Exsimio - Carbono 14. 2005 Chile

Chilean band Exsimio play in that style of guitar-centered, tightly played, aggressive instrumental rock that one can find in bands such as Philharmonie, Yang, or even some of Djam Karet’s work. And, by extension, the Court of King Fripp is what’s really behind this band’s mindset. Elements from Red to Discipline era KC can be picked up. Perhaps best of all is the psychedelic nature of the guitar solos, giving the overall proceedings an exotic and raw feel. Interesting to note that the tracks with Spanish narration remind me a bit of the Italians, somewhat like Latte e Miele or Pholas Dactylus in that way. All the same, the strict and narrow confines of the musical path chosen begins to become tiresome after awhile. Still a fine album, though the band said what they needed to say at the beginning. The rest was more of the same message.

Personal collection
CD: 2005 Mylodon

Last listen: November 25, 2017

Ring of Fire - Lapse of Reality. 2004 USA

Ring of Fire is a band that features top talent, and they go out of their way to make sure you know that too. As such, much of the material found here lacks quality songcraft. If the technical aspects of music interest you, then Ring Of Fire provides lots of "activity" that will delight. I'm sure this is very difficult music to perform, but that really shouldn't be the point. Makes for good music theory study, not necessarily enjoyable listening. And when the band does try for something other than massive chops, they produce a track like 'You Were There', which sounds like every other banal mid 1980s AOR hair band trying desperately for a "screaming inner thigh sweat" moment. Certainly the album is good - and very professional - as one would expect from seasoned musicians such as these. I think the reviews that call out Planet X are on the right track. That's the oeuvre we're talking about here.

CD: 2004 Frontiers (Italy)

Traumwolf ~ Germany

Aussen (1982)

Traumwolf's sole album is primarily a straightforward Deutschrock album, with String Synthesizer, light guitar, plodding rhythms, and dual female/male vocals. Like early 80s Novalis and the host of bands they influenced in those days. To be honest it's a complete slog to get through for the most part. 'Junkie's Rock' is terrible. Not all is a loss though, as 'Nightmare' is a fine instrumental in the Camel tradition, whereas the album's sole prog rock track 'Ponski Stirbt' recalls Eden with the soft soprano female vocals, and powerful instrumental synthesizer and guitar breaks. 'Marionettenspieler' finishes nicely as well with some fine instrumental work. And 'Wir Alle' even breaks out the mellotron - wasted on a somewhat boring track mind you. I've seen some dealers pass this one off as an unknown Krautrock or symphonic prog album. Don't get taken on that ride.

7/13/18 (review / new entry)

Birdland ~ Serbia

Darkness of Light (1980)

Coming from Serbia, via Switzerland, Birdland debuted with quite a strong statement in the area of jazz fusion. Make no mistake, this one swings far to the jazz side of that equation. There's not much in the way of songwriting, the instrumentation isn't overly amplified, and mostly the compositions stay true to the jazz school. Still, the guitarist has quite the nimble fingers which he displays often. And the pianist is no slouch either. For certain Mahavishnu Orchestra were an influence here, as were many of the jazz masters, and the German MPS label practitioners. Jazz fans dabbling in rock forms will love this, but if looking for some more composition acumen, this isn't what Birdland were about. Closer 'Elements II' is the highlight of the short four track set.

7/13/18 (review / new entry)

Garolou - s/t. 1978 Canada

Garolou (name play loosely translated to Beware of the Wolf) were a Quebec based progressive folk group (entirely sung in French) similar to L’Engouvelent or Connivence. Originally known as Lougarou (Werewolf), the band were forced to change their name as it sounded too close to a more well known dancing troupe in Quebec. Garolou were more straightforward rocking than most groups in this genre. Side 1 is definitely the better side and peaks on the wonderful 'Je me suis habillé en plumes'. Starting with 'Alouette' the band moves to an almost pure folk sound. The epic closer 'Germaine' doesn't deliver the prog rock opus as expected, and is more a continuation of the above, but with rock elements. Overall Garolou aren't that far removed from the like minded efforts of Breton/Gallic groups such as Malicorne, Ys, Avaric, Tarentule, and many others.

LP: 1978 London

Originally reviewed: October 30, 2010

Radius. 1972 Italy

Alberto Radius was the primary mover and shaker behind Formula 3 and Il Volo, and Radius the album was his first solo attempt. One of the best attributes of the aforementioned two groups were the guitar breaks provided by our topic at hand, and here we get to listen to Radius let loose considerably more than with the ensembles he belonged to. Side 1 has a heavy blues and psychedelic rock streak, and reminds me quite a bit of fellow countrymen Garybaldi during this era. 'Rock 1°' is as heavy a track as you'll hear in Radius' canon. Side 2 is more interesting on the whole, a mix of Formula 3, PFM, and Area. These latter two comparisons are not coincidental, given members of both bands are participating here. For example on... err... 'Area'. This latter track representing an early foray into jazz rock for Radius. Overall a fine album, not much representing the typical Italian progressive rock movement, but still contains fine playing and some creative ideas. Worth pursuing in my estimation.

Ownership: LP: 1972 Numero Uno. Single sleeve. Online acquisition (2004). What the album cover is supposed to project, I couldn't hazard a guess. Fun with tomatoes? Inside a red painted refrigerator? Guessing the budget had run out by the time the art department was ready.

While originals of Formula 3 and Il Volo albums are relatively inexpensive to source (though not cheap either), Radius is quite rare. Most likely the album didn't sell squat in its day, and I don't think it was ever imported to the States (i.e. can't recall seeing one with a Peters Intl sticker). I lucked out in my acquisition - truly a quirk of ebay one Sunday night in 2004. Someone had five Italian prog albums listed as a Buy-it-Now for $10. Right place, right time. Two of the albums were common US presses, and one wasn't very rare at all. This was the pick of the litter (with one other). 

2004; 7/12/18 (new entry)

Zog ~ Netherlands

Do ze Funkie Wiz Me (1983)

Zog's sole album (recorded live) is essentially version 2.0 of Het Pandorra Ensemble, and is entirely unique just as their predecessor was. While still very much a product of the 1980s (song structures and vocal style primarily), Zog also possess a strong admiration for 1960s psychedelia and the 1970s Krautrock pioneers. Some wonderful acid guitar soloing belies its 80s heritage. There's also the occasional reference to their fondness for Red era King Crimson, featured more prominently in their Pandorra Ensemble days. About the only other album I can think of that sounds like this is Iskander's Boheme (1982 Germany), another oddity from the era. Maybe the best way to describe this album is to call it 1980s psychedelia, and I don't mean neo-psych, if that makes any sense. While there are 9 songs on each side, it's best to think of them as side-long tracks, just as the LP label would have it. Over the years, I've come to appreciate Zog's album more and more, perhaps due to its one-of-a-kindness. And at 56 minutes, quite a lengthy album for one disc.

Ownership: 1983 Disaster Electronics (LP). Acquired in 2003.

No reissues as of 2/22/25

5/12/03; 2008; 9/16/09 (review); 7/12/18 (update / new entry)

Social Tension - Macbethia. 1989 Japan

Macbethia arrived during the boom years of the Japanese progressive rock scene of the late 1980s. Their sound is somewhat typical of the time, with brassy digital keyboards and bouncy rhythms. It takes some time for the ears to adjust to their sound and at first listen it can be underwhelming. The ELP worship is a bit obvious, and the sparse vocals aren't helping. However, there are signs that there's more here than the usual copycat prog band. Nobuo Endoh also plays a mean Hammond organ, and there's some analog Moog synthesizers as well to digest. So by the time one gets to 'Inner Vision', it's no longer Japanese happy land, but rather we've entered the mysterious world of SFF's Symphonic Pictures as well as an embryonic version of Anglagard! The title track, coming in at a whopping 19:37, is what one would call a "prog extravaganza". It's a blitzkrieg of keyboard driven (mostly) instrumental progressive rock. So if names such as Motoi Sakuraba, Ars Nova, and Gerard (especially late 90s and beyond version) get you excited, then be sure to look for Macbethia.

Ownership: LP: 1989 Made in Japan. Single sleeve. Nice artwork. Like Vermilion Sands, I'm fairly certain this album was not released with an obi nor insert. I've never seen them and I bought my copy new not long after release (1991). 

1991; 7/11/18 (new entry)

Nuance ~ France

Il est une Legende (1982)

Nuance's debut is one of the most interesting albums on the private do-it-yourself FLVM label. If viewing the cover for the first time, you could be forgiven for thinking it was an old NWOBHM album. And despite the fact it did indeed come out in 1982, not only is this not metal in the slightest, but the keyboards sound more like something from the mid 1960s! Overall this is a solid progressive rock album with French vocals, and one that fits squarely with others of its ilk like Synopsis, Orion, Grime, and Pentacle. The guitarist adds in a raw psychedelic edge, which I find highly appealing. Definitely an anachronistic sound for 1982. 

Ownership: 1982 FLVM (LP)

Not reissued in any format as I update this (2/22/25).

1994 (first listen); 8/28/10 (review); 7/10/18 (update / new entry)

Ose ~ France

Adonia (1978)

When I first discovered Ose in a record store in the late 1980s, I thought I'd found gold. With that incredible cover, and the fact that two-thirds of the band were made up of one of my fave groups at the time Heldon (including Richard Pinhas), I was prepared for nothing but greatness. Plopped it on the turntable and... meh. A few years later I moved it out, and didn't give the album much thought again. Until about 15 years ago, another copy wafted under my nose for cheap, and I figured what did I have to lose?

And a good move that was. As you can see from my rating, I've long reconciled with Ose. In fact, I cannot really understand why I didn't like it much in the first place. My best guess is I was looking for something more sinister and heavy given the Heldon background. Ose is not exactly Heldon, but it's not devoid of that sound either. The longer songs here, like 'Approche sur A' and 'L'aube Jumelle', have lengthy guitar driven sections that sound as if lifted straight from Agneta Nilsson and Interface. In addition to that, the sequencer work is thick and wedgy. Never urgent though, which is probably why the impatient ears of my youth didn't comprehend appropriately. So if you can imagine Richard Pinhas' solo albums combined with other French based electronic artists of the day like Francois Breant, Tim Blake, Christian Boule, Bernard Szajner, and Claude Perraudin, then Ose will no doubt be a fine addition to your collection.

Ownership: 1978 Egg (LP). Reacquired in 2006. First purchased in 1988.

1988; 1996; 2006; 7/10/18 (review / new entry)

Magdalena ~ Spain

Lanean Sartzen (1981)

From my perspective, Magdalena's sole release is the Basque region's most progressive rock album in the traditional sense. As many of us came to find out in the late 1980s and early 90s, the region had dozens of rock albums, mostly sung in the native tongue. The majority of these Basque albums are folk based, and because of that, many fell out of my personal interest area. However a few were exactly what I was seeking, for example Haizea's second album, Lisker, and Sakre. But the best of them all is this little obscurity I picked up in the mid 90s. While the melodies have a traditional folklore feel to them, the compositions are clearly rooted in complex progressive rock. Wonderful fuzz guitar and flute take on the lead instrument chores, whereas the rhythm section keeps the whole thing hopping from one place to another. Often times I was reminded of the Catalan group Gotic as well. A very fine album.

One interesting tidbit here: The album's title on the front cover is Lanean Sartzen, which is Basque for "Work Included". However the title track and the way it is listed on the label is Lanera Sartzen, which translates to "Getting Into Work". Not sure why this is - guessing a miscommunication with the art director...

Ownership: 1981 IZ (LP). With fold out lyric insert. 

No legit CD or LP reissues as of 2/22/25.

1995 (first listen); 2/4/11 (review); 7/7/18 (update / new entry)

Cultural Noise ~ Austria

Aphorisms Insane (1980)

Let's see, three guys who play a raft full of analog keyboards - and one doubles on guitar. I bet they sound like Tangerine Dream! And indeed that's exactly who Cultural Noise has emulated. The really good electronic years of Tangerine Dream too, which would be between 1974 and 1977. Lots of fat analog sequencers, fuzz tone guitar, and quite a bit of twists / turns / sundry mayhem. Mellotron M400, Micro Moog, EMS Sequencer, Roland Sequencer, ARP Sequencer, ARP 2600, VCS 3, Roland Studiosystem 700 is what they allege to play. OK, I believe them. With two 20 minute tracks titled 'After the Selfdisintegration in Time' and 'Pursuing the In Time Disintegrating Reality', we are definitely not talking commercial material here. Who knows why a major label would sign someone up like Cultural Noise, but we're most certainly glad they did! Come to think of it, the modern UK group Redshift sounds more like Cultural Noise than Tangerine Dream actually. For fans of vintage Berlin School electronic music, this is as good as it gets.

Ownership: 1980 CBS (LP)

Not reissued (legit) on CD as I update this post (2/22/25).

2001 (first listen); 9/4/09 (review); 7/7/18 (new entry)

Georges Grunblatt ~ France

K-Priss (1980)

Georges Grunblatt was an early runnin' buddy of a one Richard Pinhas, and basically represented one half of Heldon on the first 3 albums. On K-Priss, he gathers all of Heldon's alumni, for what would appear to be Heldon VIII. It's not Heldon, but definitely a hybrid of late 70s French synthesized slickness with rip-roarin' guitar rave-ups from Richard Pinhas, and pounding drums from Auger. Like a more energetic Ose, if that makes any sense. Grunblatt for his part turns in some fine piano work. Recorded in 1977, but not released until 1980. Good one.

Ownership: 1980 Ramses / Polydor (LP) 

No legit CD reissues exist as of 2/22/25. There is, however, a legit LP reissue on Gonzai.

3/3/12 (review); 7/5/18 (update / new entry)

PSI - Horizonte. 1977 Germany

PSI's sole album was released smack dab in the middle of the Kraut fusion boom of the late 1970s. The album definitely evokes Kraan, Munju, RMO, Missus Beastly, etc... Apparently PSI impressed someone high up, as their sole album was on the high profile Bacillus label, besting many of the private presses of the era. For me, there are a couple of things that separate PSI from the pack. One is the fantastic rhythm section, propelling the tracks forward at an exciting rate. The other is the terrific production. Clearly a big budget was behind the recording. Recommended to fusion fans who enjoy a high amount of melodic content.

Personal collection
LP: 1977 Bacillus

In 2017, the upstart Polish label Chickadisc reissued this on CD. I haven't obtained it yet, but probably will eventually.

Originally reviewed: June 3, 2010

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)