Light of Darkness. 1971 Scotland

Light of Darkness were Scottish exiles enjoying the Germany hard rock scene of 1971. Black Sabbath's debut is the first reference that comes to mind (blues based heavy fuzz guitar w/harmonica), and the vocals have a passing resemblance to Ozzy - check out 'Ain't No Place Where I Belong' as one prime example. But with a bit more energy, perhaps recalling Elias Hulk in the process. There's definitely a late era psych vibe here too, especially in the melodic/harmonic aspect of each composition. The album was not well received upon release, and thus its rarity today. But a revisionist look displays many rewards for fans of the 1971 Krautrock and UK Vertigo sound.

Personal collection
LP: 2014 Long Hair (Germany)

A rare album in original form (on Philips). The reissue comes in a fine gatefold (like the original) with a short history insert. It appears the two CD reissues on Second Battle have become difficult to source.

Andre Fertier / Clivage ~ France

Mixtus Orbis (1978)

The intimate nature of Fertier's Indo Jazz album Regina Astris is expounded upon here on Mixtus Orbis with no less than a full orchestra. The jazz elements are downplayed somewhat, and flute takes center stage, along with the Indian instrumental accompaniment. Some of this album gets very trippy, with echoed vocals and orchestras coming at you from speaker to speaker. There really is no other album like it, which makes it almost impossible to classify. In general, I typically find albums like this satisfying on an academic level, but not emotional. Mixtus Orbis is exceptional in that it resonates at core instincts. Really excellent material here.

Ownership: 1978 Gratte-Ciel (LP)

1/27/14 (first listen); 4/10/18 (review)

Clivage (1977)

Clivage is Andre Fertier's debut album. Here you will discover a very fine Indo Jazz album. Long spells of both Indian ragas (hand percussion and stringed instruments) and pure jazz with extended saxophone soloing, along with stand up bass. The copious violin use recalls L. Subramanian's works in a similar jazz setting. While I enjoyed Fertier's sophomore effort Mixtus Orbis a bit more, I do find the debut to be one of the better albums in the style it emulates.

Concerning the title - Regina Astris is a later appellation that was applied to the reissue after Mixtus Orbis had been released. Technically this is not a Clivage album, but rather it was released as a solo under Fertier's name.

Ownership: 1977 Gratte-Ciel (LP)

1/25/14 (first listen); 1/4/18 (review)

No legit reissues exist for either as I update this post (2/22/25)

1/4/18 (new entry)

Xhol - Hau-RUK. 1971 Germany

Here we find Xhol, as my imagination will have it mind you, in some smoky club in Hamburg, preferably on the Reeperbahn in the St. Pauli District. Organ and electric sax rule the roost here and no one gets to leave the club until they start seeing inanimate objects move. Psychedelic jazz blues is where it's at - especially on the sublime 'Breit'. The Garden of Delights CD is the way to go here since it introduces us to the 20 minute bonus track 'Suden twi Westen'. This track was recorded in 1974 with Hansi Fisher (of Embryo) on flute along with future Missus Beastly bassist Norman Domling. It's quite possibly the best piece Xhol ever did (and that's saying something!) and I didn't realize that Xhol were still active this late in the game. Highly recommended.

Personal collection
CD: 2002 Garden of Delights
LP: 1971 Ohr

I did once own the original LP, but traded it away for something presumably better. What that was, I cannot say. I want it back.

RUK really is an acronym, and stands for Rolf-Ulrich Kaiser. Obvious now, isn't it?

Originally reviewed: August 2005

Rob Thomsett Group - Hara. 1976 Australia

Rob Thomsett is, by most measures, an ordinary citizen. He was in the military and had a successful career working for the Australian federal government. And he also happens to be quite the talented guitarist - with an enormous imagination and creativity rarely seen even among the more avant garde oriented populace. He'd played in a couple of progressive oriented bands prior (Astral Plane and Oak), neither of which lasted long and there's no recorded history. Living in the relatively isolated government town of Canberra, there was no "scene" to which to attach to, or clubs to express one's new artistic vision. So Thomsett looked inward toward the Aboriginal legends and myths. With that, he created one of those 6th Dimension type recordings we talk about often here - for more on that release see here.

Hara is the followup album, and demonstrates Thomsett moving toward a more professional type sound. Ostensibly a jazz fusion album, it still hasn't lost the magic touch that Yaraandoo had, and tracks like 'It Might Have Been - it Will Be!" and the title song would have fit perfectly on its predecessor. In other places an acoustic otherworldly vibe is brought forth. On its own accord, Hara is excellent, though it will always pale in comparison to Thomsett's master work. Well worth pursuing, especially since you can own the whole album along with the aforementioned Yaraandoo (see below).

Personal collection
CD: 2017 Now-Again (w/Yaraandoo)

Was released on LP+CD, or just the CD by itself (which is what I own - since I already had the LP reissue on Roundtable of Yaraandoo). According to the liner notes of the CD, Hara was released in 1976.

For Example - SWF Session 1973/Cancelled 1972. 1973 Germany (archival)

In the wake of the massive success of Chicago and Blood Sweat & Tears, Germany was one of many countries to experience an explosion of horn rock bands. Round House, Emergency, and Creative Rock are a few that leap to mind. For Example was one of those brass rock bands that came from this scene, but never managed an official LP release.

Now this is one very confusing CD issue, I will tell you that. And the liner notes do little to clear things up, though the history itself is well told. But the recordings themselves are not explained well. First of all, the "Cancelled 1972" part means nothing more than there aren't any recordings here from 1972. Supposedly they were shopping for major label support for an entire year, but failed. Only a passing mention of this is told in the liner notes, and is later fleshed out in the advert for this CD release.

The first 3 tracks are the clear highlight here, and are the only ones that are truly the "SWF Session 1973" - adding to the confusion. These 3 tracks are like the best of Chicago with ripping Terry Kath like leads and complex horn charts. After a short piano ditty, tracks 5 through 12 are the real head scratcher. The credits say it was recorded at the "Horst Jankowski Studio Stuttgart" sometime in 1973 - but it's clear to be a live recording. And the audience reaction is either ridiculously over-exuberant, or it's been piped in as a phony. Now as a former high school stage/jazz band performer, I can say that the student body would often react in an overly positive way to show support (especially since we were recorded live on radio). But it doesn't sound anything like an audience at a club show, for example (no pun intended). As well, the style of music is noticeably different from the first 3 tracks. It's still horn rock, but at the other end of the spectrum. Rather than jazzy, complex brass rock, we have here a soul based pop rock with horns... ...with a fake audience. Track 13 is labeled as coming from a radio show, but it sounds like a similar live recording to tracks 5 - 12, but musically is a bit closer to the first 3 songs.

CD: 2010 Long Hair

Pig Newton & The Wizards From Kansas - Still In Kansas. 1969 USA (archival)

Still in Kansas is an interesting archival album from The Wizards From Kansas. Originally released by Rockadelic (and the version I'm listening to now) with band participation. The lion's share of the album contains essentially early versions of tracks (1969) found on their 1970 Mercury album. Though I own that album on CD, I'm not overly familiar with it, and I didn't do a back to back to hear the difference between them. Given their individual short duration, I wouldn't expect anything revelatory here. The other 3 tracks were recorded elsewhere reputedly in 1968 and 1969 with 'Clouds of Exchange' apparently being their lead-in demo song that landed them some marquee gigs. Again, more interesting than exciting.

The LP comes with 2 inserts, one a history of the band, and a second features photocopied newspaper articles and advertisements. For those that don't know: Pig Newton isn't a person, but rather it was the original name of the band. When they toured, they became known as Pig Newton & The Wizards From Kansas. Mercury dropped the Pig Newton appellation later. Even more interesting, to me at least, is that when they played live at Fillmore East in New York, they simply went by Kansas. How history could have been altered had they maintained any notoriety with that moniker!

If you're looking to hear these songs on CD, the legal reissue by Sunbeam in 2012 features them as bonus tracks, which is really what they should be (there's also a 2 LP set from the label). There are discrepancies in the dates, and the Sunbeam issue states the "early album" recordings are also from 1970, whereas the earliest date is 1969 rather than '68.

So a fine package if you already own the the primary album on LP, and would like the "bonus" tracks separate.

LP: 2003 Rockadelic

The Blue Bus - Your Mind's Moving Too Fast. 2001? Germany? (archival)

Honestly my BS Meter is in the red zone on this title (perhaps I should make this an iPhone app?) by The Blue Bus. I find it somewhat hard to swallow that a full LP's worth of tracks from the 60s has absolutely ZERO corroboration anywhere (including looking up band members). The album was released in 2001, by a German label with no other releases (and allegedly from the US if RYM is to be believed - but I think that is wrong (see below)), but there's no backstory of the band provided. Just a faded photo (how quaint...) of 3 dudes (not convincingly authentic 60s looking to be honest) sitting in a suburban backyard, presumably in southern California (why is anyone assuming this from Los Angeles anyway? Where exactly does that come from?). And then a German label comes along and suddenly has access to these tapes? But no story to tell? And now it's 17 years after the LP has been released, and yet nothing has emerged. Not buying it....

OK, so if having the wool pulled over your eyes isn't a problem for you, what of the music? Well, I have to agree with other reviews I've read, it sure the heck does sound like 1960s garage psych music (so kudos for that). Whoever is behind these tapes is where the real story is. I'm much interested in the provenance for certain (see below for my guess). "The Blue Bus from Los Angeles" - probably not that.

There is a website for  the label on the LP: www.vinyl.de  Go there and you tell me what you find?

This album is BS to the core.

I think here's the real story:
https://www.discogs.com/artist/1699280-Harry-Vee-2
https://www.discogs.com/artist/647901-The-Broken-Jug

LP: 2001 Vee (Germany)

Circus 2000 - An Escape From a Box. 1972 Italy

An Escape From a Box is one of the more misunderstood albums from the Italian progressive rock scene. Mainly because it has nothing in common with what one expects from the land of PFM or Banco. Circus 2000 are the European extract of prime Jefferson Airplane, but with a distinct progressive rock element similar to Julian's Treatment, Mad Curry, or Sandrose. Escape From a Box is one of the most creative albums from this niche. Laid back, sensuous, hypnotic, and mesmerizing. Resident hottie Silvana Aliotta provides the sultry, and witchy-squeaky (trademark pending) vocals. Hippy dippy opener 'Hey Man' is the only slip up, and even most of that tune works well once the instrumental engine starts to roar. 'You Aren't Listening' is seductive, 'Our Father' has intense Gothic choirs, and 'When the Sun Refuses to Shine' draws you into the vortex of another universe. Brilliante.

Ownership: CD: 2023 Grapefruit. 2xCD box set titled I Am the Witch. Also includes the full album of their debut and the Boxing Circus archival EP. Comes with a full history and plenty of photos and scans.

LP: 1999 Akarma. Gatefold. Acquired at Amoeba Records in San Francisco (2000). Neat cover art. As such, it sits high on my wall of albums. Otherwise I probably wouldn't keep it. Originals are impossibly expensive, so this will have to do.

Former ownership: CD: 1989 Vinyl Magic. Jewel case. This was my introduction to the album and stayed in the collection for 35 years until now (2024). 

1989 (first listen); 1996; 2000; 3/20/07 (review); 4/9/18 (update / new entry); 7/25/24

El Templo del Dinero ~ Mexico

El Templo del Dinero (1999)

As I've written about in the past, Smogless was a Mexican label in the late 90s something akin to the Kosmische Kouriers or Prescription Drug (UK), with a blend of bands celebrating the psychedelic underground. El Templo del Dinero was but one of these ensembles, likely collected for this recording rather than as a touring concern. The participants are an unusual lot for a recording such as this. Guitarist Victor Mendez had played in a couple of oddball bands from the early 90s - one was the unhinged Zeuhl group Vector Escoplo and the other was the arty Subsuelo. Neither very good to be honest. Drummer Victor Baldovinos comes from the decidedly symphonic group Iconoclasta. Newcomer bassist Alfredo Landa fills out the trio.

Based on this lineup, one wouldn't normally expect an homage to early Guru Guru and Sensations Fix, but more or less that's what we're dealing with here. Instrumental psychedelic space rock is the order of the day. The sound is raw and very much a product of the deep underground. El Templo del Dinero were hardly alone doing this kind of music in Mexico at this time, and one will hear similarities to Humus, Loch Ness, and Frolic Froth. The guitars are wonderfully compressed and super fuzzed out, and the rhythm section moves around constantly. Sometimes in sync, sometimes not - which is part of the allure. But it's definitely a competent work by experienced musicians. I've seen references to this being a jazz fusion type album, but I cannot hear it myself. No more than Guru Guru's UFO being considered such. Another reference would be the obscure Chicago based band Matter.

El Templo del Dinero is another one of those CDs I bought real time, enjoyed, and filed. Here we are 19 years later on a revisit, and I had very little music memory of it - only that it was in the Humus vein. I can understand this album being a bit too raw for some, but it's not in the wear-you-out genre like the Japanese groups such as Acid Mothers Temple can be. I enjoyed it myself, and hopefully will hear it again sooner than 19 years. Hopefully I can still hear at all by then.

Ownership: 1999 Smogless (CD). With art booklet. Acquired in 1999.

1999; 6/7/17; 3/23/18 (review / new entry); 1/30/24

Curt Cress Clan - CCC. 1975 Germany

Curt Cress Clan had one album released smack dab in the middle of the funky fusion era, and this album falls right in lockstep with expectation. Starts with a barnburner in 'Cyclone', and 'Fields' is wonderfully moody. 'Movin Right Along' also kicks a fair amount of booty. Despite the somewhat trite composition style, all is not lost, as it contains exceptional performances from Volker Kriegel (who obtains a wonderful fuzz guitar tone throughout); Kristian Schultze on keyboards (and yet again the fat analog synth tones are great here); and of course Cress himself on the drum kit, who gets in a few great patterns. One to buy if a fan of Kraut Fusion.

Ownership: LP: 1975 Atlantic. Single sleeve. Online acquisition (2014).

Former ownership: CD: 2010 Sireena. Digipak with liner notes in German and English. 

2009; 7/29/11; 2/18/18 (new entry)

2009; 2011; 2/18/18 (new entry); 7/4/22 

Schnauser ~ England

Protein for Everyone (2014)

My big fear coming into Protein for Everyone, my first encounter with Schnauser, is that there would be traces of indie / alternative music. Not that I read this anywhere, but instinctively the younger bands have it in their DNA due to constant exposure, different than my own generation. I can't stand that music myself. The monotone sound and nihilistic outlook goes against my very optimistic and creative nature. Give me a pissed off metal band any day - at least they care enough to be mad!

So with that out of the way - Schnauser have succeeded entirely on not dragging that element into their sound. Hooray! This is square-on psychedelic era Canterbury music, of the kind that didn't get past 1971. The soft affected vocals, the period instrumentation (especially the keyboards and fuzz bass), and the melodies are all extremely well done. It doesn't quite have the depth of the masters, and one does begin to think that if Stereolab had emulated Soft Machine or Caravan, rather than French 60s pop and Neu!, this would have been the result. That would have been great actually, now that I think about it.

The first four tracks are the highlight, and it begins to slowly break down from there. On first glance, 'Disposable Outcomes' appears this will be Schnauser's 'Nine Feet Underground' or 'Esther's Nose Job'. Alas it isn't, primarily because the band opted out of giving us some fuzz keyboard jam moments, and instead offers some weird story. That's really too bad, because there are moments throughout where I thought this would be a 5 star masterpiece. So in the end, it lived up to its title. On that note, this is one of the very few albums where a Gnosis 11 could be considered a disappointment. All the ingredients are here (they go so far as to define the band makeup in the CD literally as ingredients!) and they succeed, but I feel they did not transcend the genre, when you instinctively know they have the ability to do so. Still - this is a must own if you enjoy the early Canterbury movement.

Ownership: 2014 Esoteric Antenna (CD). Acquired in 2018.

2/18/18 (review / new entry)

Leviathan - The Legendary Lost Elektra Album. 1969 England (archival)

Leviathan were an English band from the late 60s with quite a backstory and a decidedly sad ending. Rechristened from the more mod sounding Mike Stuart Span, Leviathan were like many bands of the era, who were moving from catchy pop oriented singles into more heady album material. Oddly the band's demise appears to have come from a confusing promotion wherein Elektra decided to issue 2 singles at once, and both failed to chart. The first two tracks on this album represent the better of the singles, and demonstrates why Leviathan should have been a force on the psychedelic / upcoming progressive rock scene. Fantastic guitar leads, psychedelic infused vocals, and solid melodies are the name of the game with Leviathan. The other single contained 'The War Machine' and 'Time', and were both a bit dated for the cutting edge 1969 mindset, though still quite good. My pick for the best track is 'Through the Looking Glass', which is that rare breed of true "psych prog" as one might hear on the Pussy Plays album for example.

In any event, the album was pulled by the label president, for reasons that are still not clearly understood. It is suggested that the band still needed to improve on the album, but funding was going to have to come from within if the album wanted to see the light of day. This of course was not possible, and the band disintegrated on the spot. As noted by the title, the album indeed had gained legendary status via the record buying community going back to the 1980s. It took almost 50 years in total, but finally we can all hear this most promising group. It's bitter sweet though, as we'll never know the what-if scenario.

Personal collection
CD: 2016 Grapefruit / Cherrry Red

Namaz - 300 M.P.H. 1981 Germany

For Namaz's debut, try to imagine Embryo circa Bad Heads and Bad Cats, or the Real Ax Band - but carrying on into 1981. Tropical and breezy Kraut styled fusion with sultry female vocals are the order of the day here. Final track 'Cyklus III' goes into freaky Santana guitar mode to close in excellent fashion. A fine album for fans of the genre.

Personal collection
CD: 2008 Creole Stream (Japan)

Mystere de Notre Dame. 1996 Italy

Mystere de Notre Dame were like many bands of the mid 90s, and definitely engaged in a bit of Dream Theater worship. The chops weren't quite there, and the professionalism was B grade, but no doubt competent all the same. For the first 3 tracks, you will admire Mystere de Notre Dame, but a bit of deja-vu will come about soon enough, Then comes 'Dominus', and it's still Dream Theater - as found in the Twilight Zone. It's not on-purpose attention grabbing either, but rather a tad off-center. In this way Mystere de Notre Dame reminds me of those nutty German bands of the same era like Payne's Gray and Cant. It's as if the band knew they were sleepwalking, and needed to do something else - but weren't quite sure what to do. Was it their Italian heritage? Perhaps Semiramis was on their mind... By no means is this radical in the same way as fellow countrymen Garden Wall are, it's just...different. The album has received relatively low marks across the board on both RYM and Gnosis, and I figure it's because of the typical Dream Theater association, and the first 3 tracks don't help. But a deeper dive reveals something more. I wondered why I kept this CD all these years, and now I know. And I will continue to do so.

Ownership: CD: 1996 Music is Intelligence. Jewel case. Purchased new online upon release.

Yves Laferrière - s/t. 1978 Canada

If viewing this record for the first time, one could be forgiven for marrying the album cover with the 1978 date, and coming to the conclusion this is yet another period fusion album. But that's not the case at all. Yves Laferrière was one of the primary songwriters on both of the Contraction albums, and on his one solo album, he has successfully recreated the past. This sounds every bit like an early 70s Quebecois progressive rock work, and could easily be considered the 3rd Contraction album. The same style of songwriting and the beautiful female vocals are just 2 of the components that make this comparison obvious. All the songs are relatively compact (save the more lengthy and raucous closer), and there are no obvious standout moments - and yet each and every track fits "just so". If you're a fan of Contraction, you'll want this.

Personal collection

CD: 2006 ProgQuebec

Solis Lacus ~ Belgium

Solis Lacus (1975)

Solis Lacus' sole album is a mix of deep grooves and sweet melodies, which is the blueprint for the mid 70's instrumental jazz rock scene. One could easily see Solis Lacus operating as the 4th Placebo album. Though by 1975, some of the rougher edges have been smoothed over, and it's not ever going to win any underground awards. But it definitely serves well for 70's styled "gettin' in the mood" with plush coaches, wood paneled walls, and shag carpet. Trumpet and saxophone lead the solo parade, while band leader Michel Herr provides the Fender Rhodes and monophonic synthesizers. This is the right music for the right time.

The LP was surprisingly reissued twice in the late 70s and early 80s by different labels.

Ownership: 2012 Heavenly Sweetness (CD). Tri-fold digipak with photos. Includes a booklet with liner notes in English and French with more photos. And further on, as the band members each reflect back on the album, the notes this time are in French and Flemish. Acquired in 2018.

4/22/05; 2009; 1/6/18 (review); 9/24/26

1/6/18 (new entry)

Sideline ~ Germany

Sidesteps (1979)

The music on Sideline is a bit edgier and more melodic than your standard late 70s/early 80's breezy Kraut Fusion album. And it sounds like it was recorded a few years earlier when jazz musicians were still exploring the exciting possibilities of rock. Violin, as would be expected from a leader, is the dominant instrument (though the music is all composed by guitarist Hugo Vogel). Sometimes electric violin can be too flashy (Jean-Luc Ponty) or too hoedown like the Appalachian Americana influenced bands. Here the sound, style, and playing by Koehler is just perfect. If I had a preference though, I would have preferred the guitarist to go beyond the electric jazz tone here. If only he'd let 'er rip psychedelic style (as the violin will on occasion), then this album would've jumped a full two Gnosis points.

Former ownership: 1979 JA Records (LP). Acquired in 2013.

No legit reissues exist as I update this post (1/5/18).

9/28/13 (first listen); 1/5/18 (review / new entry)

Third Eye ~ Netherlands ~ Germany

Third Eye (1976)

On the surface, Third Eye would seem to be a typical mid to late 1970s kraut fusion album, of which there are dozens. That is, until you hear the mellotron being played like a flutist would play his solo (just check out 'Sound Circle' as an example)! It's really odd to hear this traditional symphonic prog / electronik musik instrument used in this context. As if Tangerine Dream, circa Phaedra, played the piano lounge at some swanky hotel. For this alone, Third Eye is worth seeking out. There's also a classically inspired romantic piece, cocktail piano, a drum solo, typical fusion runs. A somewhat bizarre mix, but quite good all the same.

Former ownership: 1976 Ring (LP). Acquired in 2009.

No legit reissues exist as I update this post (4/7/26).

7/22/09 (review); 1/5/18 (new entry)

Alcatraz ~ Germany

Live: Trockeneis zum Frühstück (1980)

Alcatraz were always an interesting lot, never staying in one musical place too long. By the time of this live album, the band had released a Krautrock classic (Vampire State Building) and a politrock album. So naturally this is a jazz fusion work... All new material, it is in effect a brand new studio release and the recording is stellar. Perhaps most extraordinary is how adept Alcatraz are at the style. Though it must be said that Vampire State Building had jazz qualities, it was nowhere near this obvious. There are two standout leads here: Rainier Hansen on sax and flute - and steady member Klaus Holst on guitar. Hansen, in general, has a very pleasing tone concerning his saxophone with a bit of the psychedelic similar to Xhol Caravan would deploy on occasion. At times he gets a little too loose, but pulls back just at the moment of annoyance. His flute playing is exemplary throughout. Best of all though is Holst, who apparently was completely unaware of any musical trends since 1971. You will have to look long and hard in 1980 for the kind of fiery psychedelic leads he lays down. It's really extraordinary, and reminds me of the second Moira album concerning the out-of-its-time sound. In fact, you'd be hard pressed to find a modern retro band that "gets it" like Holst does here. The songs are all well written and melodic and not just exercises in solo jamming. The latter enhances the former that is to say.

The cover itself is telling. While the band is sitting in the kitchen enjoying a meal of ice (?), there are albums perched up against the wall. Among them include Soft Machine Third, Bitches Brew, and Hendrix's Axis' Bold as Love. And there you have it.

Ownership: 1980 private (LP)

No legit reissues exist as I update this post (2/22/25)

2001 (first listen); 1/4/18 (review)

1/4/18 (new entry)

Andreas Aarflot ~ Sweden

Det Rivna Pianot (1978)

Andreas Aarflot's sole album is like a direct cross between National Health and Quebec's Contraction. Though the female vocals are in Swedish, the delivery is similar to Contraction's French. Meanwhile the music maintains a strong Canterbury structure, including some familiar melody lines. On Det Rivna Pianot you'll encounter a classical component (pipe organ, strings), sweet female vocals sung in Swedish, and wonderful flute solos. The album breaks down a bit on side 2, before gathering itself on the finale. Aarflot appeared to be quite the talent, and yet he pretty much disappeared without a trace after this. Too bad, as his one album is excellent.

Ownership: 1978 Manifest (LP). 

No legit reissues exist as I update this post (2/22/25) 

6/16/10 (review); 1/1/18 (new entry)