Dada. 1981 Japan

Dada's self-titled second album is a smorgasbord of progressive electronic styles. Mostly made up of high energy synthesizers, with guitar accompaniment and some inventive arrangements. This is the first appearance of guitarist Izumi's 'Flying Ship' composition, one that he actually improved upon with his next venture Kennedy. It remains the best song both bands ever performed. Side 1 is very good considering the strong closer that is 'Flying Ship'. I'm also quite fond of the energetic opener 'Perpetual Motion' and A3 'America'. Side 2 is a bit more languid, and 'Jiro's Birthday Party' is plain stupid. Final dramatic closer possesses a hypnotic quality. Ostensibly this album is often listed with the German and French classics, and certainly 1980s era Tangerine Dream is in the discussion. While there are stacks of electronic albums better than this, the album is not without its charms. 

Ownership: LP: 1981 King. White label promo with rice paper obi. Purchased in 1993 but I don't remember from whom. The cover is stunning, a very colorful surrealistic painting. The labels are plain white with just a stamp on one side. 

9/21/18 (new entry); 1/5/23 (sell LP)

Zyma - Thoughts. 1978 Germany

Zyma's debut full length album finds itself somewhere between the mid to late 70s Continental European prog sound - as influenced by Frank Zappa - and the instrumental greatness that was Tortilla Flat. You'll often see references to Canterbury for Thoughts -and I'm one of those who do that - but really it falls to the margins of said sound. Certainly one of the better private presses coming from Germany during this time, and there are many of them. If you like bands as diverse as Bonfire, early Solution, Ma Banlieue Flasque, early Nine Days Wonder - and especially the less goofy elements of Dr. Dopo Jam, then Thoughts is one you'll want to add to your stack. Great album in my estimation.

The CD adds two bonus tracks, both taken from the Proton 1 album, and their sound in 1974 was much more geared to this list of bands Post psychedelic, proto progressive with female vocals than what Thoughts delivers. I would love to hear a whole album from this era of the band.

Ownership: CD: 1998 Garden of Delights. Purchased online new upon release. Considering the bonus tracks, great sound, and the full history, I can't see any need to own anything more than this. I'll take an original of course, but it's expensive and not necessary. In those same liner notes referenced above, Garden of Delights promises us that their second album Brave New World will be issued sometime in 1999. Umm... looking at their website, it's still on their Coming Soon list. No rush guys...

Steve Tibbetts ~ USA ~ Minneapolis, Minnesota

Steve Tibbetts (1977)

Steve Tibbetts' debut album is as groundbreaking as his more recognized second album Yr. My recollection of his debut was something more akin to an instrumental acoustic guitar album with a blazing freakout electric piece at the end. But actually there's more than that on display. There are synthesizers throughout, and the acoustic guitar accompaniment is more common in what one would hear on a French electronic album back in the 1970s. Which makes me wonder if Tibbetts didn't spend a bit of time in the Import section of his local Minneapolis record store. And, yea, 'How Do You Like My Buddha?' is still a killer closer.

Ownership: 1977 Frammis (LP)

9/14/18 (acquired / review)

Yr (1980)

Minneapolis based guitarist Steve Tibbett's second album is quite a diversion from his debut, and as well for the ECM label that reissued this a full eight years after the fact (with a new cover). Starting where 'How Do You Like My Buddha?' left off from the otherwise all-acoustic debut, Tibbetts gets straight to the point of the album at hand. The all instrumental Yr features Tibbetts on acoustic and electric guitars, keyboards (including quite a bit of mellotron), and all sorts of stringed instruments. Accompanying him is a bassist, and no less than four credited percussion players. So while the album cannot help but feel tribal, especially looking eastward toward Asia, the album doesn't comfortably fit in genres such as World Fusion or New Age. Primarily this is due to Tibbett's decidedly psychedelic guitar style. There really is no album like Yr in the vast annals of musical history, that I'm aware of anyway. Including from Tibbetts himself who more or less began to adopt the ECM aesthetic going forward. Perhaps early David Torn provides a slight guidepost, but this is far more warm and alive. Even if you've heard other Tibbetts albums, I strongly encourage you to lend an ear to Yr (so to speak). It's a revelation.

Ownership: 1980 Frammis (LP). With signed insert #769. Artist is shown as Steve Tibbtz.

1991 (CD acquired); 7/24/13; 8/11/15; 7/17/18 (review)

7/17/18 (new entry)

Yatha Sidhra ~ Germany

A Meditation Mass (1974)

Krautrock, at least as I see it, is a most misunderstood term*. For some, they never get past the gateway drug that is motorik, as best defined by Neu! and Can. For others it's the German rough and ready Hammond organ fueled sound of 1971. And then there are many who will site the cosmic guitar freakouts of Ash Ra Tempel, Guru Guru, and early Tangerine Dream as an example of Krautrock. The truth is, it's all the above. What Krautrock isn't, though, is a could-be-interpreted derogatory term defining all rock music coming from Germany. And in fact, I firmly believe that Krautrock can exist outside the Fatherland's borders. And a few recent bands have done just that - a fine job at recreating the atmosphere and angst of that era. Not an easy achievement in these modern times, where the filters of our current life are far different than they were back then. Not even various forms of progressive or experimental rock from Germany should count as Krautrock. When I see the late 70s and early 80s Christian progressive rock movement being defined as Krautrock, for example, I cringe. Bands like Eden, Credemus, and Werwolf are about as far away from the ethos of the era as can possibly be imagined (and I enjoy these bands too on their own terms).

I pen the above in a Yatha Sidhra review, because to me A Meditation Mass represents the pure embodiment of the Krautrock sound. The coming together of the flute, hand percussion, piano, electric guitar, and disembodied vocals sends shivers down my spine - from the first time I heard this album in 1991 - to this very day. When hearing this, I'm in the same flat as Ash Ra Tempel or Orange Peel or Mythos or Popol Vuh. None of these bands sound anything alike, and yet they all conjure up that spirit of exploration and radicalism through music. It's like a magnet. This music is timeless. There's a reason why Krautrock has maintained its popularity all these years, even increasing as time goes by, though it was largely ignored upon original release. Many of the original releases sold so poorly they ended up in trash bins, and thus their rarity today. Yatha Sidhra is one of those albums. A brilliant 5 star album, that is tagged as such through pure subjectivity. A purely non-emotional objective review would result in far less. I can't possibly go there - it's too late. 

*My definition is different from the one in RYM's pages. In general I tend to agree with RYM on their genre definitions, and I admire the site for attempting to put in words what can be oh-so-difficult otherwise (and subject to heated debate). Krautrock will always be a term that few will agree on. I can accept different definitions here, and thus I've provided mine. What I won't accept is the absolute rubbish of the last paragraph. It's American and European PCing at its worst. It goes against historical fact, and brings in a modern revisionist viewpoint that is entirely unnecessary. As someone who has has been collecting since the mid 1980s - and has been to the country multiple times in that era - and dealt with many German progressive rock dealers for over 30 years - it is a term that is embraced by the local populace. And that continues to this day. Of course, some will be offended. EVERYONE is offended about something, but this paragraph should go by the wayside IMO.

For an album that supposedly didn't sell well, it's surprising to learn there are three distinct releases. One features as its cover the former insert. And yet another was released without the Metronome, meaning it was pressed in 1975 most likely. There are many green Brain Metronome albums that never saw more than one pressing. So perhaps it did sell better than is reported today.

Ownership: 

1974 Brain (LP). Gatefold with stenciled die-cut sleeve. Green label with Metronome. 

1995 Spalax (CD). Digipak.

1991 (acquired); 9/14/18 (review / new entry)

Witthuser & Westrupp ~ Germany

Der Jesuspilz (1971)

This is a crazy one, that's for sure. There's about 30 minutes of great music here, and another ten minutes of... well... you know. 'Liturgie' starts things off in awful fashion with a Floh de Cologne like drunken ditty. Sell bin I think right? Then comes 'Schöpfung', which is the album's highlight. It's every bit Krautrock - in sound, atmosphere, oh don't get me going on that again. The droning trance narration against acoustic - and yes, electric - guitars and swirling keyboards. Reminds me a lot of Sergius Golowin or Walter Wegmuller here. Brilliant. 'Erleuchtung und Berufung' starts off with a blast of mellotron, which is later juxtaposed against a children's choir. Awesome. We're on the rails to stardom right? Wrong. Most of 'Versammlung - Bekenntnis - Die Aussendung' can best be forgotten, though the harmonium on 'Bekenntnis' is nice. Oh that kazoo! Really? 'Nehmet hin esset' is a pleasant folk piece though, and then the album closes on a high note with 'Besuch aus dem Kosmos' which is acid folk at its best - love the swirling Klaus Schulze like synthesizer background. As odd as they get, but well worth your time I think.

Ownership: 1971 Pilz (LP). Gatefold. Acquired in 1999.

1999; 9/14/18 (review / new entry)

Amish ~ Canada ~ Ontario

Amish were an Ontario based group who recorded their sole album in Detroit, due to the Sussex label having ties to Motown. Amish simply could be described as a hard rock / heavy prog band with Hammond organ and electric guitar providing the solo leads. But where Amish stands out is the superb progressive oriented organ work, and I really like the way they wah-wah-riff the rhythm guitar parts. There's even some strange throwback psychedelic era interludes that recall bands such as Stone Circus or even Strawberry Alarm Clock. They also cover Traffic's 'Dear Mr. Fantasy', a very interesting choice (though probably the weakest of the album). Every track is a winner, with 'Wise Man' being a highlight. If looking for comparisons, I'd offer up debut album era Uriah Heep, along with obscurities like fellow Ontario based Warpig and New York's Micah. Bassist Mike Gingrich later became a member of the progressive rock group Nightwinds. Strong album that comes recommended.

Ownership: 1972 Sussex (LP)

No reissues as of 4/2/25.

9/17/10 (review); 9/14/18 (update / new entry)

Dionysos - Le Grand Jeu. 1970 Canada-Quebec

Along with Franck Dervieux, Dionysos' first two albums have to be considered Quebec's most pioneering progressive rock works. They mixed psych, electric blues rock, and long track progressive compositions to create some wholly original music for the time and place. Their debut Le Grand Jeu is simply one of the heaviest albums to ever emerge from Le Belle Province. Wicked heavy guitar and some fine Hammond organ define this most auspicious debut. The tracks are lengthy and they put the extra time to good use by adding various musical ideas throughout, with the odd interspersed jam keeping it fresh. They also use the local French language, something that wasn't yet in vogue in Quebec at the time. Apparently 'Suzie''s got the blues, and she got 'em real bad. So I'd just leave her back and let her deal with it - and focus on the rest of the great tunes!

Ownership: LP: 1970 Jupiter. Gatefold

Was reissued as part of a 5 CD box set from Return to Analog in 2022.

7/3/09; 9/14/18 (new entry)

Tai Phong - Windows. 1976 France

Tai Phong are basically French Indochina's (historical reference...) version of Yes. On their second album Windows, one will hear some fantastic quality instrumental work, for example on both the opener and closer, as well as on 'Circle'. The high pitched male voice (sounding every bit like a female) is also perfect for the setting. Yes of course, there is some pop slop to sit through like on 'Games' and 'Last Chance'. So it's not perfect by any means, but certainly not bad at all in the aggregate. Worth owning for fans of the genre.

Personal collection
LP: 1976 Warner Bros.

The fine textured gatefold cover makes me want to keep this one longer than others of its ilk.

Zao - Kawana. 1976 France

Zao's 4th album is a shockingly ordinary fusion album for the era. Very well played mind you, but not even close to the best the genre has to offer. More chops than songwriting for sure. The addition of Didier Lockwood on violin helped immensely, because without his presence, the album would have been considerably worse. Jean My Truong also should be called out for his awesome drumming. Jeff Seffer's saxophone tone, however, gets on my nerves. Atonal and noisy, when the music calls for smooth and melodic - similar to Lockwood's playing for example. As for the band in general, all traces of their Zeuhl background have been rubbed out here. Not sure I understand the praise this one gets - I find it disappointing for a band with a pedigree like Zao. Of course it's still very good - not saying different - but one would have hoped for more depth here. Admittedly, the album does finish strong with the closer 'Free-Folk'.

Ownership: CD: 1991 Musea. Jewel case with full historical liner notes. Online acquisition (1999). Also bought the LP afterwards but have since sold it. And after one final evaluation, the CD can go as well.

1999; 9/14/18 (new entry); 9/5/23

Ugly Custard. 1970 England

Ugly Custard's sole album can best be described as instrumental psychedelic cover versions of well known songs, and a few originals... that sound like cover versions! That folks is what is better known as an "exploitation" album. Side 1 are the covers whereas most of side 2 is original material. Though the tracks are more fleshed out, this is basically TV and incidental movie soundtrack music. Inessential but fun album.

Ownership: LP: 2012 Strut. Single sleeve. Recent online purchase. Reissue is basic with only the hype sticker offering any information. Has a download card if interested in those things. Decided to sell.

1/26/21; 5/28/21

Step Ahead - s/t. 1982 France

What's most interesting about Step Ahead is just how un-French it really is. 1982 was a boom time for creative French progressive rock groups festering in the underground. Step Ahead is none of that. I think understanding that will help one digest this album better. As others have suggested, Step Ahead taps more into the burgeoning New Wave of British Prog Rock that was just about to launch. Whether Step Ahead were involved - or influenced - by that, it's hard to say, though I would expect not. Yes of course band leader Christian Robin spent much time in England, but what I hear is someone who took the same inputs as Marillion, IQ, et al, and spit out a similar conclusion. When one hears the vocal style (sounding every bit like an early 80s FM radio crooner), and some of the compositions, it's not a real stretch to hear bands like Asia in the mix. And really, if one listens closely, Step Ahead clearly had the stuff to make a radio hit in those days. The album needed more polish and editing, and some of the music is just too proggy for its own good - at least if commercial ambition is in play here. The gatefold cover is quite lavish, and it actually looks like Japanese anime to my eyes. A bizarre juxtaposition of themes on display. Is it prog, is it AOR, is it American, English, or Japanese? Nope. It's a French neo prog album, without any influence of its own culture like Ange, Magma, or Atoll. One of a kind, and better than I remembered.

Personal collection
LP: 1987 RCA (Japan)

For years I thought this album was released for the Japanese market, given the anime styled gatefold cover. But alas, no, it was in fact released 5 years earlier only in France. Must have sold 30 copies too. And the bizarre thing is the original is not that rare.

The Albert ~ USA

The Albert (1970)

And the award for most confusing discography goes to.... The Albert! Two albums, both self-titled, same year, and on the same label. Yea, that makes it easy to research.

The Albert definitely fall on the soul-jazz / pop side of the horn rock equation. But there's some really fine horn charts, hard guitar, and organ that separate this one from the pack. Also check out the well done sax and trumpet solos. So not the best the genre has to offer, but fans of same will want to investigate.

Former ownership: 1970 Perception (LP). Acquired in 2010.

12/17/10; 2/13/14 (review); 9/18/18 (new entry)

TCB ~ USA ~ New York

Open For Business (1970)

TCB's sole album is a mix of soul based horn rock with gruff vocals and bluesy motifs, coupled with a gentle folk side recalling perhaps Michaelangelo of One Voice Many fame. Roller rink organ, fuzz guitar, harpsichord, male/female vocals, alto/tenor sax, and trumpet are the primary instruments. The music is very much a sound of its time and recalls other such acts like The Albert, Sod, 4th Cekcion, etc... The band's ace up the sleeve, though, is the 23+ minute closer, which shows TCB stretching out in jazz rock fashion. A choppy organ, bass, drums vamp is laid down, and each instrument is allowed some time for an improvisational solo including a bit of scat singing. While not exactly groundbreaking, it is unusual to find this much time allocated for such music - especially on what is essentially a pop rock record. A fine album worth investigating. Quite a long one too considering the era in which it was released.

This TCB is not to be confused with Elvis Presley's backup band who operated from 1969 to 1977. And just like that TCB, this ensemble is indeed an acronym that stands for Taking Care of Business.

Former ownership: 1970 Traffic (LP). Acquired in 2014.

11/1/14 (review); 9/8/18 (update / new entry)

Archaia. 1977 France

Archaia's sole album has always been a legend in collecting circles, and is one of France's most prized items. Dark, menacing, foreboding, and sinister are adjectives that best describe the music. Bass, sequencers, chanting voices, and the most compressed fuzz guitar sound you'll ever hear, define this incredibly fascinating work. Side 1 is brilliant whereas Side 2 the material isn't quite as strong, but still holds up under scrutiny. Generally sited as being from the Zeuhl camp - not to mention it being the debut reissue for the specialist label Soleil Zeuhl - though in reality it belongs just as much to the 70s progressive electronic movement in France from the likes of Heldon, Lard Free, Verto, Igor Wakhevitch, Horrific Child, and anything Philippe Besombes was involved with. There are points within the album where the synthesizers come to a climax, and one expects a thumping bass and pounding drums, and yet they don't appear (of course, they don't have a drummer either...). These are the Eskaton moments that do not come to fruition. Whatever the case, Archaia can be considered entirely unique, borrowing from a host of ideas and outputting something completely unexpected. A great one here.

Ownership: LP: 1977 Choravox. Single sleeve. Acquired in a blockbuster trade with a well known Belgian dealer (1996).

CD: 1998 Soleil Zeuhl. Jewel case with liner notes and bonus tracks.

1996; 1998; 9/7/18 (new entry)

Glass Hammer ~ USA ~ Tennessee

Shadowlands (2004)

Sigh. Glass Hammer. Southeast Tennessee's answer to classic Yes, with all the pitfalls of modern bands trying to do such. And yet I really like this album. The music is absolutely there. But the male / female vocal approach goes far out of its way to try to derail my enjoyment of it anyway. Note I said approach, not talent. While none of the singers will win any awards, they certainly aren't egregious. But the vocals presented here contain that annoying American style - especially from the South mixed with a bit of FM hit radio - a style that seems almost like religious revival folk music. The group chorus' I think are trying to bring back the ghost of Tales from Topographic Oceans, but instead it just sounds like I'm at some River Cleansing Ritual. But what's not a sin, in my book anyway, is emulating a style as distinctive as Yes'. As long as we're not doing note for note rips, I'm cool. And they don't really. There are five tracks here, and each are very much thought through, dense, complex, and melodic. And enjoyable, despite their best attempts to push me away. 

Ownership: 2004 Arion (CD). Acquired in 2004.

10//04; 10/9/12; 10/7/14; 9/3/18 (review) 

9/3/18 (new entry)

Clearlight ~ France

Visions (1978)

For Clearlight's final 1970s effort, Visions, Cyrille Verdeaux seemingly compiled all of the ideas of the past - and tried to cram them into one album. The results are a mixed bag. There are heavy fusion moments, pensive classical piano pieces, space rock jams, straight rock songs, and Indian sitar ragas. Many of the musicians of the past are represented here as well. Overall, I find this to be Clearlight's most uneven album though still quite enjoyable.

Ownership: 

1978 Polydor (LP). Acquired in 1994.

2008 Captain Trip (CD). Papersleeve. Includes 7 bonus tracks from 1980 and 1983. Acquired in 2018. 

1994; 4/21/01 (review); 2009; 9/2/18 (update)

Forever Blowing Bubbles (1975)

Following the success of their debut, Clearlight (the Symphony moniker removed) continued on where the '2nd Movement' (from the debut) dropped off, with an emphasis on more rocked out cosmic themes. 1975's Forever Blowing Bubbles opens with 'Chanson', a bizarre five minute piece, and quite a bit different from anything found on the debut. Somewhat of a straight song with vocals, electric violin (from King Crimson's David Cross), and flute. The listener must have been surprised by this new found interest in traditional songwriting (for Clearlight anyway). 'Without Words' has Clearlight back on the path towards heavy duty space jamming, driven by Cyrille's piano and plenty of overlays from guitar, synths, mellotron, and saxophone. And so it goes through the course of the album: Tripped out jam sequences offset by more somber songcraft. Listen for the "synth bubbles" that connect each composition. This album certainly has more variety, in terms of both songwriting and instrumentation, than the debut. Though perhaps not quite up to the same standard consistently throughout. A classic all the same, and a must own.

Ownership: 

1975 Virgin UK (LP). Acquired in 1991.

2003 Arcangelo (CD). Papersleeve. Features 3 bonus tracks. Acquired in 2016.

As an original LP, Clearlight's second is about as easy and inexpensive to find as any European import will ever be. If you're just getting into vinyl, this is a great entry point, considering the quality of the music. I've had my copy since the mid 80s. Even though there is a domestic French press on Virgin, the UK release is generally regarded as a true original. There are multiple Japanese presses as well. The Arcangelo Japanese mini-LP is the same mastering as the Spalax CD from 2001. I didn't do a sound comparison against the Clearlight reissue before selling it years ago. Oh well.

1991; 1995; 4/21/01 (review); 6/2/16

Also own: Clear Light Symphony; Les Contes du Singe Fou

1/24/17 (new entry)

Jean-Philippe Goude - Drones. 1980 France

Drones is a real patchwork quilt of an album. There are multiple lineups and styles presented throughout both sides. This is a true solo album, where Goude pursues various musical interests. But there's no continuity, and many of the songs seem more like sketches of ideas rather than fully fledged compositions. I quite enjoyed the two Weidorje styled romps - 'Les Saturnales' and 'Dies Irae' - and would have wished for a whole of album such. Not to be. BTW, the title of the album is also a bit of a red herring, as those looking for drone music will not find any here.

Personal collection
CD: 1993 Musea
LP: 1980 Polydor

I think I'll sell my LP (on Polydor), but keep the CD for the short run, in case I change my mind.

Taipuva Luotisuora - I. 2005 Finland

Deep in the dark forests of Finlandia, where lurks the mysterious Hidria Spacefolk, hushed whispers abound of another pagan tribe nearby known as Taipuva Luotisuora. On one dark misty night we ventured carefully over, and while peeking through the leaves, we listened to the tribe perform their magical brew. A small, furry group, only numbering five, armed with guitar (electric and acoustic), bass (fuzz), drums, percussion, synthesizers galore (some even fuzzed like the Farfisa’s of previous civilizations), piano, violin, flute, and even kantele (a Finnish zither like instrument). They played with a strong sense of the groove, with gorgeous melodies. They are sometimes quiet, sometimes intense. Always mesmerizing. Sometimes they’d even use modern percussion. In fact this infatuation with modern electronica reminded us of that distant tribe from the land of Hungaria known as Korai Orom. Sometimes we even thought of the ancients like the Ozric Tentacles people. For as much as we tried to walk away and head home, we were entranced, no one could stop their endless stare. We hadn’t felt this way, well, since the last time we visited the Hidria Spacefolk. When it was finished, we looked at each other and thought, Taipuva Luotisuora are the best new tribe we’d visited in years. We raced home to tell what we had saw, but no one knew who we spoke of. Go to the mountaintops and yell ‘Music For Kortela Space Hood Elevators’ we said. And o’er the land, our people were wiser and filled with joy.

Ownership: CD: 2005 Kaakao

I bought this album not long after release, and penned the review above at that time. It's a bit silly, but it does still capture my feelings on it. I listened to it a lot initially, and haven't heard it in 12 years since. Oddly though, my musical memory of it is very strong, so I must have let it inculcate into my brain. In retrospect, perhaps not quite enough depth for a 5 star masterpiece, but still a super album, and one that fans of the genre will not want to miss.

6/7/06 (review); 8/31/18 (new entry)

Elohim - Mana Perdu... 1983 France

Start with Seven Stories Into Eight era IQ (that is to say... the beginning), then toss Peter Nicholls out of the band, and invite instead Christian Decamps or Dominique Le Guennec. Now Tim Esau, time for you to leave, and we'll bring in Bernard Paganotti. Well, not Paganotti himself, but maybe a first year student of the master. Paul Cook - yea I think you're probably too good, and we'll just bring in some bum from the street to play drums. Holmes and Orford, you get to stay, though Martin you need to keep the palette of keyboard sounds to a minimum.

OK then.... Mana Perdu!

There's something incredibly charming about these old early 80s amateur prog bands. I first heard this album on LP in 1988, and it did nothing for me at the time. Now I hear it as something of a classic. Funny how that works... You really need to be a fan of the genre though, or otherwise this is not likely to resonate at all.

BTW - vocalist Jean-Paul Trutet went on to form Hecenia, whose second album La Couleur Du Feu is something of a modern masterpiece.

Personal collection
CD: 2000 Musea

For some reason the CD changed the band moniker's font. I like the original better (as pasted here).

Midnight Sun - Midnight Dream. 1974 Denmark

I'd wondered why I kept this LP all these years. That thought continued as I listened to the first 5 tracks on display here. Sounding very much like the North American commercial rock style of the day, it's a chore to sit through. In fact the album sounds like Blood, Sweat, and Tears without the horn section. Then comes 'Batum'. Well now, OK, this is what I'm looking for. It's a psychedelic interpretation of a traditional Swedish folk song and sounds every bit like Kebnekaise and Flasket Brinner. The exact type of psychedelia that modern bands like Agusa are mining today. Flip over the record only to completely lose momentum for the worst track on the album 'The Same Dream'. 'When You Sleep Alone' is quite good though, and that leads us to 'Where Ever You Are'. Bad start, like most of the above. And then comes... one of those irresistible Danish jams that just slays. We're talking primo debut album era Culpeper's Orchard type jamming. Brilliant really. And then for the album closer... it blows. A true pisser of an album. One I can't let go of mind you.

Personal collection
LP: 1974 Sonet

Yea, I'm keeping it.