The Plastic Cloud - s/t. 1968 Canada

Kingston's The Plastic Cloud - to my ears anyway - practically define what late 1960s underground psychedelic music sounds like. Look at the cover - fast forward 45+ years - and tell me they wouldn't fit perfectly into today's hipster culture. They have a strong sense of that era's light ethereal melodies coupled with credible vocal harmonies, and yet they also possess this subversive streak that shows up primarily in their heavy use of a biting "bumblebee" sounding fuzz guitar. Tracks like 'Shadows of Your Mind', 'You Don't Care', 'Face Behind The Sun', and 'Civilization Machine' are massive in their execution, and the jams can get super intense  - especially on the longer tracks (two of which go into the 9 to 10 minute mark). Imagine The Doors going "all in", as they would in their early days, but utilizing fuzz guitar instead of electric organ. And even the "straight" psychedelic tracks are memorable such as 'Art's a Happy Man' and 'Bridge Under the Sky'. If you're a fan of the underground 60s psych movement, it's pretty hard to imagine not freaking over this masterpiece. A genre defining album if there ever was one.

Personal collection
CD: 1990 Laser's Edge (USA)
LP: 1999 Void (USA)

The original is a single sleeve cover with insert. Original copies can get way up there, and frequently sell for well over $1K. My original discovery came via a new upstart label called The Laser's Edge way back in 1990. I'd never heard of the group, and I was myself only in about Year 3 of having disposable income for buying albums when I felt like it. So I took a chance, and was rewarded in a big way from a music perspective. The CD comes with a fold out insert and replicates the original liner notes. Many years later I picked up the Void LP reissue - and it's probably superfluous to own this version given it's a straight reissue with the same original insert. But since it's such a favorite album of mine, it's nice to have a vinyl copy - especially since originals are pretty much out of reach. The Lion reissues include - according to their website - "The accompanying twenty-page booklet has all the lyrics, thanks to Don Brewer, the man who wrote them, as well as rare photos and a replica of an original press release that must be seen to be believed". And their edition of the LP is a gatefold.

Proud Peasant - Flight. 2014 USA-Texas

Proud Peasant are a symphonic progressive band from Austin, Texas, an area more known for country blues or cutting edge indie rock (it's for certain the hipster capital of Texas) - and as such the band find themselves at complete odds with their hometown brethren.  There are 3 lengthy instrumental tracks (12:28, 19:34, 13:20) on Flight, and what sounds to be mostly charted music and well rehearsed. There's a large palette of instruments on display, beyond the usual rock quartet with 70s analog keyboards. Proud Peasant's trademark sound would have to be simply described as BIG. Not in the Godspeed You Black Emperor post rock manner, as this is music that is definitely rooted in the 70s. With that era's analog instrumentation though perhaps as played and produced in the 1990s. Comparisons do not come easily, but Rainbow Theatre at the time of Fantasy of Horses is one such album. Like that album, there is a classical bent to the compositions - but wholly their own and nowhere near a cheesy "rock the classics" kind of endeavor. Given that Proud Peasant are instrumental, you also won't have to battle the pseudo operatic vocals either (though there is some acapella actually (a bit like Pulsar's Halloween), which is mixed creatively with fuzz bass and Moog synthesizer). It's hard to imagine the band being influenced by such an obscure album from Australia, as I would suspect they would react with a collective "who?" - but it's always interesting to see how disparate bands from different eras can come up with similar music conclusions (though I should reiterate the obvious - they are still very different). Perhaps another comparison, though far more superficial, would be Camel's The Snow Goose, another classical styled work with beautiful flute. They saved the best track for last, 'The Precipice', which combines the sounds above with the Scandinavian School of retro prog, especially that of early Wobbler.

Ownership: CD: 2014 Basement Avatar. Purchased new upon release. Comes in a digipak with recording details.

7/23/14 (new entry)

Node - Node 2. 2014 England

The Node quartet are back after nearly 20 years (with a slight adjustment of personnel replacing Gary Stout with Hollywood composer Mel Wesson), easily at home on Ian Boddy's DiN label. The band's core premise is intact and they're still with all analog gear in tow, including a full array of fun toys like the ARP 2600, SynthiA, modified Mini-Moogs, PPG Modular, custom built synthesizers, along with well placed guitar (including some wonderful phased electric soaring over the full blast sequencers in the best Edgar Froese tradition) and other keyboards like Fender Rhodes, piano, organ, and Mellotron. The very detailed chronological Ultra-Technical Music Geek Notes (AC's trademark pending) gives us a glimpse into the world of Node. Each track has a melodic, tempo, and chord base from which to base their programming on. From there it's pure improvisation. If it works on try #1, it stays in. Otherwise they adjust a few things, and give it another whirl. It's 100% democratic and independent - 4 seasoned musicians each adding their own personality to the composition. When all is recorded, it's edited (filtered) down for the best possible listening experience.

For me, this is the most exciting Berlin School album since the heady late 90s days of Redshift. The sheer amount and variety of analog synthesizers, combined with a fully participating quartet, allows for unlimited possibilities in a genre that can easily grow stale (i.e . turn on the sequencers and beats, get a cup of coffee, then noodle for a bit). It's nigh impossible to even pick one track, as each one is brilliant, and yet very different. If you're a fan of the style, it's almost impossible to fathom not absolutely freaking over this album. It not only lives up to the promise of the debut, but exceeds it. Pure genius - a definitive statement. The bar has been reset.

Ownership: CD: 2014 DiN

7/23/14 (new entry)

Poliphony ~ England

Poliphony (1973)

Poliphony is a very nice instrumental jazz psych record. Not too far from some of the Italian film library bands like Fourth Sensation or Psycheground - or even the UK group Hungry Wolf. Some pointed fuzz guitar leads (such as the opener 'Underdog') and flute forays add gravitas. Elsewhere, there's some jazz-tone guitar and plenty of Rhodes, typical of the genre. From a psychedelic perspective, a little more fire in the belly would have lead to a better experience. On the other hand, though low-key in nature, the album progresses nicely, providing a nice soundtrack to a midday walk in the park. 

Former ownership: 2012 Audio Archives (CD). Historical liner notes. Likely a vinyl transcription, but it's well done. Audio Archives decided to change the color from the original beige to a pinkish hue - perhaps to its advantage. Acquired in 2014. Downsized in 2026.

2008; 2/4/10 (review); 7/19/14 (update / new entry); 12/16/24

Robert Connolly ~ Canada ~ Ontario

Plateau (1978)

I've said it before, but it's worth repeating: Ontario in the 1970's was an extension of the US Midwest - at least from an economic perspective. And so it comes as no surprise that the music shares similarities. We've waxed on a number of times about this most unique of American made rock music. And I'll be honest, I never viewed Connolly with this lens, until a revisit of the LP a couple of years back. Wham-bam, bullseye! Get your Ethos, Dillinger, Starcastle, and October albums out and compare.

Even though Connolly is standing next to a double neck guitar on the back cover, I believe his true passion is keyboards (and he's loaded with all the fun analog stuff like Mellotron, Mini Moog, and Hammond). The concept is pure 1970's space alien fantasy and comes complete with a goofy comic book (and any righteous CD label MUST reproduce this bad boy). For the album, Connolly put together two entirely different groups, each side represented. Side 1 mixes narration, female vocals, acoustic balladry and all out progressive rock that recalls Eloy's Power and the Passion, but truthfully better. Side 2 is where Connolly hands over the guitar duties as well as brings on a male lead singer - while he focuses entirely on the keys. No question this side is the more traditional progressive rock, though the vocals tend towards the AOR side, typical of the region. Given this new outlook, I'm appreciating Robert Connolly's album more now than ever. It's the time and place.

Ownership: 1978 Tube (LP). With comic book. 

No reissues as of 2/21/25, and I've had it in the CDRWL since day 1 of the list. 

1//92 (first listen); 12/26/10; 7/12/14 (new entry)

Cuprum - Brahma Višnu Šiva. 2014 Czech Republic

The sophomore effort Brahma Višnu Šiva shows Cuprum upping their game a bit. The flute is more present, the guitars have a louder psychedelic tone, the 70s keyboard set is full blare (Hammond, Rhodes, Moog, Mellotron). All still sung in their native, and wonderful, Czech language (can I please ask for those wishing for English to stop? My goodness, is there really no one else singing in English now?). The songwriting has seen a bump up as well, and the album engages the listener that much more. It's telling that I've seen videos of Cuprum covering Flamengo. There cannot be a better band from the old Czechoslovakia to emulate. And there's still room for improvement, as they have yet to explore the more kinetic aspects of progressive rock. For those who can't seem to get out of the 8th decade of the 20th Century (like me par example), then Cuprum is your dream band. Ground zero of the Retro Prog movement is right here. Wonderful stuff. Keep it going my friends from the East!

Ownership: CD: 2014 private

7/11/14 (new entry)

Deja-Vu - Between the Leaves. 1976 Norway (archival)

Deja-Vu features two members from the Norwegian hard progressive band Høst, and the music is very similar actually, especially at the time of Hardt mot Hardt. Perhaps more symphonic given the heavy keyboard presence (Fender Rhodes, Mini-Moog, String Ensemble, Clavinet, Mellotron), but the compositions have that relentless bass guitar induced driving flair - also recalling Trettioariga Kriget or Ruphus' works a couple of years prior to this. Hard to imagine anyone into the symphonic progressive rock sound not appreciating this album at a high level. As you listen to Deja-Vu, it becomes apparent that a modern band like Wobbler has no doubt digested this album as a matter of national pride. And it shows in their own recordings, especially their latest Yes-like offering Rites at Dawn.

Personal collection
CD: 1995 Research Records / Record Heaven (Sweden)

Supposedly a test pressing from 1976, I don't think one has ever been for sale. So a classic case of an archival tape, and my first exposure - along with just about everyone else I presume - was the Research Records CD, which I bought immediately upon release in the mid 90s. Today that CD is pretty much extinct and will probably remain a collectible unless it gets reissued again. The CD is an excellent release with liner notes, photos, and great sound.

Fire Merchants. 1989 USA

Now this is the kind of album that had quite a bit of buzz back in the day, and yet when I did research for the album, it seems to be almost an unknown. Heck, we used to play it on our radio show in the early 90s! I'm sure one day, the late 1980s and early 90s instrumental heavy fusion fad will regain its audience, but as of 2014 it's nothing but crickets out there. Since there are so few reviews, I thought I'd get something about it for potential fans.

Fire Merchants were all the rage in 1989, when long time Brand X guitarist John Goodsall teamed up with legendary drummer Chester Thompson and bassist Doug Lunn (Lunn is one of those guys who may not ring a bell, but he's on a ton of marquee name albums). The music is hard hitting guitar fronted instrumental fusion, sure to please subscribers to Guitar Player magazine, and other fans of technical 6 string playing. Brand X hadn't sounded this heavy and kinetic since the late 70s! (this was before their 90s reformation)  As was typical of the late 80s era, the compositions were short on high quality melodic composition and thematic development. Whatever was lacking in those areas were made up with technical prowess, high energy, and copious experience in the studio. After many years of mindless and slick gloss within the jazz fusion field, the return of the rough-hewn sound as provided by the likes of the Fire Merchants were much welcome back then. I predict an audience will reemerge for the style, but as of this writing, that has yet to happen.

Ownership: CD: 1989 Medusa. Jewel case.

1993 (first listen); 7/8/14 (review / new entry)

Lost Nation ~ USA ~ Detroit, Michigan

Paradise Lost (1970)

Detroit's Lost Nation recalls another band from nearby Ann Arbor: SRC. Especially at the time of Traveler's Tale. There's a distinct late psych vibe here (the dreamy vocals and harmonies are a pure giveaway). The driving guitars and Hammond Organ call out Deep Purple from their late 60s era, and the music definitely carries over into progressive rock territory with their sophisticated development of composition - especially over the longer tracks of which there are a few. It's a pity Lost Nation didn't catch on, as they certainly were one of the stronger groups to emerge from the American confused year of 1970. For my tastes, the best album on the Rare Earth label.

Ownership: 1970 Rare Earth (LP).

No reissues exist as I update this post (7/7/25)

1996 (acquired); 7/8/14 (review / new entry); 7/6/25

Brainchild ~ England

Healing of the Lunatic Owl (1970)

Brainchild's Healing of the Lunatic Owl is perhaps the single best album to have emerged from the late 1960s brass rock movement that had gained immense popularity due to Blood, Sweat & Tears, and Chicago Transit Authority's chart topping hits. Brainchild definitely falls on the Chicago side of this equation from a musical perspective. I've long felt that Chicago is somewhat under-appreciated in today's world for how groundbreaking they truly were - mixing carefully crafted pop songs, with complex horn charts, and insane unhinged psychedelia. The latter two elements eventually fell off the train (so to speak), and all that most anyone remembers today is an old boring pop band for middle aged housewives - who spend all day on Facebook. The English septet Brainchild is the embodiment of everything that was good about Chicago - without any of the excess or trivial moments. Brainchild's ability to pen a beautiful pop song is jaw dropping in its execution. The horn charts are complicated, perfectly played, and yet still tuneful. There's an element of psychedelic rock, but it's not the main focus - but rather a powerful ingredient to the overall stew. There's also one other aspect to Brainchild, that most horn rock bands did not pursue back then, and that's an absolute appreciation of progressive rock. The latter element shows up repeatedly in how each composition develops - the constant changing of moods, dynamics, and meters. The title track perhaps is the best example of everything mentioned above: A stunning pop melody, great vocals, psychedelic interludes, and a progressive rock structure. Other superior tracks include 'She's Learning' which features a grungy organ, gravelly vocals, psych guitar, and an ominous brass section; 'A Time and Place', a progressive oriented track clocking in at 9 minutes, which starts with melancholy flute, before launching the Latin percussion, organ, jazz rhythm guitar, and hard hitting trumpet/trombone charts; 'Sadness of a Moment' is the kind of song that Greg Lake could have penned for King Crimson in his prime - complete with soft echoed vocals, acoustic guitar, and flute. Goosebump inducing music right here!; 'To "B"' closes the album, after a brief but beautiful flute opening, as it started with 'Autobiography' - a powerful horn rock song in the Chicago Transit Authority tradition. For me, the best horn rock album ever. Unless the style reemerges in our lifetime, it's hard to imagine anything ever besting it.

Ownership: 

1970 A&M UK (LP). Acquired in 2012.

1991 Pony Canyon / A&M (CD). Acquired in 1995.

1995; 9/9/09 (review); 7/7/14 (new entry); 4/23/20

Maxophone - s/t. 1975 Italy

Late to the game, Maxophone's album missed the heyday of the Italian progressive rock movement by about two years. To add more doubt, Produttori Associati was a pop label that hadn't shown much interest in progressive rock, having only released the very obscure jazz rock Duello Madre album prior. Despite these setbacks, Maxophone's sole album is a fastball-down-the-middle for the style. Everything is here: Complex compositions, memorable melodies, dizzying meters, large symphonic sound, a myriad of analog keyboards (incl. Hammond organ, piano), biting electric guitar leads, soft acoustic guitar soundscapes, flute, clarinet, saxophone, trumpet, trombone, French Horn, tuned percussion, and fantastic vocals in Italian. If you're a fan of the style, then it's hard to imagine Maxophone not satisfying on many levels. As is usually the case, be careful not to judge based on the English language version. Hear it in Italian, as it was originally intended, and then draw your conclusion. The 1977 45 single (added as a bonus to later reissues) is geared more towards orchestrated pop, and it clearly shows Maxophone had walked away from progressive rock by then, as just about everyone else in Italy had during those days.

Personal collection
CD: 2005 Arcangelo (Japan)

The original album is housed in a splendid gatefold cover. True Italian originals are scarce and in demand, like all original progressive rock albums from there. Watch out for German originals on the same label. Some dealers like to sneak those in as originals - which they are - but still not quite the same (though I might add - would still make a great addition to the collection - and costs about 33% of the real thing). You can distinguish by the catalog number, and that the label is orange instead of the original black (the original is the first photo). The English version was released in America on the California based PAUSA (Produttori Associati USA) label (second scan). Like most folks here in the States, this was my introduction to the album. Like most Italian albums, hearing the English language version is going to be an inferior experience. And as such, I wasn't overly impressed, but kept it around long enough to replace it with the first CD to hit the market which was the Japanese Crime version. Now I could hear the album as it was originally intended in glorious Italian, and the album jumped a couple of points as a result. I eventually replaced that version with the first Japanese mini-LP that replicates the original down to the last detail (including a rare sticker). Maybe one day I'll get the Italian original, but it's not of the highest priority right now.

Mar-Vista - Visions of Sodal Ye. 1976 France

Mar-Vista are the duo of Jean Skowron and Claude Cuvelier. According to the liner notes their influences were a bit more esoteric than the usual suspects and include Terry Riley, Balinese music, Klaus Schulze, Neu!, Tangerine Dream, Ash Ra Tempel, "and the glorious Popol Vuh" as they state. Each side of the album is composed by one of the gentlemen. Side 2's 'Sodal Ye' is Cuvelier's contribution. It's a long electronic piece, in the German spatial tradition. It's well done, and fans of the style (including me) will enjoy it. The real revelation here, though, is Skowron's 5 part 'Vision'. He plays a myriad of instruments including electric and acoustic guitar, synthesizers, electric piano, percussion, organ in addition to taking on the vocal duties. Cuvelier I presume adds in his bank of analog keys as well. The music reminds me of other murky progressive folk albums coming from France, with lots of wild fuzz guitar, haunting acoustic passages, bizarre electronics, mournful vocals, and a wealth of other ideas. This side is a real revelation, and I think fans of the progressive, yet very psychedelic, folk rock underground will eat this up! The two bonus tracks are also excellent. 'Synthetik Way' is another lengthy electronic piece recalling Frenchman Claude Perraudin or the Italian Eletriktus. And 'Crash '73' is a full-on progressive jazz rock number that conjures up bands such as 1970 era Soft Machine (this may have come from an earlier incarnation of the group when they were a larger ensemble - though it's unclear).

Sadly we learn from the liner notes that Skowron is no longer with us. However to finish on a positive note, Cuvelier is back and recording a new album.

Personal collection
CD: 2014 Strawberry Rain (as Visions...)

The one and only species captured in the wilds, at least with visual evidence, is the first photograph. Le Kiosque d'Orphee is not a label so much as it is a custom record pressing plant. So it's like the American labels such as RPC or Rite Records, and everything on the label is likely to be obscure, and in some cases, extinct. The CD comes in a fine digi-pak (second scan), with liner notes that fill in the story of how the album came about. The CD also features two excellent and relevant bonus tracks. Though the CD is entitled Visions..., and the LP cover above says nothing more than Visions, the liner notes clearly attribute the title to Visions of Sodal Ye.

Pandora - Alibi Filosofico. 2013 Italy

Just when you think you've got Pandora figured out as an Italian retro progressive rock unit, out comes Alibi Filosofico. They really do open up Pandora's Box on this one, and throw caution to the wind. If one thought Pandora was out of the metal business, then the band made sure there was no doubt they are back in. Only one minute into the release, not only are metal guitars back in vogue, but now they've introduced thrash amongst the usual prog rock mayhem. So perhaps they've decided to go the same route their fellow Italians Garden Wall did? Well.. no, not that either. There's also piano concerto's, straight jazz bits, folk, traditional prog metal, and Banco Del Mutuo Succorso inspired retro progressive Italiana. My only complaint is much of the material is geared towards genre hopping moreso than a fully integrated solution (I see I'm starting to mix my work terms into my music reviews - need to retire). This is a trend we've seen quite a bit over the last decade, and this technique gives the appearance that it's more progressive than it really is. The early 70s masters would use influences or snippets of other genres, but they were rarely self-contained pieces as we find on Alibi Filosofico. Overall, it's a very creative release, though I found myself enjoying the predecessor a bit more.

Ownership: CD: 2013 BTF/AMS

6/28/14 (new entry)

Pandora - Sempre e Ovunque Oltre il Sogno. 2011 Italy

If the debut implied that Pandora would rather be classified "heavy progressive" versus "progressive metal", then their sophomore effort Sempre e Ovunque Oltre il Sogno concludes the argument. While the metal tones haven't been completely eliminated, they have been diminished significantly, and their primary role is as an accent instrument to demonstrate power (and from my vantage point, that seems to be how metal works best in the progressive field anyway). Hammond organ, Moog synthesizer, and Mellotron all guest star in this full featured Italian film. At this point, Pandora are paying homage to their forefathers from 40 years prior, with long tracks, constantly shifting meters and dynamics, and the random capriciousness expected of the genre. I did catch one direct rip from Genesis that I couldn't find credited, and I'm sure that was an oversight on their part.

Ownership: CD: 2011 BTF/AMS

6/28/14 (new entry)

Pandora - Dramma di un Poeta Ubriaco. 2008 Italy

Pandora's debut Dramma di un Poeta Ubriaco seems like the group's own personal chronological trajectory. The album starts off in the standard prog metal zone with modern synthesizers - similar to other Italian bands like Eldritch or Pathosray. While they are good at this style, they are by no means exemplary. By track 3 'Cosi come sei', the band begins to become ever more complex. The metal guitars are still prevalent, but the keyboards are moving towards an analog sound. This along with some insane counterpoint musicianship, and Pandora are starting to sound somewhat like an updated A Piedi Nudi. Then the final 3 tracks pretty much kick the metal to the curb, with mellotron, acoustic guitars, and dramatic vocals in Italian, while pushing the gas harder on the progressive front. I remember my first impression of the album went something like "Oh no, not more prog metal.... wait, this is kind of interesting.... whoa... wow... this is freaking amazing!" It was 2008, and you could almost credit Pandora for ushering in the latest Italian retro progressive movement that we enjoy today.

Ownership: CD: 2008 BTF/AMS. Like all of the Pandora albums, it's housed in a beautiful mini-LP fold out cover.

6/28/14 (new entry)

Kelompok Kampungan ~ Indonesia

Mencari Tuhan (1980)

When I first announced the reissue for this album, my initial response after hearing the samples were: "This is a super rare artifact from Indonesia, a country that continues to unearth albums that few knew existed. As soon as I saw the magic word "Paebiru", I wanted to hear it. After hearing some samples, it's certainly on the folk side of the Cortes and Remalho masterpiece, but I can definitely understand the comparison. And I'm always up for hearing albums that make their own instruments! I think this title will be well received by many."

The story that emerges, both from the historical essay and from a musical perspective, is that Kelompok Kampungan are operating in similar territory to that of the German politrock or Swedish progg movements. While there's not much in the way of rock music here, Kelompok Kampungan focuses on indigenous acoustic stringed instruments and percussion to bring forth their civil unrest. The album opens with a lengthy speech from Indonesia's first president Sukarno (aka Soekarno), no doubt raising the ire of the (then) current Suharto regime. And, as such, the band found it difficult to operate within Indonesia during this era. Obviously the music is lyric heavy, and its message will be lost on most of us - but the voice inflections are interesting, and the music is appropriately progressive in the same manner that any culture's native music can be. So if the idea of a creative and progressive Indonesian protest music sounds appealing, then most assuredly Kelompok Kampungan will fulfill that order.  I quite enjoyed it myself - a departure from my usual listening regimen. Strawberry Rain is to be commended for continuing to reissue such interesting albums from all corners of the world.

As we learn from the liner notes below, I find it ironic that Kelompok Kampungan means "Village People". Those expecting to see non-traditional and well chiseled men in various forms of costume, playing insipid disco music will most assuredly be very disappointed with Kelompok Kampungan.

As with Abbhama, the liner notes for Mencari Tuhan are available to the public from Denny Sakrie (and I encourage you all to follow the link for more photos that are not part of the reissue). I will reprint those here, with all credits and thanks to Mr. Sakrie: 

"Kelompok Kampungan (“Village People”)  emerged as one of the ethnical folk rock fusion group of the mid 70’s through early 80’s.They’re came  from Yogyakarta,Central of Java,Indonesia. This eclectical group who makes bewitching music was formed by Bram Makahekum an alumnus of WS Rendra’s Bengkel Theater,an Indonesia  famous theatrical group in the mid of 70’s.They present  once again the richness and important characteristics of Indonesa ethnical music which develop in the Indonesian archipelago and was enriched by a number of breakthrough from folk,jazz,classical even rock essence.Kelompok Kampungan played their original music stuff with acoustic instruments.At the time ,this was seen as a means of creativity, I called it a new direction for folk meets ethnic music and as a way of attracting the kinds of large audiences enjoyed by rock musicians.

The original members of  Kelompok Kampungan  were Bram Makahekum (lead vocalist,acoustic guitar,songwriter),Edi Haryono (Java percussions  ,Arabian percussions) ,Agus Murtono (violin,Bali percussions,cabassa),Rudra  Setiabudi (Flute,oboe,guitars,Java percussion ),Agus Salim (cello,Java Gamelans),Kelik (acoustic guitar,Java Percussions),Joko Surendro (violins,guitar,Java Gamelan) ,Areng Widodo (bass electric,Java Gamelan),Doddy Precil (Back up vocals,percussions),Sawung Jabo (vocalist,acoustic guitar,percussions) ,Innisisri (Bali drums,Drums Kit,percussions),Bujel (flute,gong).Bram Makahekum was also leader of the band and Agus Murtono was a music director.With only Bram Makahekum remaining in place throughout  the band’s life pan.
Bram Makahekum ,Sawung Jabo,and Edi Haryono all had experience playing music score for Bengkel Theater,a group of  theater led by artist WS Rendra,with Java Gamelan orchestration called Nyai Pilis.Innisisri have experienced with various rock group like The Lheps,Spider,Amudas and many others.Areng Widodo was bass player from a rock band called Golden Wings. And the others came from Akademi Musik Indonesia (Indonesia Music Academy) alumnus.

The embryo of  Kelompok Kampungan  started out in the mid of 1970s that supported Bengkel Theater play ’s performing.Bram Makahekum  was the center of the stage with  the blending of singing and poetry reading.His voices was expressive and distinctive.

In 1977 Bram Makahekum with his friends officially formed Kelompok Kampungan as a musical groups.Kelompok Kampungan for the first time played Bram Makahekum song titled “Mencari Tuhan” (In Search Of God) at Taman Ismail Marzuki Jakarta in the same  year .The audiences like their their musical concept.Kelompok Kampungan were unsurpassed  in their eclecticism,willing to borrow from folk,blues,jazz,classical  and Indonesia ethnical.Unexpectedly peoples likes their simple songs with protest lyrics.But the New Under regime under Soeharto administration banned Kelompok Kampungan music in several concerts .

Sadly,they  can’t do anything with their music.The government also banned their first recording  “Mencari Tuhan” (Akurama Records,1980). Their one and only album featured  9 tracks like  “Bung Karno” (with the excerpts of  Soekarno’s monumental  speech in 1964 ) ,”Ratna”,”Mereka Mencari Tuhan”,”Catatan Perjalanan”,”Hidup Ini Seperti Drama”,”Berkata Indonesia Dari Yogyakarta”,”Wanita”,”Terlepas Dari Frustrasi” dan “Aku Mendengar Suara”.All songs composition was written by Bram Makahekum with the assistance of Sawung Jabo,Edi Haryono and Areng Widodo.

Nowadays, Bram Makahekum (now 60 year old) still involve in music creativity.Sawung Jabo continuing his  music passionate in several bands like Sirkus Barock , Kantata Barock and Genggong,Rudra  Setiabudi has a career as sound engineer in Aqurius Recording studio,Areng Widodo still writing music especially for television music scoring,Agus Murtono was joined in some famous orchestra  in Jakarta and Yogyakarta and Innisisri was passed away in September 30,2009.Before he died,the brilliantly drummer  was being in a several idealism band like Kantata Takwa,Swami,Dalbo and Kahanan.

No doubt,Surely ”Mencari Tuhan” was a masterpiece  from  Kelompok Kampungan.It’s kinda  east meets west music with natural touched.It’s the early years of Indonesia world  music. Enjoy their music !

Denny Sakrie"

Former ownership: 2013 Strawberry Rain (CD). Papersleeve with full liner notes in English and some additional photos. Acquired in 2014; Downsized in 2026.

6/28/14 (new entry / review)

Pascal Languirand ~ Canada ~ Quebec

Vivre Ici Maintenant (1981)

The trio of classic Languirand albums is completed by Vivre Ici Maintenant. Surprisingly there is no noticeable decline in the quality. On this album, Languirand takes us a bit further to the East  Orient while adding some acoustic percussive elements. The sequencers and cosmic electronics are still ever present. And Languirand even adds a bit of Ashra styled echoed electric guitar to the stew, making this one perhaps a tad better than the previous album.

Ownership: 1981 Minos (LP)

3//08 (review); 6/27/14

Minos (1978)

Pascal Languirand is sort of the Richard Pinhas of Quebec. A one man show of dark electronics (primarily Moog) and searing electric guitar. He's a bit more cosmic than Heldon, which calls to mind Klaus Schulze. And he often uses wordless voice that reminds me of Franco Falsini (Sensations' Fix). Side 2 opens with a tripped out folk number in French that I find highly appealing in this setting. The album closes as it starts with a Heldon like psychedelic guitar electronic piece.

Ownership: 1978 Kebec (LP). Embossed.

While there does exist a compilation of the first two albums, none have been reissued in full (as of 2/21/25).

1994 (first listen); 2008 (review)

6/27/14 (new entry)

Tomsix ~ USA ~ Cleveland, Ohio

Soundbones (1974-1979 / 1994)

When I created the Midwest Progressive Rock list for RYM, one of my secret hopes was that I would receive recommendations for something similar. I knew I would get suggestions of albums that were on the fringe - or worse just anything that was from the Midwest (and I did of course). But if someone could offer a complete bullseye for the style - a band or album I'd never heard of - well, then, my list would be a complete success. The very first suggestion came in from Tony Coulter, and it was Tomsix. An absolute diamond in the rough if there ever was one. An album that's been out almost 20 years and still a complete unknown. I received a great many suggestions afterward - primarily from Tony and our good friend Mark MoeCurly - but Cleveland based Tomsix was the pick of the litter for certain.

Not surprisingly, the earlier you go in the timeline, the more progressive the music becomes. The 1974-75 period is when the band was known as Tarsier (which is arguably a much cooler name than Tomsix, which incidentally was named for the Tomsick trio of brothers that run the band). This era of material is heavily influenced by Yes (a common occurrence in Midwest America) with a smattering of Gentle Giant - and there's gobs of mellotron for fellow fans of the instrument. Starting in 1976, the band switched names to Missing Persons (no relation to Mr. & Ms. Bozzio we presume), and directed their sound even more to the counterpoint rhythms and harmonies commonly found in Gentle Giant. The music is tight, slightly commercial, but still very complex. The absolute definition of the Midwest American progressive sound. Though the liner notes aren't clear about this, it appears the band then went with Tomsix starting in 1978. Not surprisingly, this era of the band finds them at their most commercial, with even a slight funk / disco sound creeping in. I would say at this point, the band sounds most like Supertramp, but more progressive than that may imply. Tomsix never did properly record an album (such a shame too, as the quality of the sound on this compilation is very good). The material is not presented strictly from a chronological perspective, though the progressive tracks are front loaded (demonstrating to me at least, that's where the heart of the band lies).

Ownership: 1995 Behemoth (CD). Lyric booklet with a short history.

9/1/13 (first listen); 6/25/14 (review); 4/3/25 (update)

Fjodor - St. Anthony's Fire. 2014 Croatia

Fjodor are yet another great new discovery from Cosmic Eye. Like most on the label, Fjodor's focus is on instrumental space rock. Whereas a band like The Space Spectrum prefer to soak in the static intensity of psychedelia, Fjodor are much more kinetic. Great attention is applied to moving the instrumental jams forward, with frequent shifts in time and dynamics, so that the listen becomes a journey to another land rather than just staying home and meditating. As with most space rock bands, the guitarist gets the lion's share of the attention, and he owns up to his responsibility with an electric performance. Synthesizers also play a prominent role, and get more to do than tweet-tweet-tweet thus giving the band two strong protagonists. Meanwhile the rhythm section proves more than apt at keeping it all within the rails, and moving the proceedings forward in an exciting way. If looking for comparisons, certainly the 90s school of Hillage-era Gong (Ozric Tentacles et al) would have to be in the conversation, though Fjodor seem more willing to absorb the late 60s approach of Pink Floyd as well. It's progressive space rock, and certainly one of my personal favorite sub-genres. Let's hope they don't stop here!

Once again, I would like to reprint my friend Spyros' review (and he is part of the Cosmic Eye team, but also a fan of the genre, so this goes far beyond a hype sheet comment): "FJODOR are an instrumental progressive space rock band from Croatia influenced by balkan & oriental roots music, krautrock, fusion, electronic space rock and the Floydian progressive take on classic psychedelia. "St. Anthony's Fire" is their 3rd album and can be most likely described as a conceptual 46 minutes piece of pure instrumental progressive rock, mixed with heavy psychedelic guitar riffs and space synthesizer vibes that colour the music with that particular jam groove of the late 80s free festival bands. The album starts in a melodic contemplative mood and then bass starts to build up and the synths really swirl and float in and out of the mix till the guitar bursts in an Ozric Tentacles meets early Eloy style. From then onwards, the piece is intensified with a spaced-out energy enrichened by jazz rock twists and psychedelic guitar freak-outs.

"St. Anthony's Fire" is a heavy record, but in the way Eloy's "Floating" is heavy, or in the way Vespero's "Subkraut: U-Boats Willkommen Hier" is heavy. It's that patient, smoke-clogged, spaced out vibe, that gradually builds to a crescendo of an erupting riffy, psychedelic stomp wrapped in grunge and gristle to just climax in an intense heavy -yet precise- spacerock maelstrom. It's like floating on a tsunami; the wave that crosses the bridge and breaks the boundaries."

Ah yes, Vespero is an excellent comparison as well - another band operating between traditional progressive and space rock. 

Ownership: LP: 2014 Cosmic Eye (Greece). Single sleeve. A very nice gift from the label.

6/23/14 (first listen / review / new entry)

The Space Spectrum - The Red Eyed Queen. 2014 Germany

Another great find from our Greek friends Cosmic Eye, The Space Spectrum are amongst the new crop of instrumental German bands following in the footsteps of the 70's Kosmiche Kouriers. Like most modern bands, The Space Spectrum are more about the hypnotic experience of the overall psychedelic sound. Guitars and 70's era synthesizers provide the leads while the rhythm section keeps the steady - at times pounding - beat. This is not about jazzy improvisation, wild solos, and constant shifts in time. This is music that takes awhile to cook, turning ever so slowly over an intense fire underneath. Psychedelic to the extreme, but never unpleasant or atonal. Similar to Scotland's The Cosmic Dead, though less metronomic and more spacious. A very fine debut.

For my tastes, I would like to see the band explore more options within the context of a composition. While it makes for a great opening move, I feel the chosen style inhibits growth. Let's see where they go from here. I feel the band has enormous potential.

I would also like to paste in here our friend Spyros' comments about the album (who is a member of the Cosmic Eye team), because I found them very insightful (especially calling out the landmark year of 1989 - Ozric Tentacles, Tangle Edge, Djam Karet, etc...): "There are two major trends in space rock since 1989. First is that much of it has turned simpler and heavier, oriented towards pulsating stoner music. Second is that part of it has gotten trippier by expanding considerably the psychedelic /jam side of the genre since the 70s, though at root very little of it diverges that fundamentally from what  Hawkwind/Gong/Ash Ra Tempel  etc. were doing in the era.

SPACE SPECTRUM sit definitely in the second category. They are a relatively new band from Germany that had at their earlier stage a substantial output on Bandcamp as a one-man project behind guitarist Nico Seel. At their current stage, "The Red Eyed Queen" is their first album as a real 4-piece band and we are proud to be the label that releases this milestone to their career.

The record features SPACE SPECTRUM on a mammoth trip rock opus that spans both sides of the vinyl. By listening to the band channeling their awesome mind melting spaced out tones into a cohesive ensemble, one can’t deny the influence of the early 70s acid rock vibe. There are the obvious nods to the kraut gods, zoned in on the more jam aspects of cosmic kraut bliss and taking the music way out there into Ash Ra Temple-sque jamming blow out territory. Over a magic carpet of spacious keyboards and below the bass rumble of the spaceship, the guitar wanders in real outer cosmos, transporting us through the heavenly constellation. The result is a full-out attack on the trippier aspect of space rock, a bit brutal in his modern approach (under a creeping Cosmic Dead influence) but also very far-out, when moving to outer dimensions.

SPACE SPECTRUM took creatively the floating aspects of the 70s space rock formula and adopted it to rock styles that occurred in the 90s and onward. "The Red Eyed Queen" is a true cosmic winner and is not to be missed!"

Ownership: LP: 2014 Cosmic Eye (Greece). The album is housed in a thick single sleeve cover with an informational inner sleeve. Fantastic job as always from Cosmic Eye!

6/21/14 (new entry)