Klotet, Sweden

News: Not much news here. The cover above represents their 3rd album released on cassette and CD-R only. So I haven't heard it yet. Still posting in 2019 though. Last check: February 15, 2020

Facebook

Samples

Location: Uppsala

Overview: Klotet are a modern band who play in a very Swedish 1970's sort of way. Utilizing only analog keyboards, and a fuzzy electric guitar, Klotet conjures up classic Kebnekaise, Harald Hedning, Lotus, and Flasket Brinner.

UMR notes

Tanger, Argentina ***INACTIVE***

Progressive rock; Space rock

Facebook

Bandcamp

Latest release: Mundos Paralelos (2008)

---UMR notes

Mundos Paralelos (2008)

With Mundos Parelelos, Tanger finally carries the same lineup forward. Not surprisingly, the sound doesn't evolve much. Though it's clear that Tanger are beginning to slow down as rockers, and the flute becomes even more of the focus. At this point, Tanger are starting to resemble more the Catalonian group Gotic more than Humus and King Crimson, though that's overstating it somewhat.

Ciudad (2006)

Once again Tanger changes the lineup on Ciudad, this time replacing the guitarist and the drummer. And as per protocol, not much changes regarding the music. The psychedelic aura is perhaps slightly more toned down, and melodic interplay is more championed. At this point, Tanger are sounding more like an updated version of the obscure 1970s Chilean group Blops at the time of Locomotora.

La Otra Cara (2002)

Very little changes from their debut on Tanger's sophomore effort La Otra Cara, perhaps only scaling back the excess slightly, with only one of the (again) 12 songs exceeding the 5 minute mark. It is interesting to note that Tanger did swap out flautists, and yet you wouldn't notice unless you had a scorecard. Tanger seems to be modular when it comes to the individual's participation.

Tanger (1999)

Tanger's debut is quite startling, and was quite a revelation for me in 1999. The sound is right from the Mexican school of neo psychedelic space rock as championed by Loch Ness, Humus and Frolic Froth. A thick, wedgy and very psychedelic guitar sound permeates. Muddy bass and thunderous drums takes you through the wilderness of the Andes, and images of Krautrock legends such as UFO era Guru Guru are not far away. The angular nature of the compositions call out another obvious influence: King Crimson at the time of Larks' Tongues in Aspic. But that only tells half the story: Tanger's ace-in-the-hole is the contrasting instrument amongst the fray - that of the flute. So in the end you get 12 individual tracks of an all-instrumental psychedelic version of the Beauty and the Beast. Beautiful and melodic flute lines are offset by evil and mean fuzz guitar licks. Colucci himself is probably the least intrusive of the band members, primarily staying in the background, content on keeping the proceedings grounded with his steady hand on the bass. And this is the formula Tanger takes forward to the future.

10/27/12 (new entry)

Arbatel, Mexico

News: There doesn't appear to be any internet presence for Arbatel, which is really too bad. They really had something going on. Hopefully they will reemerge, and we'll be here when they do!

UMR notes

I Treni All'Alba, Italy (Eddie review)

I Treni All'Alba - 2011 A.D. 2011 INRI Torino

Today's post is once again courtesy of our friend Eddie Lascu, who penned this for Gnosis earlier in the year. I haven't heard the album myself, but it sounds intriguing!

"Many musicians ought to ponder what other approach to create good progressive rock has left untouched and unexplored, so that the music released sounds fresh and original. How about two duelling acoustic guitars? Yeah, that hasn't been done, it could work. And it does indeed. I Treni All'Alba is a new band from Torino, Italy. "2011 A.D." is its second album after the 2008's "Folk Destroyers". While I haven't heard the debut, I understand that the sophomore effort marks a departure from a somewhat folk-oriented sound (which apparently got destroyed on that first album) and a venture into the Rock Progressivo Italiano realm. Not surprisingly, we are welcoming such unexpected turn of events.

Adorning an amazing cover by Domenico Sorrenti, the focus on this entire instrumental album is on the duel of the band's two acoustic guitarists (Daniele Pierini and Paolo Carlotto), both with obvious classical training background, as the sound is well anchored in the Spanish and Flamenco style of playing. Sabino Pace adds layered support on piano and various keyboard instruments. The quartet is rounded up by drummer Felice Sciscioli and he turns out to be an extremely versatile musician as the sudden sonic outburst on the second track of the album, "Attila", would suggest. Although not a member of the band, Francesco Vittori is complementing the rhythmic section on bass guitar on all 9 tracks of the album.

The album is opened by "Intro" a rather short, pastoral piece that is not giving away the onslaught that is about to be unleashed. The track segues nicely into "Attila" and almost one minute into it, you are hit by the first wave of the high level of energy that this band can display. The third track, "L'Arte della Guerra" is probably the best of the album, showcasing the amazing trumpet work of Felice Moro. His delicate touches help elevate the tension of the song to dramatic overtones of a real Mexican standoff. Just listen and you will see what I mean.

"L'Apocalisse" is the longest track of the album, clocking in a little over 8 minutes, but despite its length, the band moves flawlessly through several musical themes, so that you will barely notice the passage of time. The only song where the dual acoustic guitar over piano interplay is abandoned and replaced by hard electric guitar riffs is "Tempi Moderni?". The formula may be different, but the outcome is the same: excellent progressive rock music. The electric guitar will make two more cameo appearances on the last two tracks of the album but by now your impression is formed: you will always remember I Treni All'Alba for the great use of acoustic guitars to create fresh, exquisite progressive rock music.

Eddie Lascu
January 3, 2012

I Treni All'Alba:
Daniele Pierini - acoustic and electric guitars, tuba and trombones synth
Paolo Carlotto - acoustic and electric guitars, guitarra de coimbra
Sabino Pace - piano and synth
Felice Sciscioli - drums

Featured guests:
Francesco Vittori - bass guitar in all songs
Ramon Moro - flugelhorn in "L'Arte della Guerra" "

La Desooorden, Chile

News: It would appear the band is no more. I'll leave this page up as reference in case things change.

UMR notes

We also once housed Eddie's review here. It's been moved over to Gnosis.

Barrett Elmore, Sweden

News: Not much new in the world of Barrett Elmore since the release of Woodlands in 2012. Last check: December 26, 2018

Facebook

Samples

Location: Stockholm

Overview: Neo psych band similar to other Swedish groups like Dungen and the whole Subliminal Sounds stable.

UMR notes

Garden Wall, Italy ***Inactive***

Prog metal; Neo Italian prog

Facebook 

Reverb Nation

Latest: Assurdo (2011)

Assurdo (2011)

For those folks that are constantly asking to hear an album that is truly "progressive" rather than "it's progressive in the 1970s sense of the word", then I offer up to you Garden Wall's Assurdo. Garden Wall has always been a creative bunch, but they've really upped the ante this time. After about 5 listens, I cannot possibly describe this album. Many others have attempted to do so however. All of them very thorough, and quite excellent. No two are alike. I don't think it's possible for anyone to hear this album the same as someone else. About the only continuity in the reviews I've read is that Assurdo is unique. That's for sure.

They still have the Van der Graaf Generator meets thrash metal backbone of Forget the Colours, but do not be scared by that description. There's so much at play here, that at times you imagine you are hearing the classic Italian progressive rock scene being played out 200 years from now. Is it genius? How could I know - I'm for certain not one, but it is impossible to deny that Garden Wall continues to push the boundaries of progressive rock. This isn't tuneless cacophony in the name of Avant Garde, but rather a fully realized and coherent work. Check it out for yourself. Write a review. It will be different than the others you have read.

---3/13/12

Towards the Silence (2004)

I've written extensively about Garden Wall in the past. From the brilliant neo Italian prog of Path of Dreams to the insane prog metal of Chimica to the psychotic thrash meets VDGG of Forget the Colours, Garden Wall successfully challenges the realm of possibility. But I can't get into Towards the Silence. It's just too much. Too much of what I dunno, but it's a bit forced in trying to find its muse. If you can't find it, grind it. And grind it they do, for the full length. Just not very enjoyable though admirable all the same. I have enough Garden Wall to satisfy already. And it's been ages since I last heard The Seduction of Madness, and I'm expecting yet another enlightened listen from Garden Wall on that album.

---4/14/23

Forget the Colours (2002)

Go to any music site and you’re bound to see opinions on this album like “brilliant” next to “sucks” and little in between. There was once a metal band called Thought Industry who debuted with an album called Song For Insects. It was the kind of album that made you ask “Where did they get the idea to do that?” Absolutely mesmerizing in its creativity, yet so unfamiliar it was initially discomforting. That thin line between genius and retardation. If you ask me, I think Picasso is a bad joke, yet art lovers vehemently disagree. Dali is a genius in my eyes… others very much see it the other way. It’s always the most forward thinking ideas that draw the most radical opinions. Here, Garden Wall just did away with the keyboards altogether. However they added plenty of studio electronics to the mix as well as some well placed violin. The metal isn’t of the familiar prog metal variety either – the roots are based in thrash, a genre not known for mixing it up with prog rock. And listening to Seravalle spew these vocals, you know he’s one night away from rehab. If looking for something different, this is one I highly recommend. If you disagree, you’re likely to score it VERY low.

---6/05

Chimica (1997)

Listening to this tonight. Not much to add to the below. I wish it had more bass - it's very trebly. And Mauro Olivo's keyboard tones are pretty much the same throughout, minus the piano of course. Seems he should have taken advantage of the modern technology at his disposal. All that said, it really is an imaginative album that goes all over the place. Few bands were at this Italian band's level of creativity at the time of release.

On Chimica, Garden Wall’s 4th album, the band had really progressed to new levels of intensity and intelligence. It wouldn’t be too far out of place to state that Garden Wall are a few branches of further growth from the Semiramis tree, demonstrating their Italian progressive rock heritage. Lead vocalist/guitarist Alessandro Seravalle is truly one of the more creative minds to emerge on the progressive music scene in the last 20 years. He pretty much just marches to his own drummer and could be seen as a genius, or insane, depending on one’s perspective. His vocal style is best described as strange, somewhere between Peter Hammill and a madman (some would argue that’s the same thing). It’s a style that’s very appealing for the chaotic music he and the band create. Keyboardist Mauro Olivo plays almost entirely in counterpoint mode, giving the music a disorienting feel. While Garden Wall always had a heavy streak, Chimica is the album where they leaped whole hog into the metal camp concerning the guitar tone. Which is not to say they are a Dream Theater style prog metal group, not even close. This is real progressive music, in the true sense of the word, not just a genre tag. The 34 minute multi-part opening track ‘Chemo’ goes through many different sections while still maintaining the sense of a whole composition (something that is rare to find in modern bands). For fans of their earlier style, Chimica is seen as an album going in the wrong direction, but since there are plenty of keyboards and acoustic sections, it was passable. For folks like myself who love this kind of creativity while still rocking out, Garden Wall were continuing to progress into new exciting realms. It would be five years until their next album, and not only did they continue to polarize the progressive listening audience, they blew a hole in the universe.

---8/26/06 ; 6/6/21

Path of Dreams (1994)

I've written about Garden Wall in a few posts already, so I won't cover too much of that again. Path of Dreams is their second album, and the one I point to as the beginning of the sound they are most famous for. As I've said before, Garden Wall pretty much marched to their own drummer. While listening, whatever you think might happen, probably won't. Like watching the original Game of Thrones episodes, it defies all normal convention. Looking like a couple of mental patients on the back cover (on purpose I presume...), Path of Dreams fulfills that one expectation, especially considering Alessandro Seravalle's vocal delivery. This is one of those albums that ostensibly gets filed with prog metal, but could just as easily be true progressive rock (though not the kind that what we typically associate Italy with). Any way you slice it, complexity is its calling card. Almost every track here requires multiple listens to absorb. My favorite is 'The Bride of the Wind' as it contains the album's most memorable melody, and its placement in the album order is bizarre and fascinating. Of course it is. The 1990s harbored all sorts of these odd progressive bands that are mostly forgotten today. Rediscovery awaits, but I'm certainly glad to have lived it real time. If you're looking for something different - and very progressive - Garden Wall is a band worth following. And Path of Dreams is one of the easier albums to get into compared to some of their others.

As an aside, can someone enlighten me on the language used in Maj di Muart? I presume it's a regional dialect, as the group's origins are very close to Slovenia and Austria. I tried typing the lyrics into Google Translate but it kept flipping back and forth between Italian and Krio, the latter is a Creole type language spoken in Sierra Leone. Ah wait - I think I answered my own question after further research: Friulian it's called. It's a part of Italy I've never been to. Though I've been on a train through it coming from Slovenia. Need to go...

---7/25/22

Principium (1993)

Garden Wall's debut is a rather humble beginning for a band who would eventually blow the doors off of the creativity well. All the same, it's aged quite well for me. I didn't even like it the first time I heard not long after release. If I recall my headspace back then, it seemed too lightweight for metal, and not complex enough for prog. While it could be called more "typical" prog metal, there are plenty of progressions here that were unusual for the time. A groundbreaking group who continued to improve leaps and bounds from here.

---5/13/24

Others heard: The Seduction of Madness (1995)

3/29/12 (new entry)

Lunar Dunes, England

News: Nothing much from Lunar Dunes since the release of Galaxsea in 2011. Apparently they are related to, or have morphed into, a band called Solus-3, and that's where the samples below sit with.

Samples

Location: London

Overview: Lunar Dunes are a top tier psychedelic space rock band with well written melodies and a tinge of the Middle East.

UMR notes