Atomic Simao - Nodo. 2013 Ukraine

In 1993, this wayward backpacker traveler ventured into the mysterious lands of the Ukraine - a very crazy thing to do for an American in those early post-USSR days. Sticking out wildly with long golden curly hair and a red beard, with those jeans and those white tennis shoes. An easy mark for any number of Russian mafioso roaming about. But I met a girl in Lviv... oh but yes, and not one I would ever see back home in Texas. Completely in awe I was, we struck up quite the torrid romance, one that ultimately ended up in engagement with yet another European adventure a year later with her by my side. And then came the ultimate breakup.... Ah yes, Uncle Genius Hans has lots of stories to share around the dinner table. Just not my current one, as Auntie UMR is there, who showed up but yet a few months later and is still the ever beautiful Mrs. Genius Hans some 18+ years later. And Ukrainian-girl-who-shall-not-be-named must not be named.

20 years later from that breakup event, by pure coincidence, I now own my very first album from the Ukraine. Via my very good friend Spyros... from Greece... naturally. Global economy indeed.

And he was astute enough to release this album on LP through his Cosmic Eye imprint.

Atomic Simao play an improvised space rock. So while not exactly a new concept, their execution is exemplary, and when they catch a deep groove with raging fuzz guitars on top and synthesizers flying above... well, you all know the feeling when that happens...

Ownership: LP: 2014 Cosmic Eye

12/9/15 (new entry)

Sfinx ~ Romania

Lume Alba (1975)

Sfinx's debut album is an extraordinary accomplishment given the time and place. Since so few rock albums were privileged to a deprived audience, Sfinx released something akin to a "Beatles Effect" album, with a mixture of popular styles. But being it was 1975 and all, progressive rock was one of those prominent styles, and this is where Sfinx excelled most. Especially on the stunningly beautiful 'Sinteze' which sounds like an underground track on the Pole label from France - and the Moog solos are divine. Plenty of highlights to go around in the progressive, folk, and hard rock genres, understanding that consistency is not what Sfinx were striving for at the time, so be prepared for some downtime too. Including the beginning.

Sfinx (1974)

Debut recordings from Sfinx, who were to flesh out more on their subsequent debut LP in 1975. Opens with the hard rocking 'Coborise Primavera', before delving into the pop songwriter 'Ziua Ta'. Flip side consists of what could be called a "classic Midwest USA AOR" sophisticated pomp rocker, before closing with the lovely ballad 'Peste Virfuri'. Nice EP.

Ownership: 2015 Soft Records (CD). Tri-fold digipak. Liner notes in Romanian and English (latter truncated somewhat, but informative). It contains both the album and EP as noted above. Copy #155 / 500.

12/5/15 (acquired / review); 10/6/25 (update)

Many years ago I owned Zalmoxe. I'll need to revisit that title again.

12/5/15 (new entry)

VAK - Aedividea. 2015 France

The palindrome named Aedividea CD combines VAK's first two EP's (2012/2014 - minus one track 'Rheet') into one splendid Zeuhl offering. VAK blossoms from the Eskaton branch of the Zeuhl tree. And any time that great band is even whispered as an influence, Magma fans everywhere should be rushing out to obtain their very own copy. And the abundance of flute gives off more than a whiff of Dun. Wow, this is the good stuff right here. Another great find from the specialty label Soleil Zeuhl!

Ownership: CD: 2015 Soleil Zeuhl

12/2/15 (new entry)

Drahk Von Trip - Heart and Consequence. 2005 Sweden

Drahk von Trip are a southern Swedish group who play a unique mix of space rock and aggressive neo psychedelia. A large scale 6 piece band complete with female vocals and plenty of different instrumentation (violin, flute, "vintage synthesizers", multiple percussion contraptions, and some highly unusual wind instruments like the yidaki, a specific type of didgeridoo, as well as the Didjeribone). Some of the guitar work found here is quite inspiring. Though they have elements of many bands from White Willow to Hawkwind to Azalia Snail to Ozric Tentacles to Magma (mainly found in the bass work on 'One of a Kind' and 'Gahn'), Drahk Von Trip do not remind me of any one particular group. 10 lengthy, and somewhat complex, tracks allow for much discovery for each future listen.

Ownership: CD: 2005 Transubstans

11/26/15 (new entry)

Darediablo - Feeding Frenzy. 2003 USA-New York

Welcome to the Hard Rock Cookin' Show. Today we have Darediablo from New York City. Tell us, Darediablo, what is your secret recipe?

Thanks for having us on the show today, Bob. We look at both the past and present for our recipes. On Feeding Frenzy, from the past we take one part Uriah Heep and one part Captain Beyond. And from the modern chefs, we like one part Kyuss and one part Tortoise. Blend. Drain the vocals out. Serve.

Yum.

Darediablo are very much a typical Under the Radar band from the 2000's. They never really had much exposure to the progressive rock community, and yet that may have been a better audience for the group in the long run. Today, the band seems long forgotten, only brought to life by archivists like myself. Like many before them, Darediablo arose from the New York City indie scene. They did have quite a bit of exposure 15 years ago, with their music showing up most prominently on ESPN's The Life among others. Their sound has been described (as recounted by the band themselves) as anything from Medeski, Martin & Wood meets MC5, to a combo of Black Sabbath and AC/DC. Since I've only heard Feeding Frenzy, I can't really say if these comparisons are accurate or inaccurate. My own description certainly points to another branch of the progressive hard rock tree. After Twenty Paces, the band seems to have disappeared altogether, and I cannot find any active internet presence. At some point, I need to make an effort to hear their other three albums, as Feeding Frenzy is most certainly a solid organ based instrumental progressive hard rock album. 

Ownership: CD: 2003 Southern. Jewel case. Simple booklet with recording details.

1//05; 11/23/15 (new entry)

Stardrive ~ USA ~ New York

Stardrive Featuring Robert Mason (1974)

If only... if only Robert Mason was instead Robert (pronounced row bear) Massonne and he wrapped his neck in a wool scarf, wore octagonal glasses, and had a cigarette dangling from his lips... and he recorded on the Pole label... man, wouldn't he be the hipster's choice in these enlightened times? And, sacrebleu!, there's even a track called 'Pulsar'! Ah, but it wasn't meant to be for our downtrodden American protagonist. He is Robert Mason, a doppelganger for any male extra on Fargo, who released this buck bin LP special, only to be further driven to indignity by having it reissued on CD by Wounded Bird. No info, no enthusiasm, no nothing. But then again, there is hell to pay for naming a track 'Air Sauce', now isn't there?

There's a review in there somewhere. Remember the magazine Highlights at the dentist's office when you were a kid? It's kind of like that.

Ownership: 2009 Wounded Bird (CD)

7/31/09 (acquired); 11/18/15 (review); 10/8/25

Also once owned Intergalactic Trot.

11/18/15 (new entry)

Devil's Kitchen ~ USA ~ San Francisco, California

Devil's Kitchen (1968-69 / 2011)

Very fine discovery of live / studio recordings from legendary San Francisco band of the late 60s. Jamming psychedelic and blues rock are the main drivers here. Hard to avoid a Quicksilver Messenger Service reference here and definitely fits the "West Coast" sound.

---7/4/26

Devil's Kitchen never released anything in their lifetime, not even a 45. A1, B1, B2, and B5 are from the studio. The rest are live recordings.

I think the primary interest here lies in the archival nature of the recordings. As time passes, the amount of authentic psychedelic music from that era which was never released, is quite limited. There's a lot of extended jamming on this album, and blues is the foundation for most of the compositions. Is it essential that it was released? Absolutely. Is it essential to own? Not for me, but I can appreciate why others feel differently.

The band were originally from Carbondale, Illinois (same town as Thunderpussy), though it appears they were based in San Francisco for their professional career.

Former ownership: 2011 Lysergic Sound Distributors (LP). With postcard bill insert. Copy #819 / 1000. The website that was provided for the band history, photos, etc.. is now gone. That's the problem with that method of providing historical data. Should have been included in the LP package. The pressing is also of substandard quality. Acquired in 2015. Downsized in 2026.

11/14/15 (review / new entry); 7/4/26 (update)

Dungen - Allas Sak. 2015 Sweden

After a five year break, we receive Dungen's 7th studio album, though if we're to use their numbering system, I suspect they would say it's their 6th (witness album called 4). No matter as Dungen continue with their brand of Swedish psychedelic progressive... pop. The latter perhaps a bit more pronounced this time, especially on the opening trio of tracks. I still can't get over just how popular Dungen are (including a guest appearance on prime time USA late night TV). Me and about 20 other people from Sweden have a full collection of this kind of Swedish psych from 1970-1974, sung in the native tongue. Not a single album anyone would ever have heard of today. Speaking of which, it took me ten years to figure this out, but now I know precisely where Gustav Ejstes got his main ideas from. If you're a big fan of Dungen, then you should make an effort to hear this album Till dej, one I assure you Gustav has framed on his wall at home.

As mentioned, there is quite a bit more pop this time around than prior, though there is plenty for the more adventurous listener to dig their teeth into. 'Franks Kaktus' is an absolutely stunning instrumental and among Dungen's finest compositions to date. 'En gång om året' is the mournful downer Scandinavian psych that is Dungen's signature sound. 'Åkt dit' gives us the requisite mellotron drenched sound we so crave. 'En dag på sjön' reminds us just how popular Santana's fusion era was in Sweden in the early 70s (think the live Lotus album here). 'Sova''s attempt at a psychedelic ending is admirable, though ultimately boring, and the fast forward button was looked at. More than once.

Personal collection
CD: 2015 Mexican Summer (USA)

11/3/15 (new entry)

Rogue Element - Premonition. 2004 England

Not only is the duo of Rogue Element's debut influenced by Tangerine Dream, but very specifically 1976 and 1977 era Tangerine Dream. There's gobs of mellotron (as played by both gentlemen), "Modular System" sequencer action, and electric guitar soloing. If you love everything about Stratosfear, Sorcerer, and Encore, and the multitudes of bootlegs (official or not) from this era, then Rogue Element will fit in perfectly with your listening routine. Make sure the CD is labeled, or you may confuse it with your existing Tangs collection. From my perspective, this is a style that allows for multiple interpretations, so other variations are much welcome.

Ownership: CD: 2004 Acoustic Wave

11/2/15 (new entry)

Yang - A Complex Nature. 2004 France

Amazing how many new sounds the guitar-guitar-bass-drums instrumental quartet can come up with. Former Shylock and Philharmonie guitarist Frederic L'Epee goes for the throat on this, Yang's debut album. Seems to me this is what we were expecting from Djam Karet during this era – let it loose and bang that head that doesn't bang. What separates this from other albums of its ilk is the inventive use of the rhythm guitar. Nice melodic structure as well. Good album that delivers what it promises.

Ownership: CD: 2004 Cuneiform

10/20/15 (new entry)

Iskander - Boheme 2000. 1982 Germany

The CD issue contains significantly more music, much of it superb, including the magnificent full 4 part suite of 'Winterhagen', which now clocks in at over 18 minutes. Iskander's debut is a real under the radar delight, and mixes symphonic rock with psychedelic guitar and a variety of progressive ideas. The album is pretty much forgotten today, but was quite well known within those that were tuned into the "Eurock" circle back in the 1980s. I've had this CD almost since it was released, and it has passed the test of time quite well.

Ownership: CD: 1989 Iron Curtain (as Boheme 2000)

1990; 11/22/11; 10/19/15 (new entry)

Winterhawk - Revival. 1982 USA-Illinois

Chicago based Winterhawk have quite the reputation among those predisposed to enjoying the hard rock genre. Like me. Almost all the tracks clear the 5 minute mark to allow for a few more ideas to creep in per composition. And to also allow more time for the unrelenting guitar solos - each, I might add, with a solid amount of creativity. This latter point alone would most certainly have found its way to the cutting room floor back in 1982. As well, the rawness of the production is a big part of the charm here. Makes you feel like you're in an old abandoned brewery on the South Side. Lead dude Jordan Macarus can play the strings with the best of them - and a strong nod goes to the Nuge (right down to the cow leather lace-up boots!). Every major US city had a Jordan Macarus that never got their due. In those days, you would check out Winterhawk live at the "Agora Ballroom", bring your main squeeze, and boast to the bartender you're a good friend of the band. If your girl stayed through the concert without complaining - and as an extra bonus got tanked on Pabst - she was a keeper.

Personal collection
CD: 1998 Monster

The CD is awesome with liner notes, bonus tracks, and from the master tapes.

Praxis - La Eternidad de lo Efimero. 1987 Mexico

Praxis' sole work is a solid instrumental progressive rock album from Mexico. The primary composer, Ricardo Moreno, is the same keyboardist behind Iconoclasta and the music is remarkably similar - especially the Iconoclasta albums that came after Praxis. One reason for this is that Praxis' guitarist Hector Hernandez joined Iconoclasta not long after. The other is that Praxis had eschewed the local regional Latin American influences - as did Iconoclasta in their later years. The album's faults lie in the muddy Third World sounding 1980s production, and the lack of variety in tone - especially considering the rather cheap sounding synthesizers. But the charms outweigh the negatives here. A finely crafted album, that I'm sure today would sound fantastic, especially if afforded a room full of analog gear.

CD: 1994 Mellow (Italy). The CD is a straight reissue with good sound and nice historical liner notes. You really have to be a vinyl-only junkie to not want the CD for this title.

CD removed from collection (2022).

10/16/15 (new entry); 6/8/22

Tantra - Misterios e Maravilhas. 1977 Portugal

On the surface, Tantra sounds like an odd cross between Mahavishnu Orchestra and Genesis. There really isn't any other band from Portugal that sounds anything like Tantra, and with revisionist history on our side, the band have a somewhat international flavor. The fusion tracks sound like Argentina's Crucis whereas the vocal numbers recall Carpe Diem of France. The heavy use of the Farfisa Synthorchestra and the distant, sparse, and mysterious vocals add credence to this latter claim. Meanwhile, on the middle tracks, the insane bass and drum rumblings with wild soloing made me think of Los Delerios del Mariscal. As many have said, the production is lousy, and detracts from the overall immense potential for greatness here.

Ownership: LP: 1977 EMI. Single sleeve. Online acquisition (2019). Note back cover of the original. There are two pressings, and the one with "1877-1977 100 year" seal is the true original. I started with the 1983 press that I purchased in 1990. That was replaced by the Musea CD. I've decided to part with the latter after capturing the excellent liner notes, and there are no bonus tracks. 

1990; 10/15/15 (new entry); 12/11/19 (LP acquire); 2/18/23

Siniaalto ~ Finland

Tallentumia (2004)

---Mar 2005

Tallentumia is Siniaalto's second album, and represents a unique twist on the retro electronic sound. There are some Berlin School sequences of course, but more emphasis is paid on atmospheric keys, including novelties for the genre like processed Fender Rhodes. It’s as if Siniaalto wanted to explore every avenue from Tangerine Dream’s Phaedra album, to the point of exhaustion perhaps. Many sections go for long periods of time, making this not one of the easier electronic albums to digest in one setting. All the same, a strong entry for the genre, if a bit different.

Ownership: 2004 If Society (CD). Digipak. Acquired in 2005.

3//05 (review)

Siniaalto (2002)

---Jul 2006

Finnish trio Siniaalto (Sine Wave) can trace their musical heritage back to an earlier electronic music era, primarily Tangerine Dream circa Phaedra. A full array of keyboards, both analog and digital, are on display here. Though it’s the good old Rhodes piano, heavily echoed and treated, that truly gives their debut album an early 1970s feel. I could swear there is a Mini-Moog in play as well, but it’s not listed. The general modus operandi for each composition is to start out by creating a dark atmosphere followed by a plodding, low pitched, sequence. This is then followed by the group adding a series of alien sounds, of which the most notable is the treated Rhodes piano as mentioned prior. There are only four tracks, clocking in at close to an hour, so plenty of room for meditative listening. A good start from a promising band in the ever increasing fold of groups performing in the Berlin School style of electronic music.

Former ownership: 2002 If Society (CD). Digipak with recording details and photos. Acquired in 2004. Downsized in 2026.

2004; 7/30/06 (review); 5/11/15; 6/17/26

10/14/15 (new entry)

Cosmic Debris ~ USA ~ Oklahoma City, Oklahoma

Cosmic Debris (1980)

Cosmic Debris were a band from Oklahoma City that married electronic sequencer based music with rock instrumentation such as guitar and drums. Very much like a mixture of Klaus Schulze's Moondawn with Edgar Froese jamming on top. Or Wolfgang Bock's Cycles album. Side 1 is made up mostly of 'Spectrum' with only a brief introduction of Aaron Coplan's generally overused 'Fanfare'. This is the only side that guitarist Shawn Phillips appears on. And he wails wonderfully in a psychedelic manner throughout. The flip is more atmospheric, though the driving drum set is still in place, with sequencer based Moog, atmospheric sounds, and percussion, recalling perhaps late 70s Jade Warrior in places. Mixed with Heldon. Cool.

There are no reissues (as of 2/21/25). There's some debate on the date and title of this release. The copyright date on the original LP is 1980. However there are two typed inserts (with my copy anyway - and I reprinted them below this review). One is dated 1.1981 and the other 1.1.981, so we'll presume bad editing on the latter... So the evidence is there that the album wasn't released until 1981, though I'm personally a fan of copyright dates. Depends on the discography site and their rules eh? Based on these inserts, it's pretty clear to me, that the 3.7K title that has recently been appended this album is in reality the catalog number, not the album title. This becomes even more evident once you realize their second album While You're Asleep has 4.6K as a catalog number.

Insert #1 (dated 1.1.981) says:

"Cosmic Debris Biographical Information

Cosmic Debris was founded in 1977 as an experimental synthesizer ensemble. From their first performance at the Friends Jazz Festival in July 1977, Cosmic Debris has constantly strived to bring subtlety, elegance and control to live electronic music. Cosmic Debris has expanded beyond strict electronic electronic horizons. In 1979, the ensemble performed in the fusion jazz format. Growing out of that format, Richard Bugg (founder of the Debris) and Joel Young (percussionist with the fusion jazz edition), have gone on to incorporate elements from all musical areas.  "We present the listener with a choice of ever changing perception of reality". The Cosmic Debris can be heard on Non Compos Mentis Records number 3.7k"

--- It should be noted that the above was riddled with spelling and grammatical errors which I attempted to fix (not that I'm an English ace or anything, but jeesh!)

Insert #2 (dated 1.1981) says:

"In their debut album for Non Compos Mentis, Cosmic Debris (Richard Bugg, Shawn Phillips, and Joel Young), have managed to fuse the control available to modern electronic musicians, with the freedom of expression that typifies contemporary music. The result is a true meta-language that express the positive power of emotion and mind. An intelligent sound that aggressively fuses pulsating undercurrents of raw power with an intricate interplay of sonorities."

--- This one needed little editing. But who the heck knows what it means? 

Ownership: 1980 Non Compos Mentis (LP)

1993 (first listen); 10/14/15 (review)

Hoelderlin - Rare Birds. 1977 Germany

Rare Birds follows the unique Genesis meets cosmic / space rock hybrid of Clowns and Clouds, with yet another difficult-to-pin-down progressive rock album. The compositions are increasingly more accessible, with a certain soft lens focus coloring their sound. Viola is clearly their defining instrument at this point. Vocals are airy and melodic. The songwriting is excellent, and given the right commercial backing, Hoelderlin would have been household names. From a prog fans standpoint (i.e. me), the album's highlight is the driving instrumental 'Necronomicon'. This is an album that has grown on me tremendously over the near 30 years I've been acquainted with it. Definitely not an "immediate" release, so something to consider if you're encountering the music for the first time.

Ownership: LP: 1977 Spiegelei. Single sleeve. Purchased at Half Price Records in Dallas (1987).

1987 (first listen); 9/12/07; 8/14/12; 10/11/15 (review / new entry); 2/7/23

Hills - Frid. 2015 Sweden

Frid is the 3rd studio album from this fine space rock / Krautrock band from Sweden. Overall, this is a fairly conservative effort. Meaning... Hills seems all too content to play to genre norms, including motorik styled beats, and fuzz guitar explosions. The band is so rigid in their structure, if would appear they might break in half if they threw in an actual meter shift, or a completely new idea. The beauty of the original Krautrock scene was the escaping of expectation, and blowing minds with exploration. Tonality and color continue to be challenges for the band, as they've never replaced the warmth of the flute from the debut. Sitar is a nice inclusion, though it's unclear who plays what, since the album lacks any kind of documentation.

Despite all these minor gripes, I'm predisposed to liking music such as this, which is probably the only reason I rate it as high as I do. I will submit though, that Frid is a slight improvement on the even more rigid The Master Sleeps. The highlight for me is the ending of 'National Drone' which segues nicely into the superb 'Anukthal is Here'. This is as close as Hills has gotten to their own early 70s native music scene like Algarnas Tradgard and Flasket Brinner. And 'Och Solen Sänkte Sig Röd' won me over on the third straight listen (and 3rd beer). Sometimes it takes that effort...

Ownership: CD: 2015 Rocket (UK)

10/8/15 (new entry)

Ariel ~ USA ~ Chicago, Illinois

Perspectives (1985)

From the far south Chicago suburbs, comes the super obscure Ariel, an album that is just now making its sound heard worldwide. Early 80s Rush is the most obvious first influence, but there's more here than meets the ear as it were. All instrumental guitar, keys, and drums are the core components, and the compositions are complex and tight - with a strong fusion influence. No escaping the King Crimson sound from the era either, but also (surprisingly) Doldinger's Passport, minus the sax (imagine the sequencer heavy Moog lines for example). If we were to really deep dive here, I would compare Ariel to fellow Chicagoan's Proteus, mixed with the UK group Red (on Jigsaw). While Side 1 is impressive enough, the final three tracks do nothing short of wow the listener. And they close with their peak composition, always a hallmark of a great album. Ariel does not belie its mid 80s sound (despite the somewhat psych influenced guitar tone), and yet compared with the normal dreck from the era, the band proves the middle 80s were not a total wasteland (heavy metal genre exempted of course). This one deserves the buzz its currently receiving in the underground.

Ownership: 1985 Little Misters (LP). Orange insert (there are three colors apparently).

No reissues as of 2/21/25.

10/7/15 (review / new entry)

The Greatest Show on Earth ~ England

The Going's Easy (1970)

Greatest Show on Earth's second album demonstrates a musical maturity towards songwriting, but in retrospect, I like both albums about the same regardless. The blues element is brought forward, whereas the pop oriented horn charts are left behind. One step forward, one step back. 'Magic Woman Touch', the album's great hope for a single sees the band heading towards folk rock territory with mixed results. And closer 'Tell the Story' is probably their worst composition to date. Clear highlight for me is the multi-part jazz rock suite 'Love Magnet' which is GSOE's shining moment of their entire career - and a direction I would have liked to see them pursue further. Alas it was not to be, and their two-album-one-year-run was over.

Ownership: 1970 Harvest Germany (LP)

7/22/07 (first listen); 3/23/14; 10/2/15 (review); 2/17/23

Horizons (1970)

The Greatest Show on Earth are another fine entry from the UK brass rock genre of the early 1970s. On Horizons, GSoE provide us with seven tracks in the four + minute range, and one extended lengthy title suite. The music is heavily inspired by Blood, Sweat and Tears, but unfortunately the songwriting isn't particularly sharp. However, the extended song lengths allow GSoE to demonstrate their skill at instrumental breaks, and it's here the band excels. In particular the catchy grooves of 'Angelina' and 'Real Cool World' are inspiring, as is the bluesy 'Sunflower Morning' and the creative hard psych of 'I Fought for Love'. Addressing the elephant in the room, the long track has many great moments, but suffers a bit from immature jamming, especially prevalent with the front loaded near three minute drum solo and some monotonous percussion and bass rambling later on. Still there's more than enough time for some outstanding breaks and thus the track still grades out high. A very fine album, and only eight months later the band would release their second and last album - which demonstrated more development within their sound.

Ownership 1970 Harvest (LP)

9/1/07 (first listen); 11/26/14; 9/17/15 (review)