Hadal Sherpa ~ Finland

Hadal Sherpa (2017)

Every once in awhile I'll receive a recommendation on a new album to try. But it's very rare for me to receive three strong recs from trusted advisers, and that's exactly what happened last year with Hadal Sherpa, a new space rock band from Finland. I purchased the CD last year, but as these things tend to go, I'm just now getting around to listening to it.

And the reason for all the buzz behind Hadal Sherpa becomes obvious upon listening. Anyone who knows me personally or has read my notes will know that I enjoy an excellent rendition of the sound that Ozric Tentacles (and Gong / Here & Now before them) created years ago. Especially the Finnish school. The album opens up surprisingly subdued with the two part 'Nautilus', a mid paced number with flute and melodic guitars. Things began to pick up considerably with 'Chafa Azeno' reminding me quite a bit of Ozric's 'Bizarre Bazaar' (from Strangeitude) without the silly bits. 'Ikaros' takes the baton and runs faster. It's here the album begins to draw you into its vortex. Then, as these albums tend to do, you get smacked with the one - two punch of awesomeness. 'Heracleion' is packed with ideas, with smoldering guitars, and Middle Eastern / Eastern Asian themes. A highly energetic piece, that never sits in one place too long. This leads to the album's piece de resistance, the brilliant 'Marracech' where blazing bouzouki battles the dual guitars and synthesizers, all the while demonstrating even more ADD than the predecessor. Imagine Hidria Spacefolk covering Embryo's Steig Aus album, and you have an idea of the excellence found here. 'Abyss' slows things down a bit, bringing forth a 1969 Pink Floyd vibe, and then accelerates later on. 'Black Elk' is another rip roaring track, though by this time one is exhausted from burning too many calories air jamming. If I had a complaint, I would suggest a better production next time. The album sounds a bit thin at times. These kind of albums require a thick, meaty production.

If you're a fan of Hidria Spacefolk, Taipuva Luotisuora, Moonwagon, and Dasputnik, then it's hard to imagine Hadal Sherpa not registering in the red zone. Perhaps not an entirely new concept, but the execution is superb.

Ownership: 2017 private (CD). Digipak. Acquired in 2018.

7/18/18 (new entry)

Cast ~ Mexico

Nimbus (2004)

Nimbus is the 12th studio album from Mexico's Cast. At their beginning, Cast were heavily influenced by the neo prog marquee names such as Marillion, IQ, and Pendragon. They released an enormous amount of material in a short period of time, all characterized by the familiar NWOBPR sound, while singing in English. By the time of Nimbus, the band have become more confident with other styles of progressive rock, and are now utilizing their native language primarily. In addition to that, Cast has brought in more instrumentation, which allows for more tonal color, which was missing from their earlier releases. So even though this is their 12th album in a ten year time frame, it's remarkably fresh and not stale at all. '911' recalls their earlier neo prog past, whereas 'Un Singlo de Invierno' dabbles in prog metal. But mostly this is classic European progressive rock, as might be found in Spain during the late 70s - a band like Crack for example. Make no mistake, Cast aren't retro in the slightest, and this is clearly a work of the 90s and 00's. As with most of the Cast albums I'm familiar with, the album is quite lengthy (the equivalent of two LPs), so it takes quite a bit of time to absorb all the material presented here. To be honest, I don't have much exposure to Cast past their Angels and Demons album, so I'm not sure where the band transformed their sound. 

Ownership: 2004 Musea (CD). Multi fold out lyrical booklet. Acquired in 2005.

3//05; 7/16/18 (review); 11/18/23

Other albums I own: Endless Signs; Al-Bandaluz

Albums once owned (and probably need to hear again): Landing in a Serious Mind; Sounds of Imagination; Third Call; Four Aces; Beyond Reality; Angels and Demons

Best I can tell, they have 21 total studio albums as I update this in 2026.

7/16/18 (new entry)

Lahost ~ England

Erotic Antiques (1984-85 / 1992)

---2009

Lahost are a very good example of the 1980's New Wave of British Progressive Rock scene. Tight, energetic, melodic, complex, and fun.

---7/14/18

The above represented my scratch off notes from nearly a decade ago. And probably I need not say more, as that about covers it. But I will anyway. I first read about Lahost in the metal magazines of the middle 80s (like Kerrang for example), who dabbled with the much smaller ongoing progressive rock scene (many of the UK music writers in those days had prog backgrounds). But nothing really ever emerged from Lahost, originally known as The Host. Two cassettes, plus a single, and a live recording make up Erotic Antiques.

It would be hard to find a more perfect definition of the NWOBPR movement than to play Erotic Antiques for someone. They definitely played to the commercial wing of said movement, and yet no matter how hard they tried, every track comes out very much a progressive rock composition. Only 'Just Breaking Away' comes across as one that panders to the masses. On the other side of the aisle sits 'The Drowning Pool', the only overt progressive rock track found here. They absolutely nail the ethos of the era. We're talking big puffy white shirts and poofy hair to go with it. It's Friday night in 1984, and we're headlining the Marquee club. So when I say "tight, energetic, melodic, complex, and fun", those adjectives cannot be escaped. Imagine a head-on collision between Saga's Heads or Tales and IQ's The Wake, with some early 80s Peter Gabriel solo era collateral damage, and you have found the sound of Lahost.

Lahost is the progressive rock definition of 1984 London, for better or worse. If you love the cassette culture of the era, as I do, then Erotic Antiques is an absolute must. For those where the word "commercial" makes you cringe, then you might want to give a wide berth around.

Ownership: 1992 UGUM (CD). Acquired in 2009.

2009; 7/14/18 (review / new entry)

Alters - MILD. 2007 Poland

Alters are somewhat typical of modern progressive bands who do not blend their influences together as a cohesive whole, but rather attack each segment on their own. Or what I call "genre hopping". So there's no "brand identity" as it were. Just various parts and pieces pasted together. You'll hear everything from the usual prog suspects (Yes, KC, Genesis), to Miles Davis, Stockhausen, Polish stalwarts (SBB, Nieman), complex French prog, mid 70's Pink Floyd, etc... There are of course, as with any album like this, some really great parts to enjoy and savor. But once they've moved on, you won't hear anything like it again. It's an Around the World tour in... 52 minutes.

CD: 2007 Lynx

Last listen: August 7, 2017

Tuna Laguna - Ripples and Swells. 2007 Norway

Tuna Laguna are a modern Norwegian post rock band who have a clear connection with the US post rock scene similar to Tortoise for example. But there’s more here than insouciant mid paced jams to aid with your sleeping disorder. With the growling fuzz bass, wah wah guitars, filtered organs, and the occasional tempo change, it’s clear Tuna Laguna have a bit of 1970's instrumental European prog rock in them. And the 7 piece band collective, including 3 guitarists and 2 keyboardists, allow the group a multitude of options that really expand their sound. Add in the melodic content that is post rock’s greatest contribution to begin with, and you have a nice piece of music to drive the Interstate with.

CD: 2007 Guano

Last listen: August 8, 2017

The Ebony Godfather (Joe Thomas) - Moog Fluting. 1974 USA

So imagine being an African American gentleman who plays the effeminate flute. You've played R&B, gospel, jazz, and everything in between. You have a dull name like Joe Thomas and you're pushing 40. And it's 1971. So what's a brother to do? Well duh, you pimp your look, sit next to a couple of hotties, and tell the world that you are - in fact - The Ebony Godfather. A little blaxploitation never hurt, eh? 3 years later, Thomas took it a step further and just called himself The Ebony Godfather. After this bit of silliness, and probably realizing he could have called himself The Black Tooth Fairy and no one would care, he took back his name... and, oh look, here comes disco.... and off Thomas went to make a few more bucks before calling it a career in the early 1980s.

But the moniker isn't the only curve ball here. Next up is the title. With a name like Moog Fluting, one would expect some Moog with your flute perhaps? Uh, no. In fact, I cannot for the life of me figure out the usage of the term Moog here. I've seen other reviews mention its use, but I don't hear it. Further, neither do the liner notes, which are old fashioned 60s styled jazz type back cover notes with much detail and hype quotes from media and industry veterans. In those notes, no mention of a Moog can be found. Maybe the name just sounded cool? I dunno.

And the music... well it's pretty much your regular instrumental jazz flute album with a rhythm section. Some originals, some cover tunes. On the same level as Herbie Mann and Hubert Laws, but this is no Chris Hinze album that's for sure. Certainly pleasant enough for the genre, with no real surprises, though 'Orcabessa' does open with promise.

LP: 1974 GRC

No reissues exist as I write this entry.

Last listen: September 30, 2017

Alice - Arretez le Monde. 1972 France

Alice were a French pop band experimenting with orchestrations and other trendy progressive ideas. In that way, they remind me of the Italian groups doing similar like Delirium's Dolce Acqua or The New Trolls Concerto Grosso No. 1. When Alice are strictly instrumental, they can be highly fascinating, and utilize a multitude of instruments (including mellotron). But they are pop singer-songwriters at heart, and those moments are pretty hard to stomach, unless you're a fan of said style.

No legitimate reissues exist as of 6/24/24. 

Ownership: LP: 1972 Polydor. Gatefold. Decided to let my copy go.

8/22/10 11/7/17 (new entry)

Murder in the Cathedral - s/t + Afraid Of... 1997/1999 France

Both albums by the French band Murder in the Cathedral are fine examples of the sort of neo psych Nick Saloman has been pushing all these years. But unlike The Bevis Frond, Murder in the Cathedral have little delusion that they are actual songwriters, and get down to psychedelic goodness quickly, with loads of superb fuzz tone melodic guitar. I give the nod to their debut but you can get both albums in full on the Long Hair CD, which comes recommended.

Personal collection

CD: 2007 Long Hair (Germany)

Last listen: November 13, 2017

Exsimio - Carbono 14. 2005 Chile

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

Personal collection
CD: 2005 Mylodon

Last listen: November 25, 2017

Ring of Fire - Lapse of Reality. 2004 USA

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

CD: 2004 Frontiers (Italy)

Traumwolf ~ Germany

Aussen (1982)

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

7/13/18 (review / new entry)

Birdland ~ Serbia

Darkness of Light (1980)

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

7/13/18 (review / new entry)

Garolou - s/t. 1978 Canada

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

LP: 1978 London

Originally reviewed: October 30, 2010

Radius. 1972 Italy

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

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

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

2004; 7/12/18 (new entry)

Zog ~ Netherlands

Do ze Funkie Wiz Me (1983)

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

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

No reissues as of 2/22/25

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

Social Tension - Macbethia. 1989 Japan

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

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

1991; 7/11/18 (new entry)

Nuance ~ France

Il est une Legende (1982)

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

Ownership: 1982 FLVM (LP)

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

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

Ose ~ France

Adonia (1978)

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

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

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

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

Magdalena ~ Spain

Lanean Sartzen (1981)

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

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

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

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

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

Cultural Noise ~ Austria

Aphorisms Insane (1980)

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

Ownership: 1980 CBS (LP)

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

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