Cooperativa del Latte, Italy

Neo Italian prog

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Latest album: Fogli d​’​Acqua Sparsi (2023)

OK, this is getting crazy. But in this case, here's a group who only released one album back in 1998, and completely disappeared... until now. And the new album was released back in July! To think I used to keep up with all new releases - like in 1996 haha.

Il Risveglio (1998)

Two months after the return of Cooperativa del Latte, their debut album came up for collection review. I don't think I've heard this since first acquiring the CD back in 2000. The album definitely belongs to the 90s Italian prog renaissance. Comparisons to Aria Palea, Germinale, Malibran, and Finisterre wouldn't be out of place. CdL are little bit more focused on retro instrumentation, in particular the keyboards (organ, analog synth, piano). However it's also a bit more tepid in its approach. The meter shifts are more carefully studied, the vocals are more subdued, the rhythms are less complex. The electric guitar has a 90s tinge to it. On the flipside, the use of flute and acoustic guitar add much to its 70s authenticity, which is a plus. Final track is also quite beautiful. Given its place in the Italian prog timeline, this one is worthy of further exploration.

---2/21/24

12/31/23 (new entry)

Dialeto, Brazil

Progressive rock

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Latest release: Pandelirium (2024)

And here we go again with yet another band I wasn't aware were still kicking around. I bought the LP below when it came out. I knew they reformed but really haven't followed them since. Will need to catch up.

Dialect (1991)

Dialect sounds like a heavy psych version of King Crimson's Discipline. I also hear the absolute best moments from the Brazilian neo psych band Violeta de Outono. Highly original album, especially considering the date. 

The band rerecorded portions of this album in 2008 under the band name Dialeto with the title "Will Exist Forever". Too bad they didn't reissue this original recording, as it's quite good.

To be clear, Will Exist Forever is not the same album. The label says: "Nova versão desse clássico disco progressivo nacional, lançado originalmente pela Faunus Records com o nome Dialect, teve regravadas todas as vozes, guitarras adicionais e violinos. Ou seja, um disco totalmente reformado e com uma qualidade de som bem melhor. O CD traz ainda duas músicas bônus, "Just For Free" (um improviso gravado na época na mesma sessão) e "Animal" em português. Edição limitada de 500 cópias em formato mini-LP.". With Google Translate's help, the key translation is: "re-recorded all the voices, additional guitars and violins. Ie, a disk with a completely remodeled and better sound quality.". Re-recording voices and adding instruments makes it a different album.

---1/13/11

12/31/23 (new entry)

Echolyn, USA-Pennsylvania

Progressive rock

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Latest album: I Heard You Listening (2015). Word around the campfire says to expect a new album in 2024.

Suffocating the Bloom (1992)

Echolyn are/were one of those bands that I was dictated to that I must like, but I just never could get into them much. Some 30 years has passed, so I think its time for an objective listen at my advanced age. Mannn... I still don't get them! At least on this album. But I do see the allure. One cannot accuse Echolyn of not giving it their all. They are talented - this is obvious - and their brand of the Midwest variation of Gentle Giant should push every button I possess. But it doesn't. Why? Not really sure. It's overly vocal oriented which can be a turnoff for me. They don't let the instruments breathe. Their melodic style doesn't resonate either. I can honestly say I like the album, but it isn't next level for me. I fear to say I have to move on from this album. Maybe other albums will trigger the right emotion, but Suffocating the Bloom never did.

---5/20/24

Other albums heard: Echolyn (1991); As the World (1995)

12/31/23 (new entry)

Aziola Cry, USA-Illinois

Prog metal

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Latest release: The Ironic Divide (2021). Reading they plan to release a new album in 2024.

Another band I had no idea were still around. Great to see so many of these groups hanging in there.

Ellipsis (2005)

Aziola Cry are a band from Chicago who took instrumental mid 70s King Crimson as a blueprint - and who were lead by a stick bass player - and then added a heavy metal undertone. It's "so 2005". I kind of like it anyway.

---10/13/16

12/31/23 (new entry)

Djam Karet, USA-California

Space rock; Progressive electronic; Progressive rock

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Latest release: Island in the Red Night Sky (2022)

Regenerator 3017 (2014)

Regenerator 3017 is a good example of an album I had zero recollection of. I had categorized in my space rock collection, like many of their others. Wrong. This is a mellow instrumental progressive rock, oftentimes falling into jazz fusion or even jazz funk. Plenty of great lead guitar that the band is known for, along with mellotron and thoughtful rhythms. This was their 30th Anniversary album that flew under the radar. I bought it dutifully when it came out and didn't give it the proper attention. This was to be the last Djam Karet album for me to buy, and that is likely to remain the case. I find it makes an excellent bookend to my already extensive collection by the group. A good place to rest.

---12/30/23

Recollection Harvest (2005)

Quite possibly Djam Karet's finest album and catches the group at their peak. Made up of two separate musical approaches, the title work is a retro instrumental prog that reminds me some of the classic 70s Dutch scene. The melodic quotient is very high here. 'Indian Summer' is the other concept, and here we're treated to an electronic rock style similar to Heldon or even late 70s Tangerine Dream.

---1/31/24

The Devouring (1997)

When this came out, I think we were all relieved that Djam Karet were back on track. Even to this day, it's arguable that The Devouring is their most fully realized work. The opening 3 tracks are brilliant hard rock / psychedelic / progressive instrumental tracks. It would be tough to expect them to maintain that pace, but the album miraculously never wanders off too much, though it gets a bit samey towards the end. I have most of the Djam Karet catalog, but I'm not sure how much will stick around. But for certain this, along with the first one I bought - Reflections from the Firepool, most certainly will.

---6/11/20

Suspension & Displacement (1991) 

Bought this when it came out, famously with its cousin CD Burning the Hard City. For most of that time since, I held the other CD as the better of the two. Now I'm not so sure. My mental image of Suspension & Displacement was that of a boring electronic / space rock album. But I had dismissed the full band effort here, and there are many organic moments, including much needed warmth instruments like acoustic guitar. A definite +2, and I have a whole new outlook on this, some 31 years after the fact.

---4/9/22

Reflections from the Firepool (1995)

Reflections from the Firepool is where Djam Karet went pro. Prior to this, their releases had been more jam oriented, with far less focus on composition and melody. It's also the album where I was first introduced to this fine long running band from California. I picked up the CD from a mail order dealer not long after release (be sure to see the "more section" below), and was subsequently blown away.

To understand this, one must go back to 1989. It was a time of optimism for many reasons, but all one needs to remember was the basic collapse of The Warsaw Pact on a nearly weekly basis. Tyranny was out and Freedom was in. On the music front, after years of dormancy, the psychedelic guitar was being brought back to prominence. Djam Karet, along with Tangle Edge and Ozric Tentacles were leading the charge and using the instrument not just as an accent, but rather as a focal point. This wasn't the 80s indie rock / neo psych hybrid that was popular with the post New Wave crowd, on the contrary, these new groups had in mind Ash Ra Tempel, Amon Duul II, and Gong - along with other such great bands from the early 1970s.

'The Sky Opens Twice' is a perfect opener. As I read other reviews, there seems to be a unanimous chorus that the album is nothing more than loose instrumentals. This is far from the case here. While certainly there are some incendiary guitar jams sprinkled throughout, that of course is what this listener (and my peers) would hope for. The payoff of the investment as it were. Other highlights include 'Run Cerberus Run' and the title track. Perhaps only 'All Doors Look Alike' with its incongruous free sax blowing on part 1, and the second half of 'Scenes From the Electric Circus' aren't up to snuff (though the first part of this track is super).

All in all, Reflections from the Firepool is the album that put Djam Karet on the map. They sort of lost their way in the early 90s, only to come back ferociously with The Devouring, and never looked back again. For my tastes, Reflections From the Firepool is a very important work of the latter 80s, which ushered in numerous other bands who followed suit in the very interesting and productive 1990s.

---7/30/18

The Ritual Continues (1987)

After purchasing Reflection from the Firepool I immediately went back to the mail order dealer and acquired the tape of its predecessor, which is the album of today's discussion. That tape is slightly different than the CD I now possess (which wasn't released until 1993), but essentially is similar from a musical perspective. This album captures Djam Karet going from the raw jams of their debut tape No Commercial Potential to the relatively composed Reflections from the Firepool. Opener 'Shamen's Descent' is arguably the finest track here, mixing the exotic psychedelic jam with progressive rock complexity. 'Technology and Industry' is another highlight. If you do have the CD, then you'll be treated to the most Krautrock oriented song in 'Tangerine Rabbit Jam' performed by Happy Cancer, who is Djam Karet's direct ancestor. Some of the album can meander a bit, but it's in the spirt of naïve exploration, a most welcome trait in an era that frowned on such activity. Had this been a newer release, I wouldn't be overly enthused, but given its place in history, I feel the album deserves much praise. An enjoyable album throughout and one of America's pioneers of new psychedelic oriented music.

---9/7/23

No Commercial Potential (1985)

Djam Karet's debut album, the cassette No Commercial Potential, was a true anomaly when released in 1985. The concept of long form, psychedelic guitar driven rock instrumentals, was an extinct concept in the mid 1980s. Whereas LS Bearforce released the homage to early Guru Guru in 1983, Djam Karet had taken the idea of combining mid period King Crimson mixed with any number of west coast late 60s psychedelia bands. And yes, with more than a hint of Krautrock as well. Djam Karet were born out of a (still operating) California record store, and it's no accident they possessed the historical capacity for musical research. Quite simply, they were considerably ahead of their time, and by the 90s many were following their lead, arguably to lesser success. It must be said, the title is as accurate as any in history.

---8/12/17

Jan 2017 (new entry)

Viima, Finland

Progressive rock; Prog folk

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Latest release: Väistyy Mielen Yö (2024). 

Ajatuksia Maailman Laidalta (2006)

It’s getting to the point that everything that’s from Finland is great. They are to the current decade what the French were to the 1980s. And thank goodness for that. Wasn’t sure what to expect here. Was told it was Finnish folk prog, and about the only band I associate with that is the obscure and rare Scapa Flow. It’s not really like that however. Even though it’s sung in beautiful Finnish, the album has more of a UK feel than one from continental Europe. The female vocals are one distinguishing factor. What’s interesting to me are the guitar breaks, which are rooted in hard rock – a clear departure from the acoustic folk psych of the base material. I quite liked this one.

---Dec 2006

11/25/23 (new entry)

Hamadryad, Canada-Quebec ***Inactive***

Progressive rock

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Latest release: The Black Hole (2017)

The band is still posting so we'll assume they haven't completely called it a day. But they haven't played in many years.

Safe in Conformity (2005)

Hamadryad's second album primarily swirls around the mid 70s Genesis era of Trick of the Tail. There's the faux mellotron, familiar Collins-esque vocals, and Hackett styled guitar. There's also some muscular early 70s heavy prog in the Uriah Heep sense of the word. And the other diversion is about two-thirds of the way through, where they go all-in Rush but with a bit of prog metal thrown in. It's definitely a shoehorn, but it adds diversity on a continuous listen. Safe in Conformity is the kind of album that grows in stature with time, as it has done with me. A keeper.

---6/1/20

Conservation of Mass (2001)

I have quite a few albums in the collection that I'm most excited to hear - many of them I anticipate are better than I have them rated. This is yet another album I haven't heard since it first came out. So 22 years later we have our second visit. I'm much more familiar with their follow up effort Safe in Conformity. My notes for that album are above.

On their debut, Hamadryad start with a heavier Rush like sound and move gradually over to Yes, rather than Genesis. It's a busy album with lots of time changes, harmonies, instrumentation, and a myriad of ideas. There's much to absorb here. I listened twice in a row, thus tripling my familiarity lol. Easy +1 listen and my self-prophesy of the album being higher rated than I had it was fulfilled.

---12/24/23

12/24/23 (new entry)

Gösta Berlings Saga, Sweden

Post rock; Avant prog; Retro prog

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Latest release: Konkret Music (2020). New album slated for 2024

Glue Works (2011)

As mentioned on the Detta har Hänt review, Gösta Berlings Saga seemed to be moving away from their Swedish folk roots and more towards modern post rock. And now they've jumped off the cliff and thrown their lot in with this latter movement. A wall of sound approach, with mid 70's King Crimson and late 90's Anekdoten references everywhere. I'm sure the intensity of playing this music can be quite inspiring, if not emotionally exhausting - but as a listener it can stray towards the mundane after a few minutes of the same pattern. 

All of which sounds like I'm low on this album. I'm not. But given the immense promise the debut demonstrated, it's very disappointing to be here. I do enjoy, however, the Zeuhlish closer 'Sorterargatan 1'.

Detta har Hänt (2009)

Two albums in now, and I can honestly say Gösta Berlings Saga has never written a song that has blown me away. Nor have they played anything I didn't like at all. Strange. A new guitarist is in, but mostly the music has stayed the same from the debut. I'd say the "Swedish-ness" has been removed and that's a step backwards for me. And perhaps the post rock tag could be applied in various places (yawn). There's a certain driving monotony to it all. But again, we're in familiar progressive rock territory for most of the album. It seems they're on the cusp of releasing one of the best albums of the last 10 years, but they hold back just a bit too much.

'Sorterargatan 3' has a nice repetitive groove to build upon, the kind that made some of those classic 70s albums so good (think Magma). Or a modern band like DFA. 'Bergslagen' is closest to the debut with mellotron and a hint of Swedish deep-in-the-forests type melodies and atmospheres. Best track on the album. 'Västerbron 05:30' features some aggressive guitar soloing that I found refreshing. There also seems to be more of an Anekdoten influence (first 2 albums) than prior.

Tid Är Ljud (2006)

Gösta Berlings Saga could be considered the perfect modern Swedish progressive rock band. They look inward towards their own country for melodic inspiration, rather than the UK/US style of groups like The Flower Kings. Second album Kebnekaise is about where they land on the Swedish scale, but Gösta Berlings Saga are far more symphonic than that may imply. They use plenty of vintage instrumentation (as expected, primarily in the keyboard department with mellotron, Rhodes and various Moogs), yet the production and overall sound has a modern sensibility. Gösta Berlings Saga are one of the few groups of our era that do not belong to a current sub-genre, such as post rock, prog metal, neo, avant, retro / proto, jazz/fusion etc... They are, in fact, a straight ahead progressive rock group. They have respect for the 1970s, but aren't stuck in it. This might all seem like we're smack dab in the middle of our interest area, and thus might be a little boring or uninspired. And yet it's not at all that way, proving that the old recipes are generally better than the new concoctions. A pretty new room in an old house.

It's near impossible to pick highlights. All of the tracks are remarkably consistent, though by no means samey sounding. I will also allow that there's no drop dead killer tracks either. 'Helgamarktz' & 'Syrenernas Sång' lay the foundation of what Tid Är Ljud is about and if you like these two, it's highly likely you'll love the rest. 'Aniarasviten' has a stunning melody as its centerpiece, to an overall excellent moody composition. 'Ljud Från Stan' is more of a psychedelic jam rock piece, with fine guitar and Rhodes soloing. Gösta Berlings Saga shines in this setting and are able to maintain the intensity necessary. 'Tog du Med dig Naturen?' & 'Knölsvanen' seem to blow by, without having much impact. They're both fine tracks, and perhaps it's their placement that keeps them from standing out, even on multiple successive listens. 'Svarta Hål och Elljusspår' adds flute to great effect, providing the right soft focus lead instrument Gösta Berlings Saga definitely needs to get to the next level. All in all, a highly recommended album.

6/24/11 (new entry) 

Present, Belgium

Zeuhl; Avant Prog; Chamber rock

Latest release: This is Not the End (2024). To be released 3/29/24.

Certitudes (1998)

It was sometime in 1985, while visiting my favorite underground record store in Dallas (Record Gallery for those that were there), that I first discovered Le Poison Qui Rend Fou. Everything about it was new to me - the album, the band, the label (Cuneiform), and the music (what later would be dubbed avant prog). For me it was a new kind of complex progressive rock, and one that captured my 20 year old mind's imagination greatly. Unfortunately that seemed to be about it for Present. I later learned about their considerably more obscure debut (at the time) and their association with a one Univers Zero, a group I began to seek and collect as well. Present did pop up here and there in the next decade performing music that was not necessarily "Present-like", including the rather interesting Live blues rock album that I've written about on this blog already. So it was with much excitement that Present returned to form on 1998's Certitudes. This was the sound of Le Poison Qui Rend Fou moved forward. The complex layering, the haunting vocals (male instead of female though), the pounding piano, the searing electric guitars, and the impossible rhythms. This is the Present I first discovered and loved. The primary problem with a band such as Present is the music isn't particularly memorable. When one thinks to pull out an album such as Certitudes, the mind goes into this jumbled mess. Knowing that yes, this is sophisticated music, and the instrumentation is correct. But memorable melodies and passages? No.

But Certitudes is special to me for another reason, beyond the return to my mid 80s exploratory years. One fine evening in May of 1998, the band performed live in what was then our current home town of Denver. At that time I'd been married for just over a year. My wife, never one to embrace the music I enjoy, was still open minded about going to concerts and trying different things. I took her to this Present concert. It was an incredibly intense show resembling the Certitudes album (and with local Denver mover and shaker Dave Kerman on the drum kit, replacing Daniel Denis). During the show, while I was certainly enjoying myself, I began to really worry about my wife, as I suspected it was just too much for her young and untrained ears (fortunately we brought ear plugs). After the show, I asked her what she thought. She said it was really good, very different and intense, but she really appreciated the effort and the authenticity of the band. Wow! Fast forward 22+ years, just as I was to pop this into the CD changer (for the first time in the same 22 years), I asked her if she remembered the concert. She did and recollected pretty much the same sentiment. Again, I was surprised, as it's hardly been a Happy-Hour discussion topic. Funny though, she wasn't clamoring to join me on the listening session... 

And for all the reasons above, this is why I tend to revere Certitudes as one of Present's best efforts.

Live! (1996)

An interesting live album from Belgium's Present. Sounding more like a psychotic blues rock take on their first 2 albums, the album has a rawness and deep soul missing from their studio works. Present always sounded to me like a typical mathy, ultra precise, avant prog unit. Here, they sound a bit messy, and even give into the odd guitar jam, just the kind of dirty soot the band needs. I've had this CD since it first came out, and never held it among the finest of their works, but I'm hearing it in a whole different light this go round. Hmm.

Triskaidekaphobie (1980)

Only a European band whose roots are clearly planted in the Rock in Opposition movement would name their album after the fear of the number 13 - in French of course. Perhaps the listener will have the same fear as they are greeted with rhythms performed in 13/16. Present's debut is a hellish music where the blueprint is clearly Univers Zero, who are a direct parent on the ancestry chart. A blueprint that is dragged through King Crimson's 'Fracture' for the ultimate bad trip. Bad trip as translated in the avant prog language I mean...

6/13/16; 7/15/16 (new entry); 12/14/20

Dungen, Sweden

Neo psych 

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Latest release: En är för Mycket och Tusen Aldrig Nog (2022)

En är för Mycket och Tusen Aldrig Nog (2022)

In hearing their latest album, I thought Dungen might be headed in a folk rock direction, but ultimately they reel themselves back to their Swedish psychedelic pop core. I wasn't really in the market for another Dungen album, but a local record store had it, so why not give it a shot. While this isn't their best work - not even close really - it's still excellent. Which just demonstrates how high up the mountain Dungen can get at times. Hard to know when to stop with this group. They continue to age tremendously well.

Häxan (2016)

Dungen's CV for over a decade will read as a modern take on the 1971 Silence Records stable mixed with Mikael Ramel's Till Dej. The fact that the band defiantly sings in their native Swedish, and still manages to have a large cult following even here in America is something quite extraordinary. But what if the band decided to remove the songs and lyrics? Häxan is the answer to that question. Gustav Ejstes and company have provided their musical interpretation of a 1920's era animated German film. And the German reference can be taken even further, as this is spot on Krautrock from the Kosmische Kourier era. It has that warm analog feeling with the biting psychedelic fuzz edge juxtaposed against the wavering flute throughout. There are beautiful melodies and soundscapes, but little that would typically qualify as a traditional "song". So journey south with Dungen from Stockholm to Berlin and enjoy Häxan. I can listen to music like this endlessly.

Allas Sak (2015)

After a 5 year break, we receive Dungen's 7th studio album, though if we're to use their numbering system, I suspect they would say it's their 6th (witness album called 4). No matter as Dungen continue with their brand of Swedish psychedelic progressive... pop. The latter perhaps a bit more pronounced this time, especially on the opening trio of tracks. I still can't get over just how popular Dungen are (including a guest appearance on prime time USA late night TV). Me and about 20 other people from Sweden have a full collection of this kind of Swedish psych from 1970-1974, sung in the native tongue. Not a single album anyone would ever have heard of today. Speaking of which, it took me 10 years to figure this out, but now I know precisely where Gustav Ejstes got his main ideas from. If you're a big fan of Dungen, then you should make an effort to hear this album Till dej, one I assure you Gustav has framed on his wall at home.

As mentioned, there is quite a bit more pop this time around than prior, though there is plenty for the more adventurous listener to dig their teeth into. 'Franks Kaktus' is an absolutely stunning instrumental and among Dungen's finest compositions to date. 'En gång om året' is the mournful downer Scandinavian psych that is Dungen's signature sound. 'Åkt dit' gives us the requisite mellotron drenched sound we so crave. 'En dag på sjön' reminds us just how popular Santana's fusion era was in Sweden in the early 70s (think the live Lotus album here). 'Sova''s attempt at a psychedelic ending is admirable, though ultimately boring, and the fast forward button was looked at. More than once.

Dungen 4 (2008)

I went into hearing this album with some trepidation. I've been fond of Dungen almost from their beginning and held them as one of the best of the neo psych groups of the last 20+ years. A couple of months ago, their second album Stadsvandringar showed up as a random pick. And even though I had it as their lowest rated album, most assuredly a revisit would bring it up a notch. That didn't happen. In fact the opposite and I sold it. My fear at that point is that I had inflated the group in my mind. That they really weren't that special. Just another garden variety psych band that perhaps I was elevating due to a lack of similar bands during an era when more were needed.

Now Dungen 4 comes up. Here we go... And right away all my fears subsided. This is a completely different sound. One that I'm going to struggle to define. I listened to it 5 times in a row (!) and it resulted in a +1 rating. Keep in mind it was already rated very high. It reached the top echelon of 5 stars / Gnosis 13+. The music is highly melodic, the instrumentals are very psychedelic, the sound is analog perfect. Gustav Ejstes and Reine Fiske have multiple peak moments throughout. The songwriting is almost that of the mid to late 60s orchestrated pop era - a little bit tying in with the Japanese Shibuya-kei movement. The music texture is heavily influenced by the Swedish masters of the past like Parson Sound and Algarnas Tradgard, except it sounds nothing at all like them. This isn't avant garde in the least. There are not many albums that I need 5 listens to work out in my head and continue to enjoy each one better than the last. But Dungen 4 is one of them. Now I cannot wait to hear the other Dungen albums in my collection (most of them), as it's possible they too may enjoy a +1. Even those I've already written thoroughly about.

Stadsvandringar (2002)

Dungen is a band that has aged incredibly well for me. Each revisit is a revelation. Stunning mix of neo psychedelia, murky Swedish folk, and late 60s Brill Building pop. Some of their albums have scaled the Gnosis 13 self actualization level. But this second album has always left me flat. Almost inexplicable.

11/3/15 (new entry); 2/24/18; 9/29/22; 4/10/23; 12/22/23

Kubusschnitt, Europe

Berlin School Electronic

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Latest release: The Core (2022)

The Singularity (2001)

At first I thought The Singularity was going to be very similar to The Cube but it began to capture my imagination. An electronic album made up from a quartet is rare enough, and there's plenty of great guitar to offset the sequencers. The group sounds inspired here, and I get the impression this is considered one of their best albums, if not the best. And they have many releases, including recently.  Released during the heyday of the Berlin School Revival. This album makes the cut and will likely be the sole representation of Kubusschnitt in my physical collection. Interesting for me, that in those same 2005 notes, I called out The Cube as the better album. Tastes evolve...

The Cube (2000)

Rock solid sequencer/guitar based EM music. Hodgepodge Euro group. Four members adds a lot of synergy. Both are easily recommended to RMI fans (and others similar). Some great driving the Interstate music.

5//05; 12/7/23 (new entry)

Zopp, England

Canterbury; Retro prog

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Latest release: Live at the Sumac Centre (2023). Released Dec 1.

Zopp (2020)

Just like yesterday's La Maschera di Cera, Zopp are a band designed specifically for a progressive rock sound of the 1970s past. In this case it's the music of Canterbury - and even more to the point, National Health. It's a two piece group lead by Ryan Stevenson, who plays every instrument under the sun, including a host of analog keyboards (or simulations thereof), fuzz bass, and lead electric guitar. Essentially Stevenson is Zopp. Joining him in this endeavor is drummer Andrea Moneta, who does a fine job of maintaining the polyrhythms expected of the genre. In this way Ryan Stevenson is emulating another Englishman, a one Andrew Marshall, he of Willowglass fame. Marshall is all about Anthony Phillips era Genesis in the same manner that Stevenson is all about National Health. A bit obsessive, but very welcome to these ears anyway. In addition to the two piece, Stevenson recruited no less than 4 others to join him, most notably Andy Tillison of The Tangent and others. The album has a full sound, what you would expect from a much larger ensemble. All the great qualities of Canterbury are present including the wedgy analog sounds, the insouciant melodies, and the complexity of composition. For what Zopp set out to accomplish, they nailed it! I seem to never tire of the Canterbury genre, as it's a timeless and beautiful sound. It doesn't seem fair that we only got two studio National Health albums (not counting DS Al Coda or archival material of course). I mean if precisely one million bands and artists can copy the same old American Idol fare, it's not too much to ask for some small Canterbury portions is it? Zopp fits most comfortably with contemporary Italian and Spanish artists such as Moogg, Homunculus Res, and Planeta Imaginario. Easy recommendation for genre fans.

1/26/21; 6/16/23 (new entry)

Arabs in Aspic, Norway

Retro prog hard rock

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Latest album: The Magic of Sin (2023). Released Dec 1.

Pictures in a Dream (2013)

Robert Fripp has stated that Larks' Tongues in Aspic means: "Something precious which is stuck, but visible. Something precious which is encased in form."  So with that heady bit of insight, it's obvious to me that Arabs in Aspic means... yea, I have no idea either. [shrug]

But what is "in aspic" is the band's ability to recreate the sounds of the 1970s. Specifically the American FM sound of 1975 and '76. Despite being from Norway, Arabs in Aspic are yet another band that would fit well in my USA Midwest / Ontario Progressive Rock (1970's/early 80s) list. Sounds odd doesn't it? Well... it's not as strange as it may first appear.

In 1990, in my European backpacking days, I was on an overnight train from Oslo to Bergen. And I befriended a nice looking couple who I thought might be American. They didn't look American (jeans and white tennis shoes were still strictly the provenance of Americans in those days), but they sure did sound like it. So I ventured into conversation with them - both college kids and only a few years younger than I at the time. They went on to explain that they not only learn English, but "American English" in school. Crap - they spoke the language better than I did (do)!

So a band from Norway being able to immerse themselves completely into the American mindset isn't that far fetched at all. Note I said the FM sound of America - not just bands from the USA. To me Arabs in Aspic have carved a niche out of something very familiar - somewhere between Pink Floyd, Kansas, Deep Purple, Uriah Heep, and Led Zeppelin. It's a fascinating blend - like mixing a new drink with common ingredients.

Sure, you say, but most of those bands were British and they were popular everywhere, right? True. But Arabs in Aspic remind me of those US bands that tried, successfully or unsuccessfully, to copy them. A deep diver may call out other 70s Norwegian bands like Host, Aunt Mary, or Ruphus, but that's not it... I hear the music here as something created in North America - not in Europe. Even more so than Black Bonzo, who came close, but still sounded "English". Seriously.

(Of note, they threw in two tracks with Norwegian vocals, that completely changes the tone of the music. For me, I'd like to hear more of this trend.)

To approach the album properly, I would probably avoid thinking of it as "progressive rock". More like "classic rock".

9/4/13 (new entry)

Tabula Smaragdina, Hungary ***Inactive***

Progressive rock

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Latest album: A Szavakon Túl (2009). Seems the band last played in 2012, though they have maintained their FB page.

A Szavakon Túl (2009)

Tabula Smaragdina (a Latin word referring to the Hermetic Emerald Tablet) were one of the precursors to Yesterdays, a relatively more known group from Transylvania (Romania/Hungary). Tabula Smaragdina's sole album (to date) is a refined type of progressive rock, with modern Yes sensibilities though there's more room given to vintage instrumentals - the closing track is the best example of what I mean here. Acoustic guitar and piano are put to good use throughout the album. There's light metal riffing here and there demonstrating its modern heritage. References to The Flower Kings and Spock's Beard are not unfounded. When the band aim for more commercial structures, they are more similar to the aforementioned two groups. Which is less to my tastes than neo prog and the late 70s North American proggy AOR acts. This album has a very good reputation on sites such as ProgArchives, but this is where my tastes diverge from that particular mainstream of thought. No right or wrong of course, just a different perspective. A good album on the whole, though not the type of progressive rock I'm personally seeking.

11/26/23 (new entry)

Iluvatar, USA-Maryland ***Inactive***

Neo prog; AOR prog

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Latest release: From the Silence (2014). They still post from time to time though do not appear to be active otherwise.

Iluvatar (1993)

Iluvatar are a band from my second city of Baltimore. They released three albums in the 90s with one reformation album 15 years later. Unfortunately they came around long after I had any interest in what was/is known as neo prog - essentially the early 80s British take on the classic 70s sound (Marillion, Pendragon, IQ, et al). Today I have a great nostalgia for the movement - an updated arena rock face-punch to go with a bit of that sophistication we expect from progressive rock. Honestly this album is more the sound of the late 70s North American proggy AOR bands roaming the countryside, playing anywhere from small clubs to large stadiums. File alongside bands such as Sunblind Lion, Stencil Forest, Fragile (San Jose), Relayer, Avalon, etc... It can get a bit too FM radio/poppy in places, and sure, a little vintage instrumentation would have been nice. All hallmarks of the genre I suppose, through thick or thin. Were this a small private press from 1981, I can assure you this would be a sought after and expensive LP today. Glad to hear it now, as there's no way I would have enjoyed this when it was released.

11/25/23 (new entry)

The Movements, Sweden ***Inactive***

Neo Psych; Space rock

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Latest release: Like Elephants 2 (2014). They were last seen playing live in 2019.

For Sardines Space is No Problem (2009)

The Movements are one of many bands that I put on a curiosity list real time but just ran out of time to listen to thoroughly. This kind of space rock has been - and continues to be - released at a very rapid rate since the late 1990s, and I long ago quit trying to keep up. Apparently the group's roots are with garage rock, and there are elements of that to be found here as well. On track 2) The Movements go barreling into Hawkwind hyperdrive mode, though it breaks into a cool electronic keyboard bit towards the end. The energy level remains high through to the next song. 4) is a folk tinged hazy psych piece with some nice work on percussive bells. No matter, the band can't sit still too long as they're ready to jam. Enjoyed the 60s vintage organ solo. The flute on 7) is a nice touch and provides the type of contrast The Movements need to make their space rock more impactful. The vocal section recalls 70s era Pink Floyd. This is my favorite track from the album. The music deals more in broad strokes than intricacies, and I think that's their garage background coming to the fore. Though Swedish, The Movements sound more like an English troupe from the late 60s transitioning into the 70s.

11/25/23 (new entry)

Aurora Lunare, Italy

Italian prog

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Latest release: Terzo Luogo (2023)

One of many bands I'm surprised to learn that are still around. I do have their 2013 album and rated it excellent, but do not have any notes to support that claim. I'll be sure to do that next time I hear it.

11/25/23 (new entry)

Unreal City, Italy ***Inactive***

Retro prog; Neo Italian prog

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Latest release: Frammenti Notturni (2017)

Frammenti Notturni (2017)

Unreal City's 3rd album certainly pushes all the right buttons for the Italian prog rock style. Many shifts in tone and pace, impassioned vocals in the local language, and complex compositions. All that said,  Frammenti Notturni seems a bit flat, and the instrumentals can be stilted. Not sure where to point the blame, as there's no real obvious flaws. Repeated listens in various settings haven't really swayed me one way or another, and yesterday's attempts resulted in a -1 rating. Hanging onto it for now, as there might be that a-ha moment to come (nope).

Il Paese del Tramonto (2015)

For Unreal City's debut I spoke about how the album was an excellent representation of the Italian progressive rock genre: "The style by itself allows for various interpretations of the same song over multiple listens. That's the beauty of it - there's so much to digest, each listen has its own rewards. And you will for certain get your money's worth with Unreal City, an album chock full of twists, turns, and great invention."

On their third and (so far) last album, Frammenti Notturni, I added: "Unreal City's 3rd album certainly pushes all the right buttons for the Italian prog rock style. Many shifts in tone and pace, impassioned vocals in the local language, and complex compositions. All that said, Frammenti Notturni seems a bit flat, and the instrumentals can be stilted. Not sure where to point the blame, as there's no real obvious flaws."

Which gets us to the middle child, an album I bought upon release but didn't pen any notes. As you can see from the two scribblings above, it's clear Unreal City are a participant of the Italian progressive rock virtual community. And Il Paese del Tramonto is no different. While it may have that prog-by-the-numbers feel, the album's abrupt transitions are very welcome, perhaps reassuring. I'm not sure why their third album never resonated. I tried on multiple attempts, but ultimately sold it. Fortunately that's not the case here. Maybe the band had reached their creative limit and it had become routine versus exciting. Unreal City have been silent for some time, and their last album is now six years in the rearview mirror. Perhaps this long break will reignite their creative juices. Regardless, Il Paese del Tramonto continues to earn its shelf space. My rating remains the same, now validated.

La Crudelta di Aprile (2013)

A couple of months back I was featuring the incredible renaissance we've experienced the last few years with the classic Italian progressive rock scene. Perhaps unbelievably, I was only about half way when I was forced to stop due to that everyday pesky life event we call a job.

As I'm sure you deduced by now, Unreal City is yet another new participant. Mirror Records presented us earlier in the year with Oxhuitza, a band that blended both old school Italo progressive rock (especially regarding the analog keyboards) with more modern sounds like metal guitar. For those who didn't care for the latter element, then Unreal City will most likely be more to your taste. There's a considerable amount of mellotron on here, though much of it sounds sampled to me (Planet Mellotron has given them the benefit of the doubt for now, querying the public for more info). In the end, it doesn't really matter much to me, as I love the sound - sampled or not. The guest violin adds a much welcomed ingredient. And the pipe organ recalls that old 1972 chestnut Il Paese dei Balocchi. Unreal City strike me as band that will be quickly dismissed by those saying it's "all been done before". Conversely, diehard fans will embrace it without too much questioning. I'm a diehard, and yes, I really like it for certain. I will admit nothing struck out in a head-turning way, like the very best Italian albums can, though I didn't hear anything cringe-worthy either. The style by itself allows for various interpretations of the same song over multiple listens. That's the beauty of it - there's so much to digest, each listen has its own rewards. And you will for certain get your money's worth with Unreal City, an album chock full of twists, turns, and great invention. I very much look forward to their next release!

9/2/13 (new entry); 1/14/22; 11/19/23

Cast, Mexico

Progressive rock; Neo Prog

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Latest release: Vigesimus (2021). 

The band is still actively playing live. They have 21 studio albums, so how much more do they have to offer? We'll see.

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 10 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. Given the strength of Nimbus, I'm quite open to exploring more. 

7/16/18; 11/19/23 (new entry)

Mahogany Frog, Canada-Manitoba

Canterbury style; Post rock; Space rock

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Latest album: Faust (2022)

DO5 (2008)

For Mahogany Frog's prior album On Blue I wrote: "This is the kind of music I'm really appreciating - highly melodic, analog fuzzy, and prog rock minded. I've never really gone too much for post rock - a bit too static for my tastes - and Winnipeg's Mahogany Frog have those tendencies. But there's also a strong Canterbury flavor here, a style that seems to be a natural fit for post rock."

Since DO5 was the first album I'd heard by Mahogany Frog, I just presumed it had been more Canterbury styled than On Blue, since I gravitate to the genre. In fact it was the opposite. As I was listening I begin to wonder why I was drawn to the album at all, given its heavier rock nature and post rock underpinning. But as the album goes on, I was taken aback by the energy, which is more Ozric like and definitely could be considered space rock too. Couple that with their inherent knack for melody, and you have a very unique combination. Which is reason enough to find space in the collection. I enjoyed a +1 listen last night (well two actually). In reviewing both Mahogany Frog's that I own, it's clear I didn't have a solid grasp on their sound. I wouldn't mind hearing their other six albums at some point. And it appears they are still active. Cool. I'll add to Under the Radar as well.

On Blue (2005)

On Blue had come up through the weed out stack where the survival rate is very low these days. But happy to say On Blue made it. This is the kind of music I'm really appreciating - highly melodic, analog fuzzy, and prog rock minded. I've never really gone too much for post rock - a bit too static for my tastes - and Winnipeg's Mahogany Frog have those tendencies. But there's also a strong Canterbury flavor here, a style that seems to be a natural fit for post rock. It's a very short album, barely clearing 30 minutes, indicating its preference to be a vinyl release (which it was too). Because of its brevity I listened to it four times straight which allows more time for the melodies to sink. Each listen was better than the last. Those are the kind of albums you want to keep.

11/11/22; 11/17/23 (new entry)

Fren, Poland

Retro prog; Post Rock

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Latest album: All the Pretty Days (2022)

Where Do You Want Ghosts to Reside (2020)

Right from the opening mellotron notes, it's clear this is going to be in the retro prog space, which is how it was described to me as well. What's strange about that is retro prog - as the term has become understood - is primarily a western European phenomena, based on their own country's 1970s progressive rock past. Especially England, Italy, and the Scandinavian countries. And the occasional Yank I suppose. But Eastern Europe's progressive rock scene of the 70s grew up differently. It had no choice, being forced to separate due to Communism. I enjoy both immensely, and it's nice to see a band from Poland make a try. When I think of Poland, bands such as Collage and Riverside come to mind, each being champions of neo prog and modern prog respectively.

Now having said all of the above, Fren aren't Wobbler, Astra, or Anglagard either. There is a distinctive post rock element to their sound - and the lengthy meaningless title of Where Do You Want Ghosts to Reside kind of gives that away. Big sweeping symphonic sound - somewhat modern sounding - as if Pink Floyd circa Animals wanted a try at emulating Jordsjo. I've always struggled with those lethargic fat beats that the genre seems to call for. So yea, Fren are a retro prog post rock band. Read that last sentence again. What a world we live in. Genre's aside, I was a bit fearful that the rhythm section wasn't going to participate, and essentially a computer could have taken over. But my fears were assuaged by the time of 'Gorąca Linia' and especially the jazzy 12 minute 'Pleonasm', quite possibly the highlight of the album. There's a slight resemblance here to fellow countrymen Gargantua. The entire band is quite accomplished, and I truly enjoy their (mostly) analog mid 70s sound. In the end, I'm rating this all instrumental album as "great", with the caveat that I'll need some convincing to move on with the band's next effort. 

5/16/21; 11/12/23 (new entry)

Phlox, Estonia

Canterbury styled; Jazz rock

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Latest release: Keri (2017). The band is still playing live as I update this post.

Keri (2017)

Keri remains the latest release from Phlox who are an excellent high energy jazz rock band from Estonia. They are still around and playing live so the possibility exists for new material. On their prior studio album from 2010 I wrote: "Talu sees Phlox tightening up the ship a bit, and keeping some of the looser components of their sound on the leash. If you're looking for a fiery brand of Canterbury influenced fusion with shredding guitar, fuzz keyboards and bass, sax and flute, then look no further than Estonia's Phlox."

And that applies here as well. The album in between these two is a live effort and a little bit more unhinged, to be expected given the setting. To be honest, after hearing Keri for the first time four years ago, I was a bit disappointed. Mentally I had categorized it as "too much of the same thing". And while it's true that Keri doesn't match Talu in either melodic development nor energy, the album does possess high amounts of both. I think I just needed a break from hearing too many of these type of albums at once. The break from intense jazz rock was good for me because as soon as this hit the changer I was fully immersed. Phlox has a wonderful thick analog sound without being retro in the slightest. I enjoyed a +1 listen last night which is closer in alignment with their other output.

Vali (2013)

Vali is a live offering from Phlox that predominantly features new material, excepting the last two tracks both from the Rebimine + Voltimine album. The always excellent combination of complexity and melodicism are still in full force. Some of the unhinged improvisational aspects of Rebimine + Voltimine have returned, perhaps not surprising given the live setting. The saxophone certainly pushes the envelope and sometimes borders good taste, but reels it back just in time. Though Vali is my least favorite of the three Phlox albums I've heard, it's still quite excellent. I will say this title has grown on me since first hearing it.

Talu (2010)

Talu sees Phlox tightening up the ship a bit, and keeping some of the looser components of their sound on the leash. If you're looking for a fiery brand of Canterbury influenced fusion with shredding guitar, fuzz keyboards and bass, sax and flute, then look no further than Estonia's Phlox.

Rebimine + Voltimine (2007)

Phlox are an Estonian band that play in the very heavy fusion category (no metal though). Hard driving, fast, complicated and downright exhilarating. A 6 piece group with guitar, sax, Moog, and electric piano being the primary solo components. The opening track alone ‘Rahn’ is likely to leave you with jaw dropped and completely out of breath. We hear flute on this track, and it’s unfortunate that it’s the only use on the album, because the contrast with the heavy guitars and blazing rhythms is awe inspiring. That’s not to say the rest of the album isn’t as impressive, because there’s so much here to like. The only fault I can find is their tendency to take the sax and electric piano jams too far - and thus lose us in the weeds (especially on the last 2 live improvisations, which should have just been left off altogether). Fortunately that’s a few and far between occurrence. Somewhere between Naikaku, Panzerballet and National Health is where you’ll find the sound of Phlox. Superb.

11/14/07; 2/20/11; 5/7/13 (new entry); 11/10/23

Pallas, Scotland

Neo prog

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Latest release: The Messenger (2023)

Never penned any notes about this band, but The Sentinel was one of the very first neo prog albums for me to buy (still have the UK LP original - with the poster). The extended CD version is even better. I'll for certain get some notes down eventually.

11/10/23 (new entry)

Astrakan, England

Canterbury style; Jazz rock

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Latest album: Crab Weather (2023). Yet another band that I was unaware was still cooking!

Comets and Monsters (2012)

While the first album stayed completely in the underground, at least Astrakan's latest album Comets and Monsters is slightly more accessible, being readily available from online retailers. Musically the band stray further towards the jazz end of the Canterbury spectrum. Adding female vocalist and keyboardist Celia Lu has defined their new direction. She sings in a higher pitched fashion - perhaps even pseudo operatic at times - similar to Dagmar Krause. But with a Chinese accent. It's a bit bizarre to say the least. I personally wish they'd exploit their rock abilities, but it seems Astrakan are more intent to stay within the jazz idiom. Henry Cow circa In Praise of Learning is a major influence on Comets and Monsters, but without the annoying tuneless improvisations, thus endearing the band more to my tastes.

Astrakan (2008)

Astrakan starts afire with 'In & Out', which possesses a distinct Canterbury sound but completely run amok. The shredding wah-wah guitar left me breathless. Too bad there isn't much more of that psychedelic sound present throughout. Have no fear though, the melodic jazz rock that the Canterbury sound is noted for remains intact. The jazz influence becomes more prominent in the middle of the disc. Sax and organ all get plenty of time to shine. I particularly enjoy their extended use of the latter. It's important to note that Astrakan focus more on composition and atmosphere rather than noisy soloing, thus endearing itself to me. Highlights include tracks 1, 2, 5, and 7.

4/10/11 (new entry); 1/29/13

Iconoclasta, Mexico

Progressive rock

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Latest album: Alter Ego (2023). Had no idea these guys were still around either! Though it appears the group is mostly a Ricardo Moreno solo act at this point.

Suite Mexicana + Soliloquio (1987)

Iconoclasta were probably Mexico's #1 progressive rock export in the 1980s and a big part of the style's revival in that country. The EP was released three months ahead of the LP proper, and features traditional instruments and melodies among the usual rock instrumentation. I would like to call out guitarist Ricardo Ortegon, who puts in an exceptional performance on both these albums. '7:19' adds flute with fine results. There's also the requisite "side long" track that allows the instrumentalists to shine with longer solo sections, including guest saxophone. Iconoclastic has a distinct 80s compressed sound, that is all their own.

6/21/10; 11/3/23 (new entry)

Dawn, Switzerland

Progressive rock

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Latest release: One Night EP (2022). They are to begin recording a new album shortly, promising "old school prog". Awesome.

Darker (2014)

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

10/31/23 (new entry)

Tauk, USA-New York

Instrumental prog; Jam band; Jazz fusion

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Latest album: Equalizer (2023)

I've only heard Sir Nebula (2016) to date, but I was mighty impressed with the group's mix of jam band, instrumental progressive rock, and jazz fusion. I need to pen some notes for UMR, but this is a band I'm keeping an eye on.

10/7/18 (new entry)

French TV, USA-Kentucky

Avant prog; Canterbury; Jazz fusion

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Latest: 15: A Ghostly State of Affairs (2023)

11: Ambassadors of Good Health and Clean Living (2016)

Ambassadors of Good Health and Clean Living is the 11th album from French TV, who hail from Louisville, Kentucky. Their patented brand of instrumental music typically straddles the fine line between Avant Prog and Canterbury styled fusion. On this effort, the needle definitely points to the former. Even though they are joined here by the fine Japanese band TEE, a band deeply rooted in the European progressive rock tradition, French TV's sound doesn't seem to be affected much by their presence. As is often the case with Avant Prog, the music is intricately composed and superbly executed. All the same, it lacks groove and soul, something I tend to champion more as I get older. Music like this seems charted for performance at a symphony hall. One wishes they'd let their hair down, and kick out the jams brothers and sisters. Oh well, still a fine effort despite the cold calculating disposition. However it does appear the band is on the slow decline to irrelevancy. This one was predictable in its unpredictable metric style.

---5/28/16

10: I Forgive You For All My Unhappiness (2010) 

My opinion of this album is pretty similar to Panzerpappa's Astromalist. I can appreciate the structure of notes and arrangement of instrumentation. But I don't necessarily "get into it". I went too far with French TV's catalog, continuing to buy without giving it much thought. They start to run together after awhile. I think they peaked during the 2000s and I probably should have stood pat at that point. I've got two more from the 2010s, hopefully one of them resonates. According to RYM, Operation Mockingbird is their highest rated album (none rate that high really), so maybe that will be one I keep. Most assuredly some of their earlier work will stick around.

---9/19/23

9: This Is What We Do (2006)

Another new album from French TV. Another great album from French TV. There are few bands that can match French TV's consistent high quality over a long period of time. For 20+ years, French TV has produced and continues to produce complex, challenging progressive rock. Even more amazing, they actually get better with each release. Now they didn't set the bar real high in their early years, but they never put out a bad record either. But they seem to be getting better almost exponentially. I’m in awe of a band who can release nine albums in a 23 year time span, and never sound stale, retro or trendy. They never mail it in. And they are what one would want from a band that carries the heady term of progressive around. French TV are a mix of Avant Prog, Canterbury, big name UK symphonic, French and Scandinavian styles, even some of the more obscure over the top US progressives like Cathedral and Mirthrandir (and yes, they would have had access to these bands since their inception). But mostly they sound like French TV. In fact, as I hear This is What We do, I recall another elder statesman of creative rock music: Patrick Forgas and his Forgas Band Phenomena. Commercial success was never part of the blueprint for these gentleman. The material they compose is both complex and mature, yet still maintains the edge of youth. We have so few role models in rock music that carried the creative banner for decades, so we must look to jazz and icons like Miles Davis to see this kind of pushing forward as the years go by. This is among my favorite releases by French TV. I've never listened to all of their albums back to back, but it would probably be interesting to note the ascension.

---9/30/11

Pardon Our French! (2004)

I haven't heard it since the album first came out and I received my copy. But this is exactly the kind of avant prog I don't really appreciate. Of course it's still good, but with no grooves, sustaining melodies, nor good vibes, it all just comes out like an academic exercise. The medley track that repurposes some famous French prog is well done, but superficial. No more of this for me.

---12/24/18

The Violence of Amateurs (1999)

Another old French TV album that hasn't aged very well for me. This is their most popular album according to RYM, Prog Acrhives, and Gnosis. From a compositional perspective the band had really amped up the complexity from their earlier efforts. But I'm not so sure it's as enjoyable.

---5/12/24

After a Lengthy Silence (1987)

Fine sophomore album from French TV, a band that continued to grow leaps and bounds from album to album. After a Lengthy Silence is mostly an instrumental progressive rock, heavily influenced by jazz fusion, with a surprising space rock ending. The production is typical of the muddy late 1980s, and holds back the potential of the material. This aspect of the band would also improve as time went on.

---11/14/15

Other albums heard: French TV (1984); Virtue in Futility (1994); Intestinal Fortitude (1995); The Case Against Art (2001); Operation Mockingbird (2017)

9/30/11 (new entry)

Zanov, France

Progressive electronic

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Latest release: Lost in the Future (2023). Just released!

Virtual Future (2014)

Welcome back Pierre Salkazanov (aka Zalkazanov)! If the digipak cover is any indication, it appears Zanov rediscovered his old analog keyboard toys and picked up right where he left off with In Course of Time. It's as if he walked into the basement, saw the massive equipment, and said "Hmmm... let's see if these things still work, shall we. Oh great - they do." This is old fashioned, all-fat-analog instrumental 70s sequencer based synthesizer heaven. Somewhere between Klaus Schulze's Timewind and Richard Pinhas' Iceland is the sound of Virtual Future. As if the Egg label is still with us, and we've been transported back 35 years. Even though there are a myriad of homegrown electronic artists today, it's refreshing to hear how the old masters used to do it. I can listen to this kind of elektronik musik all day.

Moebius 256 301 (1977)

I have some thoughts up on this blog already about Green Ray, Zanov's debut. His sophomore effort continues in that vein. The late 70s was filled with budding electronic musicians getting ahold of (very expensive at the time) analog synthesizers and making a go at being the next Tangerine Dream, Klaus Schulze, Vangelis, or Jean-Michel Jarre. Most became obscurities as soon as they were released, but Pierre Zalkazanov did manage to receive 2 releases on the venerable Polydor label (even though he kept his day job - presumably to afford the equipment!) and had a great reputation in France - probably the most innovative country during that era. The album starts off with 3 vignettes, similar to Richard Pinhas' Chronolyse, before launching into lengthy excursions. The energy level is high, and this is the dynamic electronic music many of us crave. Excellent on the whole.

Green Ray (1976)

This was originally a CDRWL item. Here are my notes from then, slightly updated: Sequencer based electronic musician, whose real name is Pierre Zalkazanov. Given the one man nature of the recordings, Klaus Schulze would be the obvious influence. Though musically there's just as much Tangerine Dream Stratosfear here than, say, Mirage or Blackdance. And surprisingly very little Heldon touches, given how influential Richard Pinhas was in his own country (at least when talking the underground). There were very few artists in this field during the late 1970s, while today there are hundreds, so Zanov deserves credit for being one of the pioneers. Though from a purely musical perspective, Green Ray isn't quite as well developed as his more recognized peers of the day. All the same, always nice to hear those fat analog synths battle it out on tape!

5/26/10; 11/5/14 (new entry); 1/21/22

Sun Dial, England

Neo psych

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Latest album: Messages from The Mothership (2023)

Mind Control (2012)

Two seconds into this album, I love it, and ready to crown it a masterpiece. Why you may ask? Because it reminds me of the greatest "psych prog" band of them all: Group 1850. As you have seen me write before, "psych prog" is one of those terms thrown out for just about any band from the late 60s and early 70s that were maybe one, or the other - and often neither - in order to obtain top dollar for their LP wares they are selling. Group 1850 is the pure embodiment of the term, and Paradise Now (1969) is simply one of the greatest albums of all time. If Amsterdam Coffee House means something to you, then Group 1850 provides its soundtrack. With the opening notes of 'Mountain of Fire & Miracles', Sun Dial has tapped right into that psyche. It is absolutely a phenomenal piece of music, and even if the rest of the album was gangsta rap, I'd still recommend it. Fortunately no heavy gold chains, diamond earrings, sideways caps, swinging arms, and hand signals for Gary Ramon and company, as the album continues in its neo psych glory. 'Radiation' heads east toward Germany and enters the mysterious land of early 70s Kosmische, with wonderful flute laden mellotron and trance inducing drums. And they go east from there... way east. And then back for some motorik action with sitar on the title track. Oh, you get the idea. Just buy it for crying out loud. Special mention goes to the CD bonus track 'World Within You', yet another "psych prog" monster.

Zen for Sale (2003)

Sun Dial's debut Other Way Out could be considered one of the greatest psych releases from the late 1960s. Except for the small fact it was released in 1990. And then inexplicably the band dismissed the genre entirely for that annoying shoegaze/indie style that was so popular in the early 90s. I'm sure from a commercial/economic standpoint, it was a prudent thing to do. Or it better have been. But bandleader Gary Ramon was always a child of the 60s, and one had to figure eventually he'd return to his favorite style. 1995's Acid Yantra held out hope, but then the group dissipated and it seemed the dream was over. Until 2003 that is. Zen For Sale is finally the album we've all been waiting for from Mr. Ramon and company. It's a fine return to form, and the first 3 tracks are as good as anything on Other Way Out. From there it goes from merely good to great. Sun Dial, it seems, have perfected the late 1960s UK strain of psychedelic music. They tap into the best parts - the fuzz guitar, the phased and accented vocals, the charming and naive melodies - and the absolute essence of pure psychedelia. Excellent.

Acid Yantra (1995)

Sun Dial burst onto the scene in 1990 with Other Way Out, a fantastic extraction of the best of the 60s psychedelic rock albums. After trying their hand at more trendy 90s styled rock, they reemerged back to 1969 with Acid Yantra. Very much like their debut, Sun Dial has recreated the 1960s sound that you imagine in your mind, but truly never was as focused as these albums. While it misses the surprise factor the debut inherently earned, Acid Yantra is no less satisfying. Great tunes, fuzz guitars, mellotron, phasing, the whole psychedelic experience. Easy recommendation for fans of retro psych music. It seemed this would be the end of the line for Sun Dial, who spent the next few years playing around with their Prescription Drug series, and even some fake "70s" Krautrock albums. But they reappeared for a cameo in 2003, and once again were back in 2012.

2/18/17; 8/4/17; 10/11/18 (new entry); 6/16/21