Alco Frisbass. 2015 France

At first I wasn't so sure this is something I needed to hold onto. Alco Frisbass' debut starts off with more than a whiff to the avant prog genre. There's ties to genre champion AltRock here, and the circus themes point to groups like Miriodor. But then the duo begin to add many soft touches. There's a soft jazzy undertone that I find very appealing. There's also some odd musical combinations here, and when one sees that Thierry Paysson is involved in the background, it begins to make sense. There's a touch of the Medieval and other later historical references (witness the cover). As the music continues on one could make the conclusion that this is Minimum Vital playing the instrumental music of Caravan. Certainly more Canterbury influenced than avant prog or Paysson's outfit. The keyboards are more vintage than modern hence offering up sepia tones versus brassy digital irritants. Clearly repeat listens will go a long way to securing memory space. Alco Frisbass strikes a fine balance of old and new, unusual for modern bands. My initial rating was correct, I just had doubted it. No more. Keeper.

Ownership: CD: 2015 Fading. Tri fold digipak purchased upon release.

5/24/15; 11/7/23 (new entry)

2023 Folk / World Fusion Journal Vol. 1

Areski / Brigitte Fontaine - L'Incendie. 1995 Spalax (CD) (1973). Collection revisit (Nov). Hypnotic and haunting are two very good adjectives that describe this unusual folk album. I really appreciate Fontaine's breathy French vocals. I think this is a good example of an album I'd keep on vinyl but doesn't seem to fit with the CD format. The opposite of progressive electronic I'd argue. It doesn't help that this CD version is a needle drop that has been muffled. I enjoy this album, but not enough to keep on CD.

Ole Lukkoye - Toomze. 1999 Lollipop Shop (CD) (1996). Collection revisit (Aug) Very similar to the debut (see below). Repetitive world trance music, which is still very good, but I prefer when it's mixed with psychedelia similar to Korai Orom. This album does have a psychedelic effect via the constant percussive beat, exotic instrumentation, and voices, as evidenced most on tracks 5 and 9. 

Renaissance - Illusion. 1995 Repertoire (CD) (1971). Collection revisit (Aug). The odd album out in Renaissance's canon. I was very pleasantly surprised how strong their 1969 debut really is on a recent revisit. As groundbreaking as In the Court of the Crimson King when talking the advent of progressive rock. On Illusion, Renaissance goes back to the shed and brings forth mostly a set of folk rock tunes. And not really any good ones at that. It isn't until the two minute mark on the album's 4th track that anything resembling progressive rock shows up. I'm fond of the lengthy closing jam though it would have been more effective at half the length. All of which helps hold the rating, but not enough to keep I'm afraid. The story has been told many times, but Renaissance were disintegrating and it looked like they would be gone forever. They were to rebuild themselves entirely on Prologue and went about releasing no less than six studio classics in a row (I include A Song for All Seasons in this category). 

Stacia Cushing - In Between. 1981 Fairfield. Found this for a couple of bucks at a local store. Never seen it before and it had "the look". Sure enough, worth a heck of a lot more than $2. Private pressing from Wichita, Kansas. I was also hoping for a lost folk album (which the cover indicates) or maybe a sweet kind of pop. None of the above. Even if there was one great track, I probably would have held onto it. The first couple of cuts are probably the best. Cushing's voice indicates she had dabbled in country music before, but made a career change somewhere down the line. Overall it's pop folk, and her voice is sort of irritating. Not for me. (Jul)

Congregacion - Viene... 2012 Lion (CD) (1972). Kind of a mystical folk / folk rock album from the last days of Allende's rule in troubled Chile. Wonderful papersleeve gatefold with a full history from Lion, who always does a first class job. (Jul)

Ole Lukkoye - Zapara. 1996 Exotica (CD) (1993). Collection revisit (Jun). Like with Korai Orom, Ole Lukkoye loosely falls within the psychedelic festival circuit as well as various ethnic dance circles. This debut from the Russian group is a bit more world fusion and less psychedelic than their later albums, at least as I recall them. This is a very good title, but I have plenty of others to listen to in this space that are more interesting to my ears. 

*Nu & Apa Neagra - Omag. 2008 Lollipop Shop (CD). Collection revisit (Apr 2022). A very interesting band from Romania that mixes the experimental with indigenous traditions to come up with something entirely psychedelic sounding. One of those genre defying albums that could be labeled Avant Folk, Experimental, World Fusion, etc... Somewhat like the Polish band Atman in that way. I have to really be in the mood for music such as this to appreciate. I find it best just to put it on, and let it ride as background music. Hard to get involved with it otherwise.

*Projekt Karpaty Magiczne - Ethnocore. 1999 Fly Music (CD). Collection revisit (Apr 2022). Speaking of Atman, I've been a fan of their albums going back to my first discovery of them in the late 90s. One day some 20 years ago, while rummaging around Amoeba Records in San Francisco, I came across the CD of Magic Carpathians Project's Ethnocore 2 album. Loved it immediately (and haven't heard it since!). The Magic Carpathians are, as you may know, Atman version 2.0. But what of that first Ethnocore album? It was a bitch to find back then, since it was only released in Poland, unlike the second one that obtained an American imprint. I finally was able to import it from Germany at a hefty import cost. Values of LPs and CDs sometimes make no sense, as today one can find this CD very cheaply. Damn. In any case, the review I wrote above for Nu & Apa Neagra is the same one I could write for this with a bit more psychedelia infused.

* - Keeping for the collection

The Beatles - 1967-1970. England

OK - time to get serious about documenting my collection. UMR has evolved over the years from my primary review site to my collection archive. As I look to downsize that collection, my alternatives for finding new music are shrinking to streaming online and finding LPs/CDs/MCs in the wilds. Certainly I intend on buying original LPs (often expensive) and the occasional CD from dealers online - these are usually rare reissues, archival, or deluxe box sets. But the days of buying new CDs as they come out pretty much have stopped. It's not for a lack of desire or funds (fortunately). It's purely logistics and reality. The downsizing activity has been going for awhile, though I think I'm still breaking even haha. In any case, I do want to document all the albums I plan on keeping. Whether it's just for the next few years or until I die, I would like to get something down for the historical record. Not that anyone cares of course, but it makes me happy at the very least. For the first few dozen of records, most are very well known, and I don't have to hear them again to know what they sound like. They're etched into my DNA.

---

Well it all starts here. Numero uno. The very first LP I bought for myself. As I have mentioned prior, I did start as far back as 1975 with 45 singles, but tired of them one year later. I wrote the following on the Fleetwood Mac Rumours review: "It was the beginning of 1977 that I first began to listen to FM radio intently. With my new all-in-one Sanyo stereo including tape deck, the idea that I could actually tape what was on the radio was mind blowing, and given my organizational nature (even back then), I would spend hours listening for the best songs to put on compilation tapes. I think that's why my parents bought it for me. No more Genius Hans to worry about! Here's dinner under the door...."

That stereo system of course also had a turntable. I wanted my own records too. You have to start somewhere, and for me it made sense to start with The Beatles. Especially a double album filled to the brim with their best tracks. I was only 12 years old and did not really have a musical background. My dad liked Irish folk and country. My mom liked some easy listening. And they both liked classical, but not very seriously. No brothers and sisters to influence. Not even really neighborhood or school friends. Just a few delinquents into Led Zeppelin that I recall. That would have been too much for me at this tender age, but The Beatles were perfect for someone like me just starting out. As eclectic as they get, The Beatles offers something for everyone. And sure enough I tended to gravitate to the "heady" stuff right away. No idea why, it was just in my blood. I played both of these LPs over and over. Hundreds of times no doubt.

I don't need to define The Beatles for you, but here is my personal break down of the tracks.

Awesome: Strawberry Fields Forever; A Day in the Life; I Am the Walrus (my favorite from then and still today); Magical Mystery Tour; While My Guitar Gently Weeps; Come Together (I had this on a 45 prior) 

Very Good: Penny Lane; Sgt. Pepper's Lonely Hearts Club Band; Back in the USSR; Get Back; Here Comes the Sun; Something; The Long and Winding Road

Good: All You Need is Love; Hello Goodbye; The Fool on the Hill; Across the Universe

OK: With A Little Help From My Friends; Lucy In The Sky With Diamonds; Lady Madonna; Revolution; Don't Let Me Down; Old Brown Shoe; Let it Be

Not For Me: Hey Jude; Ob-La-Di, Ob-La-Da; The Ballad of John & Yoko; Octopus' Garden

Ownership: LP: 1976 Capitol/Apple hybrid Los Angeles pressing (USA). 2xLP gatefold. The current reissue at the time. Purchased at Sears Roebuck (1977) in Dallas (on Webb Chapel Extension if anyone remembers that store). With my mom actually helping me decide (interesting to think about that now). My copy isn't really that bad considering I had little idea how to care for records back then, and for the amount of time I played it. I'd grade it VG/VG today. I've found minty copies recently, but decided to sell them at the record shows (easy money). I even wrote my name and address in the gatefold per my mom's advice in case someone might steal it. That would be her. Fortunately I only did that once lol. As special an album as they get for me.

MC: 1992 Capitol. Interesting to see these later tapes holding some value. Recent garage sale find (2024).

1977; 11/5/23 (new entry)

Brainstorm ~ Australia

Desert World (2005)

Brainstorm's second album came out at the height of the CD boom. It would only be two years later that downloading full albums became an easy task, and the demise of CDs had begun. Vinyl then saw its resurgence at the end of the decade, and CDs were being pushed to the side, frequently scoffed at by audiophiles and collectors alike. The final death knell was the advent of streaming. At that same time I was attempting to field all the CD promos we'd receive at Gnosis. I had some help, but none of us could keep up with the volume. And my job situation in 2006 was pure chaos. I could barely keep above water with work, family, music, friends, etc... blaaahhh! 

This prelude sets up what will ultimately become the next cave diving expedition for collectors: What happened to all those CDs released by MySpace, CD Baby, privates (like this), and others from the early to mid 2000s? I find CDs all the time at thrift shops that aren't in Discogs. Most look to be of the country, indie, and alt rock genres, which I don't enjoy, so I leave them back. But sometimes I find real unknown gems, usually from the metal or neo psych camps. Back to Brainstorm. Here's a space rock band from Australia trying to get noticed on the larger world stage, but ultimately got lost in the shuffle that was 2005 / 06. Had they come around only a decade earlier, they would be far more known today among progressive rock aficionados. The 90s saw plenty of bands like Brainstorm receive magazine press, decent CD sales, and much chatter on fan boards. What did Brainstorm get for their efforts? Aural Innovations wrote a positive review; Gnosis has two ratings (including me); RYM has three ratings (including me); and Discogs shows an ownership of five (including me). ProgArchives has two ratings (not including me haha). I feel confident in saying that the album wasn't made for me personally, so what the heck happened? It's not like the band broke up here (they may still be going). Seven years later they managed an even more obscure release (how is that even possible?). Of course, some of it is their own damn fault. Naming your band Brainstorm, a moniker used by about 50 other groups, didn't help. If you search on RYM, you have to go three pages deep to find them (and hopefully you know they're Australian).

OK, a lot of words about the provenance, but what of the music? Well I guess that's the sad part here - because had this been released in 1995 instead of 2005, it would be more highly regarded. They take the Hawkwind blueprint (who doesn't in the space rock world?) and add a level of complexity not usually associated with the genre. It works well as both progressive rock and space rock - more Nektar than Hawkwind actually. The vocals are flat and monotone (typical of the genre), but otherwise the musicianship is excellent here. And the tracks unravel in a very interesting way. Early era Mandragora might be a good comparison here. After all these years, I finally had the chance to absorb this album. +1 listen.

Well - I didn't do my part in helping either, so I have to say sorry for that. But I'm here to say that this album will age well, and collectors will eventually find it. Maybe.

The band appears to still be kicking around. Bandcamp shows a release as late as 2020. My goodness. Obscurest until the end apparently. Maybe this post will shine some positive light on them. 

Ownership: 2005 private (CD). With lyric and picture booklet. Acquired in 2006.

2006; 11/4/23 (review / new entry)

Gunter Schickert (& related) ~ Germany

Eiszeit (1978 / 2005)

---2006

Even though the liner notes state that Eiszeit was a completed album that never was released during its day, it seems more like outtakes and random studio recordings (noting sound quality and style differences). The best tracks are the ones you would expect to involve Schickert, the echo guitar rave-ups with great soloing. But there are other songs covering industrial, rock, ambient, and even a strange vocal number. Catching an early Ash Ra Tempel vibe on two of the cuts as well. My favorite is the eight minute 'Ich Bin Ein Teil' which closes the album in monster fashion.

---10/31/23

In hearing this release again last night (for the first time since), it becomes apparent that while the album is most certainly inconsistent, it does feature a few super tracks, notably 2, 6, and the aforementioned closer 7. The album gets lost a bit in the middle, but it does demonstrate an uninhibited creativity that is a hallmark of the Krautrock genre. Speaking of said scene, this is a superb example of a group of like-minded individuals successfully creating the vibe long after Germany's underground had moved onto other realms. +1 overall.

Ownership: 2005 Cosmic Egg (CD). Historical liner notes. Acquired in 2006.

2006 (review); 10/31/23 (update)

GAM (1976 / 1986)

GAM was the group that guitarist Gunter Schickert formed after his landmark Samtvogel album from 1974. Joining him here is Axel Struck on guitars and Michael Leske on drums. The first letters of their names make up the acronym. Though the group was active throughout the late 70s, they never formally released anything in their day. It wasn't until 1986 when the budding UK research team of Alan and Steve Freeman befriended Mr. Schickert, when it was discovered that some archival tapes existed, and were worthy of release on cassette.

In effect, GAM 1976 is a rehearsal jam session, and the music is somewhat like a full band effort of Schickert's solo work. The additional guitar adds a unique call and response component, and drums are always welcome for this type of music. 'Apricot Brandy' is an extended but familiar take on Samtvogel's opening track. 'GAM Jam' is the highlight here with a killer sequence that closes off the final 3rd of the track. Clearly a fully developed composition could have emerged from this riff.

The downside of course is the rough recording quality and the lack of focus. Both of which can be forgiven since that wasn't the initial purpose. So a point-in-time Krautrock jam, that sounds a few years earlier than 1976.

Former ownership: 1986 Auricle (MC). Acquired in 1990.

1990; 2/22/19 (review)

Somnabul (1980-1994)

Obscure and uneven archival recordings from Gunter Schickert circa 1980 to 1994. On the plus side, it's worth the price of admission just to hear 'Arabische Nächte', which is Schickert at his absolute best, with fast paced sound on sound guitar, and molten psychedelic soloing layered on top. And the Middle Eastern theme gives off a big whiff of early Agitation Free (and would you believe Michael Gunther himself was involved on this project?). Also of note are the 'Dig It' segues which propel the album forward in an exciting way. Other notables are the extended version of 'In der Zeit 1' from Uberfallig, the haunting Voice of Eye styled studio manipulation of 'Sirenen', and the muddled psychedelic title track. On the down side is the brooding electronik 'Töchter der Neere' which isn't Schickert's forte at all. Also 'Monkeys' sounds like a GAM reject, whereas 'Now' is pretty dull to be honest.

Manuel Gottsching is credited with remastering. If only Achim Reichel could have been involved, then we would have had all the pioneering German sound-on-sound electric guitarists in the same room!

Ownership: 1995 Musique Intemporelle (CD). Part of the "Rainbow Collection" that also featured an archival Agitation Free album. One of the series' trademarks was the addition of a "multimedia" track at the beginning of the disc (this is what they mean by CD ROM on the cover - it is a factory pressed CD), which comes across as loud static if you don't remember to start with track 2. There are no liner notes to speak of, so the origin of these songs is hard to determine. Acquired in 1995.

1995; 9/27/15 (review)

Kinder in der Wildnis (1983)

Gunter Schickert's Kinder in der Wildnis was itself an archival release compiled between 1981 and 1983 and released on the obscure York House Tapes due to a recommendation from the Freeman Brothers (Ultima Thule / Audion). As such, the music has a variety of styles, but all based on the patented cosmic sound-on-sound guitar style that Schickert had been performing since his Samtvogel album. There's a bit more of a rock element here, with nods to the NDW sound that was dominating the German underground at the time. The rockier sound also points to his days with the GAM ensemble he had formed in the mid 70s. As usual, there are all kinds of echoed vocals, from various sources. These augment the non-stop psychedelic guitar patterns, for a truly hypnotic experience. One of Germany's most innovative artists - quite a compliment considering the fertile scene from which he came from. The CD offers two very good and relevant bonus tracks.

Ownership: 2013 Bureau B (CD). Liner notes and bonus tracks.Acquired in 2013.

12/19/13 (review)

The Schulze-Schickert Session (1975)

Two legends of 1970s electronic music came together for one "living room" session, and produced the 45 minute+ piece presented here - an album that was oft-bootlegged until the Mirumir label of Russia finally settled the score in a legal manner. For those doubters that remain, the reissue received the blessing of Klaus Schulze on his own website. And the CD features unique liners from long time biographer Klaus Muller. And while the music is not exactly Timewind meets Samtvogel, the characteristics of their individual styles remain intact. Schickert is primarily on acoustic guitar, with nylon strings it appears - played in his trademark sound-on-sound style. Klaus has his usual field day with his sequencers and synthesizer solos. And so it goes for 45 minutes, a pleasant excursion into the minds of two of Berlin's finest e-musik pioneers.

While I'm not 100% certain of this (the liners do not clarify), but it seems to me the final two pieces are Schulze solo works tacked onto the end to fill the CD - perhaps from the same time frame, sans Schickert.

Ownership: 2013 Mirumir (CD). Acquired in 2013.

6/22/13 (review)

 

Samtvogel (1974)

Gunter Schickert was one of the pioneers of the sound-on-sound guitar based electronik musik movement along with Achim Reichel (AR & Machines) and Manuel Gottsching (Ash Ra Tempel). An intense, burning, cyclical pounding of the senses, as Schickert tries to resolve the angst of the Cold War Berlin world he lives and breathes. A psychotic aural vision that is so perfectly realized.

Ownership: 

1976 Brain (LP). Acquired in 1989.

2013 Important (CD) Digipak. Acquired in 2013.

1989; 8/07/09 (review); 5/17/13 (update)

5/17/13 (new entry)

Dawn ~ Switzerland

Darker (2014)

Dawn are a band from Switzerland who have two albums and an EP to their credit. Darker is their last full length released well over nine years ago. On Darker their music intersects retro, neo, and modern styles of prog rock. The good news - for me at least - is those designations are on a sliding scale with retro being by far the largest representative. Neo is also welcome here and they do add some of that punchiness that I enjoy from the genre. I'm not so keen on the modern branch of progressive rock, which to me sounds more like Pink Floyd styled Art Rock and misses the dynamism and edginess the classics brought forth. Elements of Genesis, Yes, late era Porcupine Tree, and Pendragon are on display here. One reviewer said it reminded them of The Flower Kings. I think it's much more vintage than that, but I can understand why someone would make the comparison. There's a lot of music to absorb on Darker and this revisit resulted in a +1. Earned its shelf space.

I recently learned the band is still active and plan on recording a new album soon. I have more data about that on Under the Radar.

Ownership: 2014 The Laser's Edge (CD). Lyric booklet. Acquired in 2014.

10/4/14; 10/31/23 (review)

Also own Loneliness.

10/31/23 (new entry)

Jean Michel Jarre ~ France

Zoolook (1984)

The elusive Jarre for my collection has finally arrived. While I continue to find multiple copies of everything around it, Zoolook was nowhere to be had. A highly experimental work from Jarre, here taking a decidedly non-commercial approach when he was at the height of his popularity. Heavy use of voice synthesizers that elevates Tangerine Dream's 'Kiew Mission' to its logical extreme. This is the type of album that one must immerse themselves in rather than sit back and let it impress you. Despite what it may read like, Zoolook was a big seller in its day and didn't derail his popularity one bit. Proving once again that if artists just follow their muse, the audience will go on the ride with them. But once you try to impress your audience, it is at that point you are lost. Good for Jarre that he stuck to his guns.

Ownership: 1984 Dreyfus (LP)

10/28/23 (LP acquired / review) 

Rendez-vous (1986)

Last year, I went through a retrospective of Jarre's first four "classic" albums, and was pleasantly surprised that I enjoyed them all. I wrote previously: "I should mention that five years ago I picked up Rendez-vous on CD from a garage sale. It didn't leave much of a mark, and I sold it a couple of years later. I figure some time between Equinoxe and that album is where I will lose interest. But that didn't happen here with Les Chants Magnetique." So this week I found a nice minty copy of Rendez-vous on LP at a thrift shop. Has my opinion changed? A little bit, only in that I'm more favorable to Jarre to begin with (+1). By this point, he's too deep in the 80s and lacks some of the warmth and dynamism of his earlier work. I don't want to say he's going through the motions here, but ya know he could be going through the motions here. It's a nice record, but that's not going to cut it. 

Source: 1986 Polydor / Dreyfus (LP)

8/5/21 (review)

Les Concerts en Chine (1982)

I'm not always in the mood to listen to electronic music, but especially double LPs can be daunting. Really depends on my energy level. If I'm too tired, I'll fall asleep. If I'm more energetic, then I want something more dynamic. But last night I was in that rare calm-but-lucid state. Almost six months after picking up the LP at a thrift shop, I'm ready to devour. For context, if you go back and read my thoughts on Jarre, it was this album that I first heard all the way back in 1983. And, as noted there, we were all getting into a dispute about who was better - Jarre or Tangerine Dream. As if there had to be a winner. Since I was a die-hard TD guy by then, Jarre had no chance. No way would have I understood the historical importance of this album - which is immense really. It wasn't long before these recordings (in 1981) that China was still a closed country. Even more so than the Soviet Union. This was all part of the exciting geopolitical backdrop of the 1980s. For the music, Jarre brings along some of his classic material, but also newer compositions geared towards the setting. The sound quality is awesome really, considering the challenges they faced. I've read some funny anecdotes about these concerts. In one case, everyone abruptly left while they (Jarre had a four piece group) were still playing. Why? They had to catch the busses and trains home, or they would be stranded. The things you don't think about. Anyway, this is for certain a must for Jarre fans. Otherwise, it's not going to sway one's opinion. Solid progressive electronic music.

Ownership: 1982 Dreyfus (2xLP). Gatefold

4/30/21 (LP acquired / review)

Magnetic Fields (1981)

To my surprise, I found Magnetic Fields much more innovative than his first two recognized works. In reviewing other's observations and ratings, it would appear I'm very much in the minority with that sentiment. But I really don't know why. One hypothesis that I can think of is that Jarre, on his first two albums, doesn't really remind me of any particular artist, though his sound is very much part of the French school - and there were many in existence when he showed up on the scene. I think with Magnetic Fields there really is a clear Tangerine Dream influence, in particular the recent arrival of Johann Schmoelling to that band. The sequencing here is innovative in the same way that Tangram is. Of course the last track is purposely ridiculous, and perhaps not the best way to end an album, which I think may have impacted more negative ratings than anything else. 

Ownership: 1981 Polydor (LP)

12/27/20 (LP acquired / review) 

Oxygene (1976) 

This is Jean Michel Jarre's first album and apparently Part 4 was a big hit. I have no idea why, but it's a fine upbeat electronic track. I've told my story about Jarre on the Equinoxe post, so not much else to add. I have to be pretty objective with these albums, as they are definitely nothing new to my ears (but still very good). But that's just my personal experience and chronology. Had I never heard any analog electronic music prior to this, I'm sure to have been impressed. I've read this is the single biggest seller in the history of French music. Not sure if that's true, but if it is, then it's amazing it would be an album such as this! 

Ownership: Dreyfus (CD). Acquired after the above review.

12/23/20 (LP acquired / review)

Equinoxe (1978)

Some of you may recall my discussion about "fastest" guitarist when I wrote about Al Di Meola's Elegant Gypsy two plus years ago (well I'm sure you don't, but you can look it up on this blog...). In effect, it was about those tiresome music conversations we seemed compelled to do in college during the 80s. Well....same thing here with Jarre verse Tangerine Dream or Klaus Schulze (more the former as Schulze was still pretty obscure, at least where I went to school). And since I was a huge T. Dream and Schulze nut, I wasn't having any of this Jarre nonsense! Silly me. So, believe it or not, I haven't heard this album (intently)... until last night. The problem with hearing Equinoxe in 2020 versus 1983 is that I've already absorbed hundreds of analog synthesizer albums. So it's a bit old hat at this point. But is that a fair evaluation? Not at all. I can see why I scoffed at Jarre being the superior artist 35 years ago, given the music here doesn't have the depth that you'd hear on Rubycon or Timewind - or even Tangram. But in his day, Jarre apparently ruled the stage and drew massive crowds. Equinoxe is not vapid crowd pleasing music, and is a strong electronic work, all things considered. So yes, definitely a keeper here.

Ownership: 1979 Dreyfus (LP)

12/3/20 (LP acquired / review)

Also own and need to review En Concert Houston.

12/22/21 (new entry)

2023 Classic Rock / AOR Journal Vol. 1 - Complete

ZZ Top - Deguello. 1979 Warner Bros. This album contains a good number of their familiar radio hits. It came after a three year hiatus, and the group were energized. They changed their sound a bit to go with the times, something they truly mastered on Eliminator. I think this is a very good album, but I don't need to own it. Got this far in life without it, and it's not something I'm going to clamor to hear. Most of the tracks are played at the grocery store anyway lol. (Oct)

Sugarcane Harris - Sugarcane. 1970 Epic. Denver show find for cheap (Oct). Well regarded blues rock album, but I didn't derive much out of it. More blues than rock. I liked the opener though. This is the second album for me to try from Harris, but it's not looking like his albums are going to be my thing. (Oct)

*Malo - Evolution. 1973 Warner Bros. Finally the all elusive 3rd Malo album! At least in the wilds, this is by far the hardest title to track down. Not only that, but this is the first time for me to hear the album. And it lived up to expectation, including the cover. Just as great as the others from the original quartet of albums. For Latin rock fans, Malo are ground zero (along with brother Carlos of course). Found at a local store, and I paid close to retail for it (they usually charge less, but I had to have it). (Jul)

Billy Thorpe - Children of the Sun. 1979 Polydor. My memory stated that while the title track is awesome the remainder of the album is nothing of the sort. This copy fell to the buck bin at a local store, so I decided to hear it again after some 40+ years. That memory proved to be correct. This is 1979 pop rock with one very strange anomaly with the song 'Children of the Sun'. You'd think if an artist actually gets rewarded for being creative, he might stick with that formula. No way. Off it goes... As an aside the best use of this track IMO was used at the beginning of a season of Fargo several years ago. (May)

Kevin Ayers - Yes We Have No Mananas. 1977 ABC. Free from a local store (Apr). Ayers is considered prog royalty given his participation on the first Soft Machine album. So anytime an artist like Ayers releases a garden variety pop rock record, it has to be appended with a much more regal genre tag. "Intelligent Pop" states the radio station notes on my copy. Art rock, art pop, progressive pop. All fancy terms to obfuscate what the album really contains: Corporate approved radio friendly fare. This album is mostly worthless until the last two tracks, especially the finale, that shows Ayers still had a couple of good ideas left in the tank. Overall it rates out to about average. ABC also had Steely Dan in their ranks and they were much better at this sort of thing.

Supertramp - Crime of the Century. 1974 A&M. Estate sale find (Apr). I thought I'd heard this one recently, but it was Even in the Quietest Moments. I've reluctantly accepted Breakfast in America in recent times, but what of Crime of the Century from five years earlier? There are three major hits here including 'School', 'Bloody Well Right', and 'Dreamer'. None of which excite me too much. Supposedly the rest is labeled prog rock, but I really don't hear it. More of the same. The major exception to this is 'Rudy' by far and away my favorite track here and the only one I'd personally label as progressive. Overall a good and inoffensive record.

Steely Dan - Gaucho. 2003 MCA (SACD) (1980). I found a pile of SACD's from an estate sale recently, mostly classical, but this one and a Billy Joel release were the outliers. I can't sit still for Joel, and that CD is already sold and gone. But I held this one back (and some of the classical which my wife and I enjoy while having a late afternoon glass of wine). I've never actually heard this album, and I do like Aja. Gaucho comes across to me like a caricature of their sound. It's just way too slick. I'm amazed the original album didn't come with a tube of polish. It's not bad of course, but what pleasure can I possibly derive from it? For middle aged moms. (Apr)

Prism - Armageddon. 1979 Ariola. In my story about how I discovered Def Leppard, I mentioned a radio station down in San Antonio that was responsible for that. They also played a lot of cool AOR type music, and always the best tracks such as 'Last Chance' by Shooting Star. I could have sworn they also played a great song from Prism, and given that this was from 1979 and had a near 8 minute track called 'Armageddon' that this must have been it. Nada. What a pile of pop slop this album is. Almost no redeeming qualities whatsoever. This Canadian band is willing to slurp it up to get on the radio. I like me some good AOR. This is bad AOR. Probably the worst album I've endured in a year. Found this at a Denver area store and paid $5. I overpaid by $4.99. (Jan)

* - Keeping for the collection

2023 X-Wave Journal Vol. 1

Neil Young - Trans. 1982 Geffen. Cheapie found at the Denver Record Show (Oct). As I mentioned on the Harvest blurb, I really don't know Neil Young all that well. On Trans it appears Neil Young doesn't know himself very well. This was an ill advised move in an attempt to be current and relevant. Neil Young and new wave don't go together. Generally rated as one of his worst albums. I don't think it's bad, but it's not a very good example of the genre. 

*Swing Out Sister - It's Better to Travel. 1987 Mercury. One of those odd albums I picked up real time in my earliest exploration of "other styles". I really liked 'Twilight World' when I first heard it, a contemporary take on the late 60s and early 70s insouciant jazz pop motif. Something Burt Bacharach might have penned had he taken a shine to modern rock music. The rest of the album didn't follow that pattern, and as I deep dived further into prog in the middle 90s, albums like It's Better to Travel had no further purpose, so I let it go. I recently rescued a perfect mint copy out of a local brick and mortar for a buck, so let's hear it again - as the last four years have mimicked where my headspace was in the late 80s. OK - yes, this is really great throughout, with 'Twilight Zone' sounding even better than I remembered. Today they call this style Sophisti-Pop, a cousin to the Japanese Shibuya-kei. I need more of this honestly. Keeper and a half. (Oct)

*Prismatic Shapes - Through the Prism (EP). 2021 Static Blooms. Fun one here. Mrs. UMR and I were traveling in the Kansas City area a couple of weeks ago and I found brand new stock of this 4 track EP for dirt cheap. So I decided to play one of the copies. Not bad at all. The group moniker, title, and cover do not indicate that this is pure retro early 80s danceable new wave music. It's more Flock of Seagulls than The Cure that's for sure. And they're from Mexico, who I don't believe had much of a synth pop tradition 40 years ago. All good fun. Vinyl is pressed as "blood red splatter on bone". OK, sounds good to me. I'm keeping one for the memories. (Oct)

Kajagoogoo - White Feathers. 1983 EMI. This was one of those "why not?" pickups. I remember enjoying 'Too Shy' in the past, something that was generally far from my normal listening fare while in college. Overall I found this one a fun listen, but not a lot of depth for repeated listening. That wasn't its intent - more to get people on the dancefloor. Borderline novelty act here. (Jul)

Crowded House. 1986 Capitol. Also with the R.E.M. (Mar). Australian group who had a big hit with 'Don't Dream It's Over' something I even recognized from back in the day. It's a good song, and happens to be the only thing decent on Side 1. I also like B2 and B5 and that's about it. Straddles the line between the kind of early 80s new wave I enjoy and the rather bland and straightforward late 80s alt rock that I don't care for. More of the latter too. Average rating from me. 

Peter Gabriel - So. 1986 Geffen. With the R.E.M. (Mar). In recent times I've shared my thoughts about Peter Gabriel's solo albums. The first three ended up being a disappointment, in some cases being worse than I remember. Then the 4th (aka Security) resulted in a +2 listen, some of that no doubt attributed to the nostalgic factor. And now we get to the successor So. And I fear to say that my original grade of "good" remains. It's very well executed and polished. Gabriel's ability to tap into the mid 80s mindset is brilliant, and the music defines the 1986 era. As noted many times before, I was detached from my peer group by then, and the nostalgia for this time and place is not very strong, like it would have been for 1983. This wasn't an album I heard in full until 2015, so all my views on it are purely retrospective.

R.E.M. - Document. 1987 I.R.S. Estate sale find (Mar). I'm trying to force myself to listen to these 80s albums through and through. Honestly I don't like R.E.M. Never heard much from them that I even recognize much less care about. There is some synchronicity happening in that this is the first LP I've found from them in the wilds and I was in Athens, Georgia a little over two weeks ago. And would you believe I saw them live once, with Sonic Youth opening? I preferred the opening band naturally, but R.E.M. weren't bad. That was back in May of 1995 and I had not long before started a new job in Denver. This was the start of many company/partner-driven events I would be fortunate enough to go to over the years. As for this LP, yea I don't really care for it much at all. OK, I recognize two songs 'The One I Love' (just looked at the set list and they didn't even play it!) and 'It's the End of the World as We Know It' which they completed their encore with. If you hang in there with Document the last track 'Oddfellows Local 151' is quite good. But mostly this is average at best. 

* - Keeping for the collection

Window ~ USA ~ San Francisco, California

The Empyreal Ballet (1978)

---9/10/11

Window were a San Francisco / Bay Area based group, and they released this one very good progressive rock album. Honestly, I was certain I was going to find out the band were from Illinois or Missouri, because it does have that Midwest progressive rock sound, especially apparent in the vocal sections. The mix of complex progressive rock, piano jazz-rock, and AOR FM radio ambition only cements the comparison. Excellent electric / acoustic guitar work, flute, tuned percussion, with a horn section and complex rhythms is what you'll find on Empyreal Ballet.

---10/20/23

Last night's listen almost resulted in a +1 as it's really an exceptionally great album. Side 1 in particular is strong. I'm not sure how I managed to get through that first review without mentioning Gentle Giant as that's the most obvious influence here. Fireballet also comes to mind, in both sound and overall aesthetic. I've seen some folks go out of their way to poo-poo this release, but don't pay attention to them. For whatever reason the mere mention of horns along with melodic songwriting sends them into a rage they cannot seem to control. This is an album for hardcore prog fans. For us alone.

Ownership: 1978 Cottage (LP)

No reissues exist as of 3/31/25.

9/10/11 (review); 10/20/23 (update / new entry)

Bob Seger System - Ramblin' Gamblin' Man. 1969 USA-Michigan

Almost precisely two years ago I wrote the following after finding the CD in a thrift shop: "I know pretty much zilch about early Bob Seger. His later Silver Bullet albums were (and are) ubiquitous in America's radio and music culture. They now call it "Heartland" music, which is a cousin of my own Midwest reference when talking about hard rock, AOR, and prog acts from the region. Except Seger's music is based in country and blues. But this album is definitely different, as any review will indicate. Actually the title track does foreshadow his later work, as does a couple of other songs on Side 1. It's Side 2 that is fascinating starting with 'White Wall' and ending with 'Doctor Fine'. A mix of trippy and hard psychedelia, which matches the cover (an awesome one at that). Not going to hold onto this (surprisingly scarce on CD), but probably would keep the LP if I ever see it."

---

So that premise was put to the test last night. As you can probably tell since I'm featuring it, the LP did take it to another level. A second listen helped as well and resulted in a +1. With a title like Ramblin' Gamblin' Man and a cover of a holy pretty blonde pledging allegiance, one could be forgiven thinking this might be a country album (though the day-glo blue on a glacier plate would be unique in that space). One look at the back cover will dispel that notion however. If it were all like the first side, the album wouldn't make the cut. The title track is OK and A3 is annoying. A2 and A4 are the highlights. Side 2 is where the money tracks are. In fact, other than the closer, this side could be considered a 60s psychedelic classic. '2+2 = ?' is exactly what collectors around the world are paying top dollar for in the 45 market. This is not the Bob Seger you know. As one RYM reviewer hilariously notes: "The psychedelic skeleton in Bob Seger's closet."

Ownership: LP: 1980 Capitol. Single sleeve. Love both sides of the cover. Finding this in the wilds has proven to be tough but I scored this one dirt cheap (minty too) at the Denver Record show last week (2023). This would be the last vinyl pressing before the modern era.

10/22/21 (CD 2.11); 10/20/23 (new entry)

Edgar Froese - Stuntman. 1979 Germany

Stuntman is a relatively conservative effort from Froese at a time when he was at the peak of his creativity. Mostly a synthesizer-only based work with some guitar solos to spruce it up. Gone is drummer Klaus Kruger, so the sound is sparse compared to the albums that surround it. From a melody perspective one can hear his style at the time, and elements of Force Majeure and Tangram are apparent. Overall it remains an excellent work, though it could be considered his weakest release (including Tangerine Dream) since Atem (1973) all the way to White Eagle (1982). That's a powerful statement demonstrating just how great Edgar Froese was during this ten year period.

Ownership: LP: 1984 Virgin (UK). Single sleeve with a cool cover that makes a great counterpart to Heldon's Interface. Purchased new at Metamorphosis Records in Dallas upon release.

1984; 4/6/16; 10/19/23 (new entry)

Grobschnitt ~ Germany

Solar Music Live (1978)

---1/17/01

Solar Music Live is the follow-up album to Rockpommel's Land which gives the listener a glimpse into their ever-evolving and creative live show. This is about Grobschnitt living up to its potential and doing what they do best. Taking album #2 of Ballermann as its base, this live effort adds a whole new energy to the original recording. One of the strongest recordings of its kind - the listener will be hard pressed not to be entranced by its power. Lupo's guitar here is particularly engaging and Eroc's drumming is quite powerful.

---10/18/23

That may very well be the last time I'd heard this album in full, which is why the record is now making its debut into the UMR. I'll also note that the track isn't just a long jam, but does feature many changes in the progressive rock tradition. Ultimately 'Solar Music' is Grobschnitt's signature composition.

Ownership: 1978 Brain (LP). Gatefold. Acquired in 1989.

10/7/89; 1/17/01 (review); 10/18/23 (update)

Rockpommel's Land (1977)

---1/17/01

Rockpommel's Land represents another major shift for Grobschnitt. Here they play a symphonic music in the Yes / Genesis tradition. Considered their masterpiece by many fans, I didn't find the album near as compelling as their earlier psychedelic Krautrock works. And while it's better than the predecessor Jumbo, it's still a bit of a disappointment compared to what it could have been. The problem is this kind of symphonic rock style is not Grobschnitt's forte I'm afraid. I also feel Wildschwein's heavily accented English vocals are not well suited for what the genre calls for. However, I still enjoy the complex instrumental breaks, so overall I can still recommend. But start with the first album or anything that has 'Solar Music' on it.

---8/3/23

After all these years, Rockpommel's Land is beginning to resonate with me. The review above was altered slightly from the original after a +1 sitting. Last night's listen elevated it one more point. The problem for me had been expectation setting. I loved their debut and the Solar Music suite, not so much their vocal led songs, especially their goofier material. Rockpommel's Land is a serious symphonic work, with admittedly a silly story behind it. And it's really the only album like it in Grobschnitt's canon. I'm at a point now where this album is likely to have a spot in the collection for a long time.

Ownership: 1977 Brain (LP). Gatefold with insert. Original orange label. Acquired in 1989.

Previously owned: Repertoire (CD) Booklet with history. Includes one live 16 minute summary track of the album. 

1989; 1/17/01 (review); 2008; 10/10/13; 8/3/23 (update)

Ballermann (1974)

Grobschnitt were a zany theatrical bunch almost to the point of being a comedy troupe using the German language. They showed elements of this kind of drama on the debut - as in the opening sequence which features a mock choir. But, for the most part, the humor was subdued and not a large part of their repertoire. But by the second album, they began to incorporate more humor and zaniness into their compositions. Ballermann is the result of these conscious efforts. Personally, I feel the music can sometimes play second banana to their almost goofy approach and they begin to lose focus on the things that made the first album so great. As well vocalist Wildschwein starts to affect his voice in an annoying, silly way. However, Ballermann is a double album and each disc represents a new style for the group. The second LP shows another, yet unrevealed, side of the band. Grobschnitt introduces their space rock sound which they tag as 'Solar Music'. As a pure play space rock band, Grobschnitt is almost unmatched. Much different from the more atmospheric German acts like Ash Ra Tempel or Gila, Grobschnitt take on a more direct approach to jamming space music. The guitar roars, the keyboards soar and, as a bonus, it's almost entirely instrumental. Eroc's drumming propels the band to great heights. A classic of it's kind. As a whole Ballermann is a very good album though somewhat marred by their craziness. I should add that many listeners consider their humor a plus.

Ownership: 1975 Brain (2xLP). Gatefold. Second press with green label but no Metronome. Acquired in 2022.

First copy: 198? Brain (2xLP). Gatefold. Acquired in 1987.

5/29/87; 1/17/01; 4/25/22 (review); 1/20/23

Grobschnitt (1972)

The German group Grobschnitt were one of the more famous bands from the classic 70's Krautrock era. They had a long and varied history that spanned over 20 years and were quite popular in their native Germany. Their music was characterized by theatrical sequences, space rock jamming, a large dose of humor, along with creative songwriting.

Grobschnitt's self-titled debut was a dynamic opening for the band, and is simply a superb slab of heavy prog rock. Hard psychedelic driven guitar and Hammond organ lead the instrumental parade, whereas the crack rhythm section push the proceedings along with constantly changing and complex rhythms. Guitarist "Lupo" has a very sharp edged sound and plays in a constant fiery/heavy blues mode, while drummer "Eroc" is a master of creating and maintaining the tempo for the complex yet energetic compositions. The four tracks contained within recall other heavy German bands of the day like Orange Peel, Prof. Wolfff, 2066 and Then, and even Inside era Eloy. Had this been Grobschnitt's only album it surely would've gone down as one of the great one-off Krautrock classics. As it turns out, it may very well have been their shining moment, though no doubt much great music was to appear in their future, including the can't miss space rock suite 'Solar Music'.

Ownership: 

1972 Brain (LP). Gatefold. Green label with Metronome. Acquired in 2000.

1998 Repertoire (CD). Booklet with liner notes and a 29 minute bonus track. Acquired in 1998.

First copy: 198? Brain (LP). Black label. Acquired in 1987.

5/27/87; 1998; 1/17/01; 4/15/18 (review)

Jumbo (1975)

Grobschnitt's third, Jumbo, can be considered a natural progression from Ballermann. No doubt attaining a modicum of success on the previous album, Grobschnitt decided to continue along the path of the song-based portion of their predecessor. In some ways they've actually surpassed Ballermann as the songs are more clever and the music somewhat more interesting. There's a strong Genesis element here, with a bit of their goofball interjections to annoy. Unlike Ballermann, there are no space rock opuses to offset the shorter songs. Still, I find this album more enjoyable as I get older. The German version (aka Mit Deutschen Texten) is exactly the same music - but with German lyrics sung on top. So there's really no point in obtaining both separately. Unless you're a linguist of course.

Ownership: 1975 Brain (LP). Green label no Metronome. Acquired in 2014.

Previously owned: 1998 Repertoire (CD). Booklet with full liner notes. This release has both the English and German lyric versions. Acquired in 2014.

5/27/14; 12/31/16 (review)

Die Grobschnitt Story 0 (1971)

Die Grobschnitt Story 0 is all about the earliest incarnation of Kapelle Elias Grobschnitt (1971), and as such, much of the material will also be found on the self-titled Grobschnitt album. In fact, the entire first album is presented here, but in slightly different form (no string quartet for example) - though there are not enough differences to make this an essential purchase - on its own that is.

However there is close to 30 minutes of unique material here, starting with track 6) 'About My Town' (8:56), a very fine jazz inflicted progressive rock number with plenty of those great Lupo guitar solos. 'Fallstone' (5:25) follows with Eroc's martial drumming leading the way while Wildschwein shreds away on rhythm guitar and Lupo once again comes in with some fine solos. Disc 2 opens with 'Das D-Lied' (4:03) and 'Das Teelied' (3:15) both splendid little psychedelic blues rock numbers in the Krautrock tradition. 'Die Maschine' (7:49) is perhaps the best of them all, starting out with power chords like early Black Sabbath. But at the point where you would expect Iommi to start riffing, the band goes into jazzy jamming mode and Lupo unleashes some great wah-wah solos. These five tracks alone would have made for a great archival album, so having the bonus of the entire first album in raw form is just icing on the cake. The album closes with a live version of 'Das D-Lied' (4:33) and the final track, on the surface at least, looks like a real boon for collectors: A 31 minute live version of 'Die Sinfonie'. However this is the same bonus track as found on the 1998 Repertoire CD, so if you have that already, then nothing new here. All in all, a fantastic historical document from one of Germany's finest progressive rock bands of the 70s.

Ownership: 2010 Made in Germany (2xCD). Tri-fold digipak. Booklet with extensive liner notes from Eroc. Acquired in 2012

9/4/12 (review)

Previously owned: Merry-Go-Round; Volle Molle; Sonnentanz; Die Grobschnitt Story 1

9/4/12 (new entry)

2023 Prog Journal Vol. 1 - Complete

Trace - Birds. 1996 Musea (CD) (1975). Collection revisit (Sep). This is just the kind of album that isn't making the cut for the collection. It's perfectly fine and fits the progressive rock idiom to a tee. Very much influenced by ELP's prime works, you get a pitch perfect classically influenced keyboard prog trio. I have plenty of that already and with no real nostalgia regarding this band (in fact, I avoided them in my initial foray during the middle 80s and early 90s, not sure why though) - this one can go. 

Opus Avantra - Lord Cromwell Plays Suite for Seven Vices. 1988 Suono (Japan) (1975). Collection revisit (Aug). A hodge podge of classical, experimental, and rock. Generally that's a winning combination with Italian groups, but this album seems aimless. It's not a bad listen, far from it, but nothing really sticks out. I've owned this album in one form or fashion for over 30 years, and it's not something I ever remember or can't wait to hear. 

Panzerpappa - Astromalist. 2012 Rune Grammofon (CD). Collection revisit (Aug). Over four months ago I wrote about the demise of Koralrevens Klagesang in my collection and further stated: "I sold Farlig Vandring a few years ago. That leaves Astromalist whose judgement day awaits." And here we are on said judgement day. Track 1) demonstrates more of a Canterbury element than prior (or at least as I recall, despite Richard Sinclair being on its predecessor). 2) is on more familiar terrain. Ticks a lot of the avant prog boxes with diverse chamber music instrumentation, tightly composed charts, quirky melodies. Like Miriodor or Samla Mammas Manna. 3) rocks out, but in a sophisticated manner, recalling French TV when in that mode. Mellotron sounds are apparent in various places, though probably sampled. And so it goes, mostly similar to track 2. It's hard to root against Panzerpappa. They know their audience and they're playing directly at them. In the same way a retro prog band would target me, Panzerpappa does similar for the avant prog world. The issue I have with this album is the same I have with many of its ilk: My mind enjoys it, but I don't feel it. You kind of wish a funk band like Faze-O would have walked in for a couple of jams. My other standby rationalization is that I have enough music like this, so I don't need more. Though if I say it too much, I'll run out altogether. lol. I think Astromalist is a very good album, but yea, I don't need to keep it. It doesn't excite me. This closes out Panzerpappa for my collection. They continued on for another two albums, which I'd certainly be willing to hear if given the opportunity. 

Yochk'o Seffer - Delire. 1978 Mosha-Naim (1976). A very good rendition of avant prog / Zeuhl styled music. Similar to Zao, though a bit more unhinged in the jazz style, which I can appreciate more now than ever. I would have kept this even a year ago but I'll let someone else own it. (Jun)

Machiavel. 1994 Spalax (CD) (1976). Most of these weed out revisits are "fence items" that require a tough decision on whether to keep or not, but in the case of Machiavel, the latest listen resulted in a -1. It's for certain gone now. But what happened? Primarily it's the vocals. As you can probably tell by reading this blog, I'm very tolerant of vocals (outside of death metal grunting and growling). I don't mind crazy affectations, screaming, bizarre foreign adaptations, etc... But if you sing out of tune, monotone, and flat - and the music relies on you to propel it further, yea that's going to be a problem. Some bands have similar bad vocals, but when the music is 80% or more of the overall product, I can look the other way. I just talked about that on the first two Alquin albums for example. On the other hand, Machiavel's music is very good, though nothing exhilarating or head turning. Kind of a standard issue European mid 70s prog sound. Which in my book is A-OK, but not enough to save it. I have their second Jester on LP, so we'll see how that fares whenever I get to it. (May)

Tempus Fugit - Tales From a Forgotten World. 1997 PC Melody (CD). Collection revisit (Apr). Bought this when it was released and it represents the kind of international progressive rock being released during the era. Though coming from Brazil, Tempus Fugit could have been from anywhere, though they sound more French or German in approach. Their use of English is passable but not stellar, and there's a lot of music to digest. It's a very well done album, better than average for certain. It's a mix of classic big-name 70s UK prog mixed with neo tendencies, especially noted in the synth and guitar work. 

London Underground. 2000 Record Heaven (CD). Collection revisit (Jan). Italian group who goes hard for the 1970 UK psych-into-prog sound. Which on paper sounds fantastic. And this isn't a poor facsimile at all, but lacks any highs. Love the cover, really encapsulates the era perfectly.

*Stencil Forest - The Abyss. 2005 private (CD). Collection revisit (Jun 2022). Second album from Stencil Forest, some 23 years later. Though relocating from Ft. Wayne, Indiana to nearby Denver, the band hasn't changed their sound much. If you miss the proggy AOR days of 1978 to 1980, then Stencil Forest is here to remedy that. The album features eight short radio friendly songs sandwiched between two lengthy prog suites, including the 24 minute closer. As noted on the Opening Act review, I have a very good friend who is related to the band, and that group member sent me the CD back when it was released. No chance for objective analysis from me. I do really enjoy the music here, though I prefer the debut by some measure.

The return of Under the Radar Music!

Just a reminder that Under the Radar music is in full swing. I've updated and/or added 81 different band entries so far this year. I'm sitting on a list of ~336 groups that I need to check out (for real), but that will be slow going given all the other music projects I have going on at the moment. I also have stacks of CDs here that have yet to be heard. 

---

It's back. I've got a renewed enthusiasm for all things new. But this time, it won't be limited by physical media. That's what this site is for! :-) If I own the LP or CD, the review will still go here and cross-posted there.

It's been 3 full years since I last updated the site. But I have added some new bands and updated a few others with a new format. More details can be found on Under the Radar Music

Mar de Robles - MdR. 2003 Chile

In the early 2000s there were a number of exciting bands coming from the southern cone of South America. One of the best of those groups was Chile's Mar de Robles. Their debut is an amalgamation of various complex progressive rock forms to make for a fascinating listen. Right from the get go, after the theme setting sound collage, Mar De Robles introduces us to a half a dozen different types of prog within the opening seconds. Imagine a cross between Bubu and a Spanish singing Deus Ex Machina. This is dense, busy, but ultimately warm music. The woodwinds of flute and sax make the difference here. The guitar is a mix of heavy psychedelic, melodic progressive, and occasional metal. Other guideposts include the indigenous sounds of Los Jaivas, the next generation of that sound as represented by Flor de Loto, and even the obscure American group Atavism of Twilight, considering the flute lead. An excellent album throughout that landed a +1 listen for me last night.

Ownership: CD: 2003 Mylodon. Jewel case release with fold out booklet. Purchased in 2005. This remains the only pressing of the album.

7//05; 10/9/23 (new entry)

Anti-Depressive Delivery - Feel. Melt. Release. Escape. 2004 Norway

On my first listen nine years ago I wrote: "To my ears, most of Anti-Depressive Delivery's debut sounds like progressive metal. I hear it more in the way the tracks are composed, with that clear post 90s vocal harmony sound, and we're never too far away from some heavy riffage. The differentiators here are the sole use of 70s analog keyboards, especially Hammond organ, but also Mini Moog and Mellotron. That's not a common recipe, and the overall mix works well. The one track that breaks from the metal standard is the 15 minute plus closer 'Bones & Money', which is a spot on classic Kansas styled number. As good as anything Livgren and the boys ever came up with. Solid album from Norway, with enough distinction to warrant investigation."

---

Last night's +1 listen confirms the above. The album takes a bit to get its sea legs, but about halfway through the 70s progressive quotient begins to outshine the 90s tendencies.

Ownership: CD: 2004 The Laser's Edge. Jewel case release with lyrics and top obi/ad strip.

7/9/14 (RYM); 10/7/23 (new entry)

Flash. 1972 England

Well known band formed by Peter Banks after leaving Yes. While there are many similarities, I find the music here to be more rocking, primarily because it is indeed guitar based. I've always enjoyed Peter Banks output, and Flash's debut is no exception. I also like Colin Carter's voice which is certainly a departure from the ethereal Jon Anderson. I prefer Flash's debut to The Yes Album as I think it features stronger material. A3 and B1 are fantastic and I like the mood of the closer too. I would even argue that Flash gives Fragile a run for its money. Few will agree with me on these points, but I call 'em as I hear 'em. But of course Flash didn't have the ingredients to pop out a Close to the Edge either.

Ownership: LP: 1972 Sovereign (UK). Gatefold with the famous panties cover, which hasn't aged well with public opinion. Got this original dirt cheap online a few years ago (2017). 

CD: 2009 Esoteric. Jewel case with extensive history and one bonus track from a single. 

SP: 1972 Capitol. Small Beginnings / Mourning Haze. From a store in Denver for 50 cents (2024).

My first copy was the US Capitol press that I found at Lipps Records in Lubbock while in college (1985). I talk about this record store in the Caravan For Girls review.

1//85 (first listen); 11//10; 9/27/23 (new entry)

Kaseke - Poletus + Sonum (EP). 1983; 1981 Estonia

Kaseke were a band that straddled the line between instrumental progressive rock and jazz fusion with sparse vocals. The CD combines all of their output, though in reverse order. Personally I think the stronger - or at least more consistent - material is on the EP, so I would have started chronologically. Mostly Kaseke will remind the listener of the lighter Scandinavian progressive rock acts like early Ragnarok, Dice, Atlas, and Finnforest. The production and some of the instrumentation is Soviet style so brace yourself for that. There's some really strong songwriting on these. I'm particularly fond of B3. And the EP features flute, which adds more spice to the stew.

Ownership: CD: 2000 Boheme (Russia). Jewel case release with a nice history in English. I originally started with the Melodiya LP (1996), but sold it off once the CD came out. To no regret.

1996; 2000; 9/25/23 (new entry)