Lodestone ~ USA ~ Los Angeles, California

Lodestone (1981)

From northwest of Los Angeles comes Lodestone, who released one of those dream hard rock, early metal albums back in that perfect time to be from southern California: 1981. Lodestone are from the use-your-brain school of hard rock, so each of these gems features extended compositions, with plenty of changes in tempo and tone. The vocals have that slightly high pitched screamed sound that was popular in its day. The guitarist borders the early metal sound on the riffing parts, and falls back to hard rock for the solos. The lyrics actually prove these guys went to school and paid attention "Are you being consumed by the manifestations, that your mind creates for it's (sic) devastation? Do you feel the gnawing, feel the strain? No need to worry, you'll soon be insane". Not exactly "engine roars between my thighs" as was more common in those days for the style. I like the comparison to Manilla Road and Legend that I've read, not so much that they sound like them (Lodestone are less metallic I'd submit), but rather they were seeking new ideas in a tired format. A little Rush, a little Judas Priest, a little Budgie. It's all here and more. One of my personal favorite American hard rock albums from this time period, up there with UHF, Crysys, Survivor (Louisiana), Winterhawk, Full Moon, and Amulet. And it might be better than all of those actually.

Ownership: 1981 private (LP)

No reissues as of 2/22/25.

7/4/18 (review / new entry)

The Tangerine Zoo ~ USA ~ Boston, Massachusetts

Outside Looking In (1968)

Outside Looking In is The Tangerine Zoo's second and last album. In reflection, it's amazing just how many great psychedelic bands the United States housed in a relatively short time frame. From 1967 to 1969, you would find psych bands cropping up in every nook and cranny inside America. And the epicenters of the movement, along each coast, were primarily in San Francisco and Boston. It's the latter where The Tangerine Zoo hails from. Previously known as The Flower Pot, the censor boards (that were alive and well in those days) insisted on a name change. Anything with a fruit and the word Zoo was considered hippy enough, so The Tangerine Zoo was deemed safe (Twentieth Century Zoo was to come along shortly).

And then in 1970 it all basically just died. Not a single one made the transition over to the new progressive rock phenomena happening in England and the rest of Europe. Seems like a good dissertation topic for another day.

I bring this up in the review for this album, because The Tangerine Zoo were already heading in that direction, as were a few of their brethren. There's no mistaking this for a late 60s American psychedelic album, with the harmony vocals, old organ, dippy lyrics, and stinging bumble bee fuzz guitars. And the epic closer was de rigueur following the success of The Doors and Iron Butterfly. But as one listens closely to the album, there is an advanced songwriting. Meter, color, and dynamic changes are subtlety tossed in within each track. There's not a dud among the compositions here, almost all quite inventive, even within the short time duration afforded. 'Another Morning' is the only song here that is relatively straightforward (it's a cover of The Moody Blues song), though certainly worthy of hit single status.

If you're looking for a bit more gusto in your psychedelia, similar in that way to Neighb'rhood Childr'n or Strawberry Alarm Clock, then Outside Looking In will certainly delight.

Ownership: 1968 Mainstream (LP)

7/3/18 (review / new entry)

Momentum ~ USA ~ Florida

Scintillation (1983)

Scintillation is the second instrumental album from Sarasota, Florida based Momentum, and is, in my estimation, a pleasant surprise given the late date. On first blush, the keyboards have that early 80s New Wave sound, and sounds somewhat typical of the era. But then suddenly out of nowhere thrusts this excellent guitar fronted jazz rock. A type of fusion with loud, almost psychedelic guitar leads - very much at odds with most recordings from 1983. The title track could almost be considered hard rock given its intensity. There's also one beautiful flute driven piece ('Breakfast in the Afternoon'). Synthesizers go wild on 'The Spirited Lady', a track that sounds like it had been lifted off Al Di Meola's Elegant Gypsy. Sure, there's a couple of funky sax laden tracks to sit through ('Add it Up', 'Goosby Strut'), but both contain fine melodies and blazin' guitar midsections to offset the trendiness (well no guitar madness on 'Goosby Strut' actually, and it does sound like a bar crowd pleaser). 1983 is not typically a year one seeks out fiery fusion, but Momentum provides the counter argument.

Ownership: 1983 J.B.C. (LP) 

7/23/10 (review); 7/3/18 (update)

Introducing Brad Carlton (1980)

CDRWL review

Neither have been reissued as of 2/22/25.

7/3/18 (new entry)

Round House ~ Germany

'Scuse Me (1972)

'Scuse Me is the debut album from German horn rock band Round House. Of the ten tracks presented here, eight are of the song based variety, and all are uniformly good. Excellent horn charts, well written melodies, and fine guitar / organ interplay are the order of the day. And vocalist Bernd Heil has an uncanny resemblance to David Clayton-Thomas, with his soul tinged forceful voice. Highlights of this style include 'Motives', 'Send Me a Letter', 'Sunshine in My Eyes', and 'Thinking of You'. 'Born to Wander' mixes horn rock with jazz rock, and the band lets loose more instrumentally here to great effect. The title track, though, is really something special. It's the only instrumental, and here Round House mixes jazz rock with underground Krautrock. The echoed vibes juxtaposed against the riffing wah wah rhythm guitar will make you stand up and jam. It's been a long time since I'd revisited this album, and in my notes for their follow up (also a long ago listen) I had noted I preferred that one because they had "stretched out more". If this is the inferior album, then Down To Earth might be looking for another half point boost as well!

'Scuse Me comes recommended to horn rock fans. For those who can't stand the style (which sadly seems to be the majority), or do not want to hear another band following in the footsteps of Chicago and BST, I would steer well clear of 'Scuse Me, except maybe to hear the title track.

Ownership: 1972 Harvest (LP). Acquired in 2018.

9/27/07; 2010; 7/1/18 (review); 4/17/26

Down to Earth (1973)

Round House were a German based group who obviously spent a lot of time with their Chicago Transit Authority album collection. And they do a pretty convincing job with their variation of the horn rock sound. Some excellent grooves and they tend to veer towards the jazzy side, always a plus in this genre. Much better, I feel, than the more known Brain label horn groups like Emergency and Creative Rock. While the debut is also great, follow up album Down to Earth is quite a bit more adventurous and includes a near side long suite similar to Chicago's 'A Girl from Buchanon', but overall less pop oriented. There's plenty of great music to be found here, especially considering the fiery Terry Kath inspired wah wah guitar.

Note that RYM lists the group as from Zurich, Switzerland. According to the backside of the LP of Down to Earth, which has extensive liner notes, the band was based in Germany, though the leader of the group is originally from Switzerland. One of the members is from Hungary while another is French. I would consider this a German band, given that's the origin of the group as an entity. They also have the group name wrong. 

Ownership: 1973 Harvest (LP). Acquired in 2009. 

Neither have been reissued in any format (legal that is) as of 4/17/26.

10/29/09 (review)

7/1/18 (new entry)

Eden ~ Canada ~ Quebec

Eden (1978)

Eden were a keyboard lead quartet from Quebec who play a standard symphonic progressive rock. About half the album features French vocals, whereas the rest is instrumental. While there is a guitarist, his role is primarily subordinate, and the leads are generally created via synthesizer - mostly a String Ensemble, but you'll hear some Moog as well. I didn't discern any organ, Mellotron, or Fender Rhodes. There's nothing extraordinary about this album, other than its remarkable consistency, and every track is excellent in my book except perhaps the classical cover 'Pavane'. 

A few words about the date. There is no reference to a date anywhere on the LP - including recording sessions. There isn't a discography out there that doesn't attribute 1978 to this album, and it appears to be a case of "generally accepted". But there is no de facto proof anywhere on the internet, that I can find, that 1978 is indeed the right date. I did a deep dive through the Disques Total discography, and remarkably none of their albums have a date. Going through their 45's, finally dates emerge - that of 1977 and 1978. I think the release date of 1978 is probably correct. What remains a mystery, for me anyway, is the recording date. Disques Total reissued many albums in the late 70s. I could easily believe Eden to be a mid 70s recording that received its first pressing later. I hope some factual data will eventually emerge about this fine album.

Ownership: 1978 Disques Total (LP)

As of 2/22/25, the album remains without a legit CD reissue. An LP reissue does exist.

11//93 (first listen); 1995; 1/17/11 (review); 7/1/18 (update / new entry)

Mike Warren & Survival Kit ~ USA ~ California

Please Yourself First (1978)

Mike Warren's sole album is a fine mix of typical late 70's fusion (side 1) with a more ferocious side 2, bordering progressive rock, and which even includes some psychedelic guitar. Progressive rock laced fusion with acid guitar is one of my favorite mixes! And this has to be the only jazz rock album I've heard that uses timpani extensively. Overall a mixture of Pierre Moerlin's Gong, Colosseum II, Randy Roos, and Frank Zappa. I'm sure the latter was a major influence and one hopes Frank's philosophical outlook is the inspiration behind the title of the album. Otherwise, a rather unfortunate choice of words...

Ownership: 1978 Dobre (LP)

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

12/6/11 (first listen / review); 7/1/18 (update / new entry)

Swegas ~ England

Child of Light (1971)

Swegas' debut Child of Light features a nice mix of horn rock, Brit-Jazz, progressive rock, and even some free jazz. There's some strong Hammond organ and jazzy electric guitar work are on display here, along with a full stage band section (trombone, trumpet, and dual saxophones) who get in a few superbly intricate charts. And excellent soulful vocals. Definitely not your simple blues based horn rock album, as was typical of the era. Swegas ties closest to fellow countrymen Brainchild and Heaven rather than the usual American suspects like Blood, Sweat and Tears. Though I'd submit Swegas are not near as infectious as Brainchild in the songwriting department. Five long tracks here that allow the band to stretch out in a creative, improvisational jazz rock manner. 'Photographs' is an exceptional example of the genre. Also digging the painted naked lady Swingin' London gatefold cover.

Ownership: 1971 Trend (LP). Gatefold. Acquired in 2018.

Not reissued as of 10/17/26.

6/1/10; 6/30/18 (review)

6/30/18 (new entry)

Neuronium - The Visitor. 1981 Spain

The Visitor is the 4th album by "psychotronic" Spanish electronic group Neuronium. On this album, the group is a duo of Michel Huygen and Carlos Guirao, who play no less than 15 different synthesizers. Surprising then that there really isn't that much tonal color throughout, and almost no sequencing. The canvas is more broad brushed, similar to late 70s Vangelis in that way, an artist Neuronium seems to look up to more than Klaus Schulze or Tangerine Dream. Guirao also provides acoustic guitar, a much needed sound in an otherwise sterile environment. Best of all is 3rd wheel member Santi Pico's electric guitar, and he has decidedly sharp edged tone that is much welcomed. Unfortunately his contribution is limited to two tracks, and both appearances are short at that. And then finally we have vocals here, an idea that I'm not philosophically against on an electronic album, but is rarely utilized properly. And Neuronium is no exception, as the gentleman they chose, Michel Guillamat, quite frankly isn't very good, and singing in English compounds the error. On the plus side, he's also infrequently used in the same manner as Pico's guitar. Overall a good entry for your progressive electronic collection, but if just starting out with Neuronium, go with their first 2 albums.

As luck would have it, I ended up with the original LP and the CD at the same time, and both have been sitting here neglected for over a year. The main reason for that is the CD I obtained is titled The New Visitor, which implies an entirely new recording. Since I could find no evidence to the contrary, I held off knowing I'd need to invest more time than usual in a full analysis. Well, there was no need for that, since the CD is a straight reissue of the LP. There's a new cover and it's "digitally remastered", but neither of these things warrant a new title.

Personal collection
LP: 1981 Auvi
CD: 1990 Tuxedo (Switzerland)

The packaging of the LP is quite nice, and comes in a fine gatefold. It looks and feels like a product from the mid 1970s. The CD is barebones all the way. Typically with electronic music, the CD is the better choice from a sound perspective, but in this case I preferred everything about the LP. And the quality of the album doesn't justify keeping both, so I'm selling the CD and sticking with the vinyl here.

Grovjobb (& related) ~ Sweden

Simon Jensen Band - All You Can Eat (2005)

Simon Jensen is the flautist for the Swedish ensemble Grovjobb. And Grovjobb are one of the finest recent bands to play in the organic psychedelic space rock field, recalling pioneers from their own country like Algarnas Tradgard, Flasket Brinner, and Kebnekaise. I wasn’t quite sure what to expect from Simon’s own band, but from the get-go it’s apparent he’s interested in creating a flute jazz fusion album along the lines of early Bjorn J:Son Lindh, Lloyd McNeill, and Jeremy Steig. Jazz standard ‘Take Five’ opens the album in fine fashion, certainly one of the coolest jazz songs ever composed. ‘That Blues’ continues down the retro 70’s jazz road, with some fine muted trumpet work. ‘Summertime’ is another standard, done very well, as Jensen turns in some great flute performances. From here, the proceedings get more interesting as they play their own compositions. ‘Phenomenon’ could be considered post rock, but with a groove that screams the 1970’s. In addition, accordion is displayed as a lead here, in a way that I’ve never heard the instrument used before. Fantastic. ‘Minimum’ has a blues groove, with organ backdrop and plenty of flute soloing. Again, the accordion is utilized in a lead role, following from an almost Soft Machine styled break. And there’s some heavily affected cello adding accents. Certainly one of the highlights of the disc. ‘Something With Cheese’ is self-referential, as many artists today are probably too self-conscious. A fine tenor sax melody carries it through to the end, even if it’s a bit too fun. ‘Windflower’ starts as a moody and introspective piece with organ drones, scattered drums, and flute soloing. Finally a beat settles in, and Jensen takes over with some beautiful melodious playing. ‘Blue Glass (including Brain)’ is the first tune to recall his prior band Grovjobb, and is a psyched out heavy flute rock piece, bordering on a freak-out. This is, as one may guess, my favorite track on the album. ‘Baghdad 2003’ is as exotic as the title, with cello creating a sitar-like sound and electric piano providing the accents. Naturally the song has a Middle Eastern vibe in the flute soloing. It’s also probably the album’s most intense piece in terms of mood. ‘Blueberry Soup’ ends the album on a lighter note with a syncopated organ beat and the usual great melodic soloing by Jensen.

Being a flute jazz fan, this album is very easy for me to enjoy. Plenty of variety for those looking for more than standard jazz fare as well.

Ownership: 2005 Blue Beat (CD)

6/18/06 (review); 6/27/18 (update)

Under Solen Lyser Solen (2001)

After first hearing Vättarnas Fest, I wrote an enthusiastic review for both their albums at the time, and couldn't wait to hear a 3rd from them. So when Under Solen Lyser Solen did get released, I snapped it up immediately, and.... well, I didn't write a review, let's put it that way.

Yes, I was sorely disappointed. The album didn't have the dynamism of its predecessors. After a couple of listens, I filed it. Now 16+ years later, here we are again - and I'd gone as far as tagging it "weedout". This could be the final listen.

It won't be. Now it's also been about 17 years since I heard the first two, so I cannot draw any memorable comparisons. What I will say is that the first word I think of when listening to Under Solen Lyser Solen is organic. This is a very laid back, drawn out, psychedelic work based on Swedish folk themes. There's no rave-ups, or meter shifts, or that much in the way of songcraft honestly. It just sort of drifts along, with quite a bit of repetition, and lovely flute and electric guitar shimmering away. It appears the band knew they were going to sunset, and this was the way they wanted to exit - riding out into the fields slowly as darkness descends. They certainly didn't go out in a ball of flames, that's for sure.

If memory serves, the final track here 'Reflection of Rafi' seems more in line with their other albums, and is the highlight.

Former ownership: CD: 2001 Garageland. Art booklet containing recording details.

2002 (acquired); 10/20/17 (review); 4/26/24

Also own and still need to review: Landet Leverpastej; Vättarnas Fest

10/20/17 (new entry)

Goat - Commune. 2014 Sweden

Commune is the second album from Sweden's Goat, a band I've tracked from the beginning. Like fellow countrymen Dungen, Goat is one of those bands that have inexplicably gained a relatively large following despite playing a style of music that doesn't usually garner such. There can be no doubt that Goat have tapped into the psychedelic strain that was so very prominent in the early 1970's Swedish landscape. And the country seems to have always had a predilection for mixing far away indigenous music into that unique strain. In this case for Goat, that would be the Saharan music of the Tuareg's. Apparently - unbeknownst to me - there's a subgenre that has been recently born that defines the electrified form of this music: Tishoumaren. I'm a novice on that point, but regardless, Goat has basically infused a new ingredient into an old recipe. Ignoring any cultural, spiritual, or political messaging, one can focus on the music itself. A music that is highly melodic, with tribal drumming, female chanting, and deliciously wicked fuzz guitar. The album gets stronger as it goes, and by the time we reach the summit with 'Hide From the Sun' (strange title if we're summiting, perhaps they were cave dwelling. I digress...) - you too will be having your very own spiritual moments. And for this, Goat has completely succeeded. If a title like Flasket Brinner Goes to Mali sounds enticing, then may I suggest Commune to you?

Ownership: CD: 2014 Sub Pop. Blows my mind a band like Goat would be on Sub Pop, but OK...

12/9/14; 6/27/18 (new entry)

Autumn - Oceanworld. 1977-1978 England (archival)

When Autumn's release first hit the shelves in 1999, the buzz surrounding it was enormous at the time. A whole album's worth of prime instrumental progressive rock was on offer, said the masses. I dutifully picked up my own copy of the CD then, and all I had to say is that the advertisements were justified.

It's hard to imagine that was nearly 20 years ago. On this revisit, I was reminded on just how good this album really is. Recorded between 1977 and 1978, this was just the type of original-late-era progressive rock that was being shunned by the major labels and radio of the day, and thus getting signed was difficult. Fortunately the music was well preserved and history wins the day. Autumn definitely drew from the big-names well of the time, and you'll predominantly hear bands such as Camel, Genesis, and Yes in these grooves. The influences might be apparent, but the music and melodies are definitely original, and there are some very fine breaks here that recall early Gracious! for example - the same kind the Italians are more famous for.

In reviewing my collection, I think this is the best archival album from England I own that is strictly 70's classic progressive rock - of a previously unknown group I should add. We're more accustomed to the excellent unearthed progressive rock album here in the United States, where the labels were never much interested in the genre to begin with. But it appears that England was still cranking out decent product (England, First+Aid, etc...), and Autumn just fell through the cracks. I'm sure there were many more who had the same fate as Autumn, and I do hope that one day those recordings surface. For now though, don't miss this private release, that appears to have been forgotten again in the last 20 years or so.

Ownership: CD: 1999 private. Comes with full liners and the sound is good, though a little polish was still needed. Interesting to note the band referred to this as a "mini album", but it's 36 minutes which was standard LP length of the era. Discogs, by their rules, lists it as a Mini Album as well because the CD advertises it as such. But I consider it a full length album.

Hypnos 69 - The Eclectic Measure. 2006 Belgium

There are very few bands with a stoner rock past that can really let go of that sound. They usually sneak it in here and there - a slab of fuzz, a studio-phased yell, or some throbbing bass and pounding 4/4 drums. But not Hypnos 69. When they ditched it to go all-in for an early 70s retro prog sound, the band never looked back. I haven't heard (to date) the predecessor The Intrigue of Perception, but it's apparent the band's metamorphosis happened there, as their debut most certainly is stoner rock.

Hypnos 69's sound draws heavily from the vaults of 1971 Europe, especially the UK. And while you'll often read that King Crimson is the primary influence (I think the addition of woodwinds adds to this idea), the only track where it's painfully obvious is 'Ominous (But Fooled Before)' - a composition that borrows some ideas from KC's first two landmark albums. Perhaps surprisingly, it is also my favorite song on the album, despite the similarities. Overall though, if the Vertigo Swirl roster of bands from 1971 to 1973 hold your interest, it would be hard to imagine The Eclectic Measure not (pardon me) measuring up. Maybe not quite the same stunning emulation as later upstarts such as Diagonal and Astra, but that's the ballpark we're talking about here.

Ownership: CD: 2006 Elektrohasch (Germany). Jewel box with lyric booklet. Acquired in 2010.

2010; 6/26/18 (new entry)

Chickencage Experience - KamaSutra BlackBelt. 2014 Germany

Polytoxicomane Philharmonie were already an odd bunch, but their offshoot group Chickencage Experience took things to a whole new level. Their debut had me mesmerized into a trance like state, with their modern take on the female space whisperers of the early 70s Krautrock scene. For me it's one of the very best neo-Kraut albums to be heard.

So when KamaSutra BlackBelt first hit the shelves, I pounced on it like a cat with new yarn. And while it didn't have the same impact as the debut (how could it really?), I was suitably impressed, rated it a 4.0/Gnosis 11 and moved on. Strangely though, as it came up for play again, I couldn't remember a thing about it, even though it was a short 4 years ago. Hmm, strange.

Now I know why. KamaSutra BlackBelt is not really a Krautrock album at all, but rather a pure neo-psych long play. The compositions are well written, our duo of gals actually sing, and there's plenty of great retro keyboards and guitar fuzz to cuddle up with. There's a James Bond/spy flick theme throughout, so they are definitely setting the controls for the heart of the Hipster. The longer tracks are, predictably, the better ones here demonstrating some nice development within. 'Thousand Miles' and 'Still Flaky But Free' are but two great examples of this. The best is saved for last though, as they dig into their Krautrock instumental roots with the lengthy 'Whitewash'.

Of all the neo Krautrock bands coming from Germany since the 90's, my vote goes to Polytoxicomane Philharmonie / Chickencage Experience for being the most innovative - perhaps even the best representative overall. Hopefully we haven't heard the last from them.

Personal collection
CD: 2014 Nasoni

Comes in a small wallet-sized digi-pak.

Chickencage Experience - An Eggspoiltation Movie. 2012 Germany

Basically the 4th Polytoxicomane Philharmonie album, Chickencage Experience pays homage to the female whispered space rock of the early 1970s. A perfect realization of psychedelic bluesy guitars, steady groove rhythms, copious phasing in the studio, synthesizers galore, and of course soft female vocals from a duo of angels. The most intense moments of Galactic Supermarket, Cosmic Jokers, Gong's Gilli Smyth, and Gilles Zeitschiff... meet Revolutionary Army of the Infant Jesus and Dead Can Dance at their most transcendental. Where you wanted Ash Ra Tempel's 'Jenseits' to go, and this time the dream didn't end.

And I haven't even watched the video yet that comes with it! (June 2018 note: still haven't!)

I sit in stunned silence.

Personal collection
CD: 2012 Nasoni w/DVD

Last listen: May 2013

Exmagma - Goldball. 1975 Germany

Back in the late 80s, when I was first deep diving into the rarities' catalogs of the day, Goldball was a title that showed up fairly often (I had no idea there was a "first" album). Being on Richard Pinhas' Urus label, I was most intrigued by which members of Magma had branched off and what kind of Zeuhl album they'd created.

BZZT! Imagine my surprise when I first heard the album. I wasn't pleased. But only a few short years later, I began to appreciate the type of underground proggy jazz rock that Exmagma dabbled in. While I tend to see many reviews point the listener to Soft Machine and Weather Report, I personally hear very little of that. What I do hear is exactly the pedigree of the band - and that would be Wolfgang Dauner's Et Cetera. It's a bit more progged up, and less improvisational overall, but in effect Dauner's stamp is all over this. It's keyboard driven, and quite inventive, with multiple shifts within each short track.

The odd thing about this album, is it contains 6 solid 4.0/Gnosis 11 tracks (out of 10), and yet I'm walking away with a 3.5/Gnosis 10 here. Part of the problem is the album comes across more as outtakes than a cohesive whole. But worse is the longest track 'Greetings to the Moroccan Farmers' is a complete waste of time. It's generously called free jazz, but really it's nothing more than noodling around, sounding like they're tuning their instruments. Why anyone would think someone would want to hear this is beyond my guess - and it's incongruous with the rest of the album. 'Tango Wolperaiso' is also a weak improv entry, but at least it fits the motif. So there's about 21 minutes of excellent music, which is worthy in of itself, but not a monster album in my estimation.

Ownership: LP: 1975 Urus; CD: 2003 Daily. The LP is a recent online acquisition. This is the second copy I've owned. The CD is coupled with their debut album and was purchased new upon release. 

Lord Flimnap - Point of View. 1989 Israel

Had someone slipped me a cassette of this album, labeled it "unknown prog band 1982 UK", I would have believed it. Well the cassette part is true, but 7 years later - and from the unlikely country of Israel. This is square-on-of-the-era amateurish New Wave of British Progressive rock. It has the thuddy production, the meandering-don't-make-sense compositions, the semi-theatrical vocals, and the Rush like guitar breaks. Lord Flimnap could very well have been the predecessor/followup to groups like Trilogy or Tamarisk.

As these albums tend to be, it starts off unconvincingly, and I was struggling to buy into the concept. Though I was most intrigued by some of the odd breaks on opener 'The Wilderness' (aptly named I might add). After the somewhat mundane 'Trapped in the Marsh', the album really draws you in on 'Prodigy'. By the 10+ minute epic 'Out of My Way' (yet another well named song), the album is firing on all cylinders. It's completely unpredictable, but filled with great ideas, and by this time the ears have adjusted to the production. I love albums like this from the 80s, when everyone was making it up as they were going along, presuming (probably) few would hear it anyway. If you're a fan of the freewheeling 1980-1983 NWOBPR cassette scene, you'll want to obtain this one.

Personal collection

CD: 2004 Earsay

The original was an obscure cassette that is not even listed on Discogs as I write this. A year later, the somewhat chintzy, but well-distributed German label World Wide Records picked it up for CD release. The Earsay issue is the first domestic release. Special thanks goes to Gal for the gift!

Hinn Islenski Thursaflokkur ~ Iceland

Pursabit (1979)

Hinn íslenski þursaflokkur, anglicized to Hinn Islenski Thursaflokkur, and often times referred to simply as Thursaflokkur, were one of Iceland's most interesting progressive rock bands. On Pursabit (Þursabit), the music could be characterized as an Icelandic Gryphon, reaching back to an historical period of music, and bringing it forward to the 1970s. One will also hear the zany sounds of Samla Mammas Manna, the melodic tones of Focus, as well as some typical European jazz fusion. This one takes a bit to get going, as it dabbles more in folkloric realms at the beginning. The meat of the album starts on track 5 'Æri-Tobbi' and concludes on track 9 'Sjö Sinnum', before closing as it began. This album is a borderline Gnosis 10/11, but I'm boosting it primarily due to the unique content it displays. There really wasn't any other band like Hinn Islenski Thursaflokkur.

Ownership: 1992 Steinar (CD). Acquired in 1993.

1993; 6/19/18 (review)

6/19/18 (new entry)

Sensitiva Immagine ‎- E Tutto Cominciò Così... 1978 Italy

Sensitiva Immagine arrived during the real barren years of Italian prog. We talk about this phenomena briefly here Italian prog from 1987 and beyond.  The latest LP reissue suggests a date of 1978, but it could just be propagating bad data (1979 or 1980 is more likely). In any case, Sensitiva Immagine was an oasis in a desert, looking towards none other than classic Genesis for inspiration. At this time in Italy, the only band I can think of doing similar was Emphasis, who had half an album with La Statale 17. But they were from the far north bordering Austria, and sang in English. Sensitiva Immagine does it the right way, and sings in the native tongue, which of course then adds in the classic early 70s Italian prog sound as well, like Premiata Forneria Marconi for example. In some ways, Sensitiva Immagine could be considered ahead of their time, predicting the rise of the neo Italian prog movement by at least 8 years. One of only a handful of classic Italian prog albums from 1978 to 1987 you'll find. Don't overlook this one.

Personal collection
CD: 1991 Melos (Japan)

The CD comes in a fine die-cut digi-pak. A few years later, the CD was issued domestically in Italy on the now-also-hard-to-find Kaliphonia label. So finding this one on CD will present a challenge (and a bit of extra expense). There is a 2015 LP reissue, which is what I was referencing above (the liner notes in Italian are on display in Discogs).

4/12/03 (acquired); 6/10/18 (review / new entry)

Pseudo Buddha ‎- 3 Months In Fat City! - Hooka-Jooka Vol. IV. 2002 USA

I had been impressed by San Antonio based Pseudo Buddha's contribution to the Fluorescent Tunnelvision space rock anthology. A lot of bands today exist to create loose, jamming, psychedelic music and Pseudo Buddha are one of the best. Four long tracks were culled from even longer jams (on 4 different dates) and spliced together for a truly mind blowing cosmic freakout. Not a lot of wasted notes, which is truly remarkable. Maybe it's in the editing, and I'm all for a good editing - especially when it comes to improvisational music (if only more bands took a page from this playbook). Imagine Agitation Free on Second jamming with Amon Duul II on Yeti. Many sounds are deployed - including exotic stringed instruments, winds, hand percussion, and analog electronics. This album captures the true spirit of Krautrock.

Personal collection
CD: 2002 Dogfingers

Originally reviewed: May 15, 2004

In Spe ~ Estonia

In Spe (1983)

Interesting that I've recently listened to - and reviewed - both Tako's second album and Solaris' debut, because In Spe sounds like a direct cross between the two. So once again we have a symphonic fusion album from communist era Eastern Europe. The songwriting here is splendid, as is the execution. Melodies are first and foremost, with some hair raising electric guitar and synthesizer breaks, of the kind you get when listening to classic early 70s Genesis or Camel. Wonderful flute as well. The majority of the album is instrumental, save 'Antidolorosum'. On this latter track I was reminded of the Estonian trailblazing group Mess. In other parts I do hear a certain classical symphonic background as one would hear on Horizont's Summer in Town for example. Even though Glasnost had yet to happen, the ice was thawing on the fringes of the empire, and In Spe was torching it away from the underground. One of the best albums of its type. Mandatory.

I didn't know until obtaining an original myself (in 2026), that the original cover was different. The familiar one (at the top) was also pressed near the same time. Guessing the above was for Estonia and the one on the right for Russia proper. No idea if that's right though.

Ownership: 

1983 Melodiya (LP). The cover is backwards!

1999 Eesti Raadio (CD). Sturdy three panel digipak.

1996 (LP acquired); 2000 (CD acquired); 6/1/18 (review)