinegar reduction? Oh that would be the restaurant to our left called the Avant-Garde Noise Cafe!

For the first reviewer that comes here and says this has "all been done before, therefore don't waste your time" you get a gold star!

TWO stars if you look just like a Starbucks' Barista!

And THREE stars if you look like a Starbucks' Barista but have never actually had a job before!

Ownership: CD: 2013 private

9/3/13 (first listen / review / new entry)

SRC ~ USA ~ Detroit, Michigan

Traveler's Tale (1970)

After the somewhat middling Milestones, SRC finish their career on a high note. The opening trio of songs recall their splendid debut, though with more compositional acumen than before. 'Never Before Now' is the kind of pop slop they tried on Milestones with no success here either. 'By Way of You' brings the band back to credibility, before embarking on two bonafide monster tracks: 'Diana' is a brilliant heavy psych tune dedicated to some mega babe, and I would love to see a modern video interpretation of the song myself. This is followed by the excellent seven minute 'Across the Land of Light', a rare instrumental that comes dangerously close to all-in progressive rock, and perhaps a peek through the window of what SRC could have become. But, alas, it was not meant to be. Album finishes disappointingly with the overlong 'The Offering'. SRC's debut is one of America's greatest major label psych albums. And Traveler's Tale is about as good a late era psych album as you will find from anywhere.

The CD reissue offers one bonus track from a 45 single, but it's just boogie rock.

Ownership: 1970 Capitol (LP). Gatefold.

1995 (acquired); 9/3/13 (review); 3/18/17; 1/12/22

SRC (1968)

When I think of 1960s psychedelic music, the debut by SRC is exactly what I want to hear. A six piece, with two guitarists and an organ player. The Quackenbush brothers clearly lead the instrumental sections with Glenn pounding away on his Hammond while Gary lays down these insane acid guitar solos - splattering it all over everything like The Plastic Cloud do - and just the way I like it. Meanwhile Scott Richardson's (Scott Richard Case is what's behind the acronym) vocals are spacey and trippy - a flower power voice in a psychotic setting.

From the town that hosts the University of Michigan, and it's clear the student body was TURNED ON in 1968 (which might explain why they lost to Ohio State 50-14 that year, but that's another story...).

SRC's debut is one of the gems of the major label US psych scene. Crushes most albums in this genre. Don't miss out on this one.

Ownership: 1968 Capitol (LP); One Way (CD) 90s pressing

1995 (acquired); 8/23/12 (review)

8/23/12 (new entry)

Henry Fool - Men Singing. 2013 England

12 years after their debut, Henry Fool finally comes back with their sophomore effort. The all-instrumental, ironically titled Men Singing is an atmospheric, lush, and overall relaxing affair. And very professionally produced. Almost too much so. What saves this from being a somewhat typically cold and clinical piece of modern rock, is the defiant use of analog equipment. While it may be trendy to pull out an M400 Mellotron nowadays, not too many bands out there are boldly going forward with Moog Taurus bass pedals and fuzz bass. Add to that a magnificently toned psychedelic guitar (from Phil Manzanera no less) and sax/flute, and you truly have something worth levitating to. I suppose if I were to critique, or in reality make a personal request, I would prefer a bit more of a "rough edge" to the overall product. Perhaps throw in one bluesy organ based jam to release the tension that is built.

Ownership: CD: 2013 KScope

9/2/13 (new entry)

Music Emporium ~ USA ~ Los Angeles, California

Music Emporium (1969)

Of all the private psychedelic pressings to come from America in the late 1960's, none were better than Music Emporium. Featuring two guys and two gals playing organ, guitar, bass, and drums, Music Emporium were able to combine both high energy rock with a dreamy/trippy psychedelic vibe. All the members were music majors at universities in and around Los Angeles and were inspired by jazz, classical, avant-garde, and rock. Their brand of psychedelic was far more sophisticated than the average garage band of the day despite the fact that the majority of the tracks were under the four minute mark. In fact, only the two minute 'Times Like This' could be considered a "normal" song. 'Nam Myo Renge Kyo', 'Prelude', and 'Sun Never Shines' are barnstormers with some fantastic Farfisa organ by bandleader Casey Cosby and some incredible drumming from Dora Wahl. Music Emporium are at their best when they go for the psychedelic dream sequence soundtrack styled song. These are characterized by dual male/female vocals, tranced out organ chords, and jagged rhythms. 'Velvet Sunsets', 'Catatonic Variations', 'Gentle Thursday', and 'Winds Have Changed' are examples of this style. The longest track is 'Cage' which is, not surprisingly, the most complex and angst ridden song on the album. The closer, 'Day of Wrath', is a quasi-religious apocalyptic ending with Farfisa providing what would normally be the church pipe-organ. Overall Music Emporium were a solid two to three years ahead of the pack when it came to creative musicianship. The fact this was done on a private budget makes the album even more extraordinary. Certainly one of the top five psychedelic releases ever.

Always one of the most sought after psychedelic albums, Music Emporium's sole effort was getting multiple thousands of dollars in the catalog market until a box of sealed ones showed up from a band members' ex-wife (I'm thinking this happened in 1994 if memory serves me right). I can remember having the opportunity to buy one for $800 - still way beyond my budget back then. And sure enough, prices are back in the stratosphere today.

As for reissues, this title lived in the gutters of the pirate market forever. Especially egregious was the Psycho LP reissue, which only had ONE CHANNEL. I know at least one knowledgeable collector who told me he hated this record. When I asked what version he had - he said it was the Psycho one. Well no wonder, dude! So if you've only heard that version - or downloaded it from some crappy website, then double check the source. 

Ownership: 2001 Sundazed (LP). Die cut gatefold with liner notes inside. Acquired in 2001.

7/3/01 (review); 9/2/13 (update / new entry)

Unreal City - La Crudelta di Aprile. 2013 Italy

A couple of months back I was featuring the incredible renaissance we've experienced the last few years with the classic Italian progressive rock scene. Perhaps unbelievably, I was only about half way when I was forced to stop due to that everyday pesky life event we call a job.

As I'm sure you deduced by now, Unreal City is yet another new participant. Mirror Records presented us earlier in the year with Oxhuitza, a band that blended both old school Italo progressive rock (especially regarding the analog keyboards) with more modern sounds like metal guitar. For those who didn't care for the latter element, then Unreal City will most likely be more to your taste. There's a considerable amount of mellotron on here, though much of it sounds sampled to me (Planet Mellotron has given them the benefit of the doubt for now, querying the public for more info). In the end, it doesn't really matter much to me, as I love the sound - sampled or not. The guest violin adds a much welcomed ingredient. And the pipe organ recalls that old 1972 chestnut Il Paese dei Balocchi. Unreal City strike me as band that will be quickly dismissed by those saying it's "all been done before". Conversely, diehard fans will embrace it without too much questioning. I'm a diehard, and yes, I really like it for certain. I will admit nothing struck out in a head-turning way, like the very best Italian albums can, though I didn't hear anything cringe-worthy either. The style by itself allows for various interpretations of the same song over multiple listens. That's the beauty of it - there's so much to digest, each listen has its own rewards. And you will for certain get your money's worth with Unreal City, an album chock full of twists, turns, and great invention. I very much look forward to their next release!

Ownership: CD: 2013 Mirror

9/2/13 (new entry)

Morgen. 1969 USA-New York

When I first started collecting psych music in the late 1980s (which admittedly came after progressive rock and heavy metal), I expected all the albums to sound something like Morgen. Great bumble bee fuzz guitar, good melodies, somewhat spaced out vocals. But alas, it wasn't to be the case. But Morgen is in the big leagues, and it's no surprise to me that it is one of the most sought after of the major label psych pieces, despite there being a relatively large supply in circulation. It's just that good - and for what seemed like forever, no legal reissue existed to offset demand (until 2013). To me, this one is the real deal and I file it right next to The Plastic Cloud. Nice late 1800's artwork of The Scream by Edvard Munch.

Ownership: CD: 2013 Sunbeam (UK). Always a much sought after and rare album as an original, that thrived in the pirate market for close to 25 years, due to a lack of a legit reissue. Finally the excellent Sunbeam label of England comes through, filled with liner notes with participation from Steve Morgen himself. The bonus tracks are more interesting than relevant, though it does include their one single. Even though this single contain two tracks from the album, the single mix is different. This new CD allowed me to kick the Eva boot immediately out the door.

11/21/19

Dillinger ~ Canada ~ Toronto, Ontario

Dillinger (1974)

In some ways, Dillinger's debut is darn near the perfect early 70s progressive hard rocker, with grungy organ and loud guitar, fronted by an extra-testosterone-laced lead vocalist. One can easily see this band being label mates of Spirit of Christmas (both were on Daffodil), though Dillinger were certainly not as ethereal. But there are a couple of downers – one is their rancid rendition of a Spirit track ('Nature's Way')  – and, gasp, the obligatory over long drum solo on the side long 'Live and Return'. Still, a great example of the Midwestern progressive sound. They were to improve on their second Don't Lie To The Band album.

Ownership: 1974 Daffodil (LP). I'm wondering why this album isn't known as A Lease of Love? That's what shows on the label. Acquired in 2022.

First copy: 1998 Unidisc (CD). Acquired in 2005.

2005; 8/31/13 (review); 1/27/23

Don't Lie To The Band (1976)

Don't Lie To The Band is the second and last album by Dillinger before evolving into The Hunt. The music is at the crossing path of unabashed FM radio hits and off-the-hinges radical complex progressive rock.

This title front loads all the bad tracks. In fact, the first ten minutes are pretty rough to be honest. It opens strong enough with a hard rockin' cover of Spooky Tooth's 'Two Time Love' from The Mirror' album. This is followed by a funky version of The Beatles great composition 'Taxman'. Downright blasphemous if you ask me. And finally we get the awful 'It's Not All Mine', a hideous ballad that represents everything that was wrong with FM radio in 1976. Well... isn't this exciting? I'm thinking sell bin at this point.

Enter nine and a half minute 'Munchkin Men' which introduces us to 35 minutes of great music. It's a completely different album. This track is a highlight and demonstrates to us the band is willing to pull out all the stops, recalling every great Midwestern album from Albatross to Yezda Urfa. Fat Hammond organ solos, shredding guitar, emotional vocals, wild flute, acoustic guitar, a thousand meter changes. It's a heart stopper to be sure. The next three tracks continue in this manner, three of which pass the six minute mark, and are all clinics in mixing the commercially accessible with an academic approach - and mixed with serious chops. It's what all of us underground heads, if we are entirely honest, wished Journey, Styx, or REO Speedwagon to have done in the late 70s.

---7/6/26

I did not realize until now that the last track was not on the album. It's a bonus cut taken from the b side of the 'Two Time Love' 45. It's very much like the second half of the album. The CD didn't mark it as a bonus nor did the booklet make mention of it. Looks like the label just threw it in. Glad they did though. Excellent addition!

Ownership: 

1976 Daffodil (LP). Gatefold. Acquired in 2019.

2001 Unidisc (CD). With one bonus track. The booklet shows the original album cover except it's now colored in. Acquired in 2006.

3//06; 7/6/11 (review); 7/6/26 (update)

7/6/11 (new entry)

Groon ~ England

Refusal to Comply (1994)

An obscure one-off from England, Groon present a very powerful instrumental guitar fronted power trio. Make no mistake, this isn't a guitar hero album. All fully composed with a very unique rhythm section, almost jazzy, and always scattered. Somewhat Crimsonish - Red era - in their approach of mixing jazz, progressive, and the avant-garde. You could almost say that Groon is to the 90's what Red (the UK group) was to the 1980's. What separates Groon from the crowd is the brilliant drumming of Steve Clarke which is both active and forceful. And what is the background of bassist Algy Ward and drummer Steve Clarke? The unlikely NWOBHM band Tank! Who knew? I recommend this album to all looking for something different in the too worn out genre of the guitar power trio.

Ownership: 1994 Progressive International / Dissenter (CD). Acquired in 1995.

4//95; 8/15/13 (review / new entry); 5/24/19

Lothlorien - Il Sale Sulla Coda. 1998 Italy

A fresh listen tonight reaffirms my position below.

For my tastes, Lothlorien were one of the finest of the late 90's Italian progressive rock bands, of which there were many. The differentiators are the strong keyboard work (in particular the piano), the flute, and the fantastic vocals in Italian. The music is constantly on the move, and the guitarist isn't afraid to take the proceedings into the 90s. Musically, the band's melodic style recalls the pastoral Errata Corrige - except as met up with 1989 period Nuova Era perhaps. This is a really fine effort, with a compositional style similar to the original 70s masters, but there's no mistaking this is from 1998. If I had a complaint, it would be the overly bright 90s production. Otherwise, excellent in every way. I would love to see this band reform for a second effort.

Ownership: CD: 1998 Lizard. Jewel case with nice fold open lyric booklet.

1998; 8/13/13 (new entry); 6/5/21

Rhun ~ France

Fanfare du Chaos (2013)

Like Caillou, Rhun are a new French band that fits squarely into the Zeuhl tradition. While Caillou were looking outward to the jazz side of the medium, Rhun sits very comfortably with the master creator of the genre itself: Magma. There are both jazz and classical references presented on Fanfare du Chaos, a CD from AltRock that combines the previous year's EP (first 3 tracks) with a 2008 unreleased demo (last 3). The music is rough and tumble for the most part, with the expected operatic Kobaian used as the vehicular language. Soft flute and bassoon are often juxtaposed against a blitzkrieg of fuzz bass, electric guitar, pounding drums, and squealing sax. Hard to imagine fans of both 1001 Centigrades and Mekanik era Magma - as well as the great Weidorje - not lapping this one up. It's a straight play for the hearts of traditional Zeuhl fans everywhere, of which I'm one. And they succeed for the most part. Rhun fortunately avoids the excess of modern bands such as early Koenji Hyakkei and second album Scherzoo, though I wouldn't mind if they traded a few of those pure noise improvisational parts (especially some of the atonal sax squonks) for actual songwriting. This is a band with tremendous potential. Let's see where they go next.

Ownership: 2013 AltRock (CD)

Discogs has quite the argument going over what the band name and title is! I'm going with how it was originally when released.

8/7/13 (review)

8/7/13 (new entry)