Swegas ~ England

Child of Light (1971)

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

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

Not reissued as of 10/17/26.

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

6/30/18 (new entry)

Neuronium - The Visitor. 1981 Spain

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

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

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

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

Grovjobb (& related) ~ Sweden

Simon Jensen Band - All You Can Eat (2005)

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

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

Ownership: 2005 Blue Beat (CD)

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

Under Solen Lyser Solen (2001)

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

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

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

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

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

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

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

10/20/17 (new entry)

Goat - Commune. 2014 Sweden

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

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

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

Autumn - Oceanworld. 1977-1978 England (archival)

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

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

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

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

Hypnos 69 - The Eclectic Measure. 2006 Belgium

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

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

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

2010; 6/26/18 (new entry)

Chickencage Experience - KamaSutra BlackBelt. 2014 Germany

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

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

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

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

Personal collection
CD: 2014 Nasoni

Comes in a small wallet-sized digi-pak.

Chickencage Experience - An Eggspoiltation Movie. 2012 Germany

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

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

I sit in stunned silence.

Personal collection
CD: 2012 Nasoni w/DVD

Last listen: May 2013

Exmagma - Goldball. 1975 Germany

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

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

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

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

Lord Flimnap - Point of View. 1989 Israel

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

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

Personal collection

CD: 2004 Earsay

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

Hinn Islenski Thursaflokkur ~ Iceland

Pursabit (1979)

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

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

1993; 6/19/18 (review)

6/19/18 (new entry)

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

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

Personal collection
CD: 1991 Melos (Japan)

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

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

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

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

Personal collection
CD: 2002 Dogfingers

Originally reviewed: May 15, 2004

In Spe ~ Estonia

In Spe (1983)

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

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

Ownership: 

1983 Melodiya (LP). The cover is backwards!

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

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

Mahamudra ~ Portugal

Mahamudra (2005)

Mahamudra* are an obscure five piece band from Portugal, that is unknown even in underground progressive rock circles. Lead by Bruno Fernandes on "efeitos sintetizador", with a traditional four piece band (guitars-keys-bass-drums) behind him. The music balances traditional jamming instrumental space rock with a raw Krautrock edge. The band is clearly going for an early 70s sound, though a dedicated listen will prove these are newer instruments trying to sound old. Nonetheless they do a fine job at what they are attempting to do. Definitely one to seek out if the aforementioned genres appeal to you.

*You will find a few websites that have them confused with a Psytrance act from Israel. Told ya they were obscure.

Ownership: 2005 private (CD). Acquired in 2005.

11//05; 5/31/18 (review / new entry)

Il Balletto di Bronzo ~ Italy

Ys (1972)

Going into 1988, I knew very little about Italian progressive rock. Nothing more than English language releases by “PFM” and “Banco”, and not having any idea those appellations were abbreviated. Even though I had become well versed in Krautrock, French underground electronic, Dutch, and even some Scandinavian prog - in addition to the usual English (and neo prog) suspects - Italy had just evaded me at that time. I had seen some of the country’s albums for sale in Goldmine, but had no idea what they were – beyond “progressive rock”.

In January of that landmark year, I had just graduated from college with my engineering degree and was… unemployed. Naturally the stock market had to crash in late 1987, and “entry level” job opportunities were very slim. Leave it to Ashratom to pick the perfect time to graduate. In any case, I still had a few dollars left over from summer jobs past, and with nothing else better to do (other than the odd interview) – I went off to seek out records. Of course I did. In one store I received a tip that up in Denton (about 40 minutes north of where I lived) they had some “real cool looking Euro stuff”. Zooming out of the store like a cartoon, I raced up there to spend the remainder of the day. I had brought very little cash with me, but fortunately most of the items were in the $3 and $4 range (some good stuff too). By the end of the day I was exhausted at looking at mostly common crap, when I got to the Y’s. And there a spine looked at me (yes, making it that much more difficult – everything was stocked like a collection). Il Balletto di Bronzo it said. Hmm… must be misplaced. I pulled it out. I felt like an archeologist who just spent a day on a dig, and I had just unearthed some unknown treasure. There was a problem though. This one was $8. EIGHT BUCKS? Oh shoot, if I bought this, I wouldn’t be able to eat, and I was starving to death at this point. And who are these crazy guys in the nutty getups, with this libretto booklet in Italian. It probably blows, and is some lame classic pop album. I’d been burned already plenty of times in the past in my collecting career. I stood there like a dummy for 15 minutes debating this (hard to imagine this today, eh?). In the end I did the logical thing and decided to… buy the album! I still don’t know what compelled me to do this. It was like a magnet.

I arrived home later that night, and fortunately mom had some leftovers so I wouldn’t keel over and die. After dinner, I beelined to my room, and plopped Ys on the turntable, dreading that my decision was a total bonehead move.

Whoa. What’s this? Very haunting voices. Maybe it’s an experimental record then. That’s OK too I guess. Well hey that organ and synthesizer sure do sound nice - and those vocals in Italian. Those vocals! Maybe this is something? And then, synthesizers go awry, and out blasts this acidic guitar and staccato drum rolls. I about passed out. This is what I’ve been seeking! And at the 6 minute mark, the rhythm section goes completely cockeyed with the Hammond and piano going nuts, with an added on frantic psychedelic guitar solo – followed by this most luscious mellotron and mournful vocals - which by then you practically had to wheel me out of the room. At that moment, I felt like I’d heard the perfect album.

It must be said that Ys definitely front loads the gadgetry, but the rest of the album is no slouch. It’s much more atmospheric, and heavy, almost doom metalish. The album is so thick and foreboding, but not without many moments of kinetic pacing. Imagine an early 70s Candlemass fronting Tarkus-era ELP, while singing in Italian at the fun house carnival, with Hammond, Moog, and Mellotron in the lead. Yea. You’ll see a lot of guys call this one “overrated”. And I attest that to the fact it really isn’t the romantic and classical Italian prog rock of PFM, Banco, Le Orme, Osanna, and the like. It’s something entirely different. Perhaps the bridge to Biglietto per L’Inferno and Raccomandata Ricevuta Ritorno – other completely insane Italian progressive rock albums that have a darker edge to them. For me, it’s a Gnosis 15 (the top tier of RYM 5 star releases) and it will likely always be a Top 15 to 20 album. Perhaps the backstory plays a role in that – but I think if most people are honest, it usually does in one’s personal subjective assessment of favorite music.

But back to January 1988, I still didn’t truly understand what I had – never heard of the band / album nor knew anyone who did. I had to call a couple of record dealers, who finally confirmed what it was, and what it was a part of – namely Italian progressive rock of the early 70s. And it was rare. As luck would have it, another obscure Dallas store had some unsold (re)sealed Italian prog albums, and I bought every one of them (they were all under $10) – while still unemployed mind you. I didn’t have any idea what I was doing, but I was possessed. And it all started with Il Balletto di Bronzo.

Ownership:

1972 Polydor (LP). Gatefold with libretto.

2001 Polydor (Japan). Papersleeve gatefold with libretto. 

Also own the Disk Union Ys storage box.

1//88 (acquired); 2002 (CD acquired); 5/29/18 (review); 8/20/20

Sirio 2222 (1970)

You won't find many people out there that tout Sirio 2222 as Il Balletto di Bronzo's best album. And I'm certainly no different. See, Il Balletto di Bronzo, once upon a time, released one of those once-in-a-lifetime masterpieces called Ys. Of course we'll feature it at some point, but for the one person who may be reading this and does not know about Ys, just buy it. But my random number generator picked Sirio 2222, so we'll be consistent and plug along.

As in everyday life, there are contrarians everywhere, and so it should not come as any surprise there are a few that state Sirio 2222 is much better than the overrated Ys. Fine. "Ya gonna think what ya gonna think so no point on a changin' yo mind."

Now, having said all of that, Sirio 2222 is a swell album of Italian psych, with elements of progressive rock beginning to seep in. 1970 is very early for an Italian band, and the famous Italian progressive movement was about a year away. Sirio 2222 offers some fine guitar work, good melodies, and a few places of imagination. But it doesn't give any indication of where they were headed next.

Ownership: 2014 Lion (LP). Booklet with lengthy liner notes.

1989 (RCA LP reissue acquired); 4/2/07; 2/13/10 (review); 3/26/18

2/13/10 (new entry)

Solaris - Marsbéli Krónikák. 1984 Hungary

If you ask a hardcore progressive rock fan what the worst decade of music was, "The 80s" is the automated response. And while I'll stand by that same position, a deep dive into the decade gives us another perspective. 1980 was in reality an extension of the 70s artistically speaking. 1981 to 1983 held plenty of wonderful privately released progressive rock gems primarily from France, Scandinavia, USA, and Germany. Not to mention the promise the original New Wave of British Progressive Rock once projected. And then from 1987 onward, we experienced the renaissance that continues to this day. But the real barren years did exist in the middle - 1984 to 1986 was a graveyard for traditional progressive rock. Fans of fringe areas - like avant prog - will counter that it may have been the golden age as bands like Univers Zero and Present were at their peak. And of course other genres, like heavy metal and various forms of electronic, were also experiencing new high water marks. But if you wanted 70's styled symphonic prog, well it was going to be tough sledding for sure.

I bring this point up in a Solaris review, because Marsbeli Kronikak is the gem in the rough - the very best symphonic prog album in that three year time frame. Isolated in still Communist Hungary may have played a role in that - not to mention a relatively more lenient regime in regards to the arts than other Iron Curtain countries at the time.

Recently I had reviewed Tako's second album, and talked about symphonic fusion - a genre that isn't recognized today, but was frequently referred to 25 years ago and beyond. And that's exactly where you'll find the music of Solaris. The primary difference here is the copious use of sequencer based electronics that lay the bedrock for the symphonic progressive music on top. Attila Kollar's flute is magnificent as ever,and he often drives the instantly-recognizable Solaris style melodies. Istvan Cziglan's hard edged guitar, and Robert Erdesz's fine synthesizer work round out the leads.

For us prog fans back in the mid 80's who were desperate for quality 70s styled progressive rock, Solaris was a godsend. In retrospect some 35 years later - they still are.

Ownership: LP: 1984 Start. Single sleeve.

CD: 1995 Gong. The CD has 2 bonus tracks, that sound a bit more modern than the album proper.

1992; 1996; 5/28/18 (review)

Quella Vecchia Locanda ~ Italy

Quella Vecchia Locanda (1972)

If there's an album that defines the Italian progressive rock movement of the early 1970s, then my selection would be Quella Vecchia Locanda's debut. Not the best album the scene has to offer, but the most representative. This one has it all - and then some. The gatefold cover alone is perfect. Like finding yourself perched atop an abandoned Medieval hill town. What did this old inn once house? What stories does it hold within the remaining beams and gnarled branches? It's just this inquisitiveness that captured my young mind's imagination when first deep diving into this once unknown genre some 30 years ago.

For the music, you get the complete palette. The keyboards are diverse - Mini-Moog, Hammond organ, and piano. The guitars are electric and acoustic, and rock hard when necessary with a decidedly heavy tone. The rhythm section appears well trained in the arts. The vocals are histrionic, but on point. And best of all, you not only get one extra key period instrument, but two! Rare is the album where both flute and violin share the limelight together. The dynamics are what is to be expected - diverse and unpredictable. If you're already defiantly not a fan of the genre, QVL will not change that opinion. If you're a member though, Quella Vecchia Locanda will not disappoint in the slightest. Table stakes for any Italian prog collection honestly.

Ownership: 

1972 Help! (LP). Top loaded gatefold. Acquired in 2018.

2003 BMG Japan (CD). Papersleeve gatefold. Acquired in 2005.

Once owned: 1989 Edison (LP). Top loaded gatefold. Acquired in 1999. Downsized in 2026.

First copy: 1990 Help! / Contempo (LP). Gatefold. Acquired in 1990.

1990; 4//05; 5/26/18 (review)

Also own: Il Tempo della Gioia.

5/26/18 (new entry)

Alfonso Lovo ~ Nicaragua

La Gigantona (1976)

Hailing from Nicaragua, Alfonso Lovo has quite a story to tell. In 1971, on the way back home from college in the US, his flight was hijacked. Being a member of the privileged class, specifically the son of the Minister of Agriculture, he became the terrorist's primary target. So when a defiant Costa Rican president comes to their diverted landing place - brandishing an automatic weapon no less - the situation escalated and they shot Lovo.

Fortunately he survived the incident, but not without permanent damage. He attempted to make it work in Nicaragua, but the situation continued to deteriorate, and he had to smuggle himself and his family across to Honduras, and eventually they finally settled in Miami. With a tape reel of La Gigantona in hand. Recorded in 1976, but with no place to press and release, it appeared the album would be lost forever. Until the enterprising Numero Group label shows up in 2012 and releases it on both LP and CD, some 35 years after the fact.

The backdrop is more exciting than the music proper, but nonetheless the album achieved immediate cult status upon release. It's easy to see why, given the eclectic nature of the recording. There's a wide array of sounds to be found on La Gigantona, including Andean folk music, indigenous percussion, salsa, experimental, jazz - and psychedelic hard rock. It's this latter element that drew me to the album in the first place, but it's somewhat limited. But tracks like 'La Bomba de Neutron' with its crazy echoed voice, and the piercing fuzz of 'Firebird Feathers', do make the album a worthy endeavor for underground prog / psych heads. Overall, it sounds more like a recording from the hijacking year of 1971, given its raw emotion and sound, verse the expected fusion of 1976. And that's a good thing.

Ownership: 2012 Numero Group (CD). Housed in a slipcase. Copious historical liner notes. Acquired in 2018.

5/26/18 (review / new entry)

Tako - U Vreci za Spavanje. 1980 Serbia

Tako's second album, christened with the of-the-moment name In the Sleeping Bag, is an almost perfect example of one of my personal favorite styles of progressive rock. That of what we used to call symphonic fusion. Quite simply instrumental progressive rock, but heavy on melody and tricky compositions - and no showboating whatsoever. It's a sound the Dutch perfected in the mid 70s, and was later adapted heavily in the late 70s and early 80s in France, Japan, and points unknown - like Serbia for example. Each individual track can be appreciated entirely on its own, without having to worry about its sequence within the album. The guitarist plays in a decidedly rough manner, a type of psychedelic hard rock sound. The keyboards are vintage 1980, which is a sound one expects to hear for the style. The fact that Tako keeps the album interesting throughout each minute is a testament to how strong they were as a functioning unit. The bonus tracks are just as enchanting as the album itself.

Personal collection
CD: 1998 Record Runner (Brazil)
LP: 1992 Kalemegdan (Germany)

I first heard this album via the Kalemegdan LP reissue. The German label is famous for unearthing and reissuing the best from the former Yugoslavia - and they were responsible for the two bonus tracks found here. Oddly the album was only reissued on CD in Brazil, by the excellent Record Runner label. They licensed the recording directly from Kalemegdan. Definitely recommend either reissue, for the bonus cuts, and the superior sound to the original Eastern European LP.