TEE, Japan

Progressive rock

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Latest: Total Edge Effect (2022)

Still active and playing live. They state a new album will happen "in a few years".

Tales of Eternal Entities (2016)

The fluidly named TEE this time stands for Tales of Eternal Entities, and this is the Japanese band's 3rd album. I had feared that TEE's involvement with French TV's latest album may have given the group a new found rigidity. Fortunately that is not the case, and TEE return with their distinctly mid to late 70s warm European progressive rock sound. Flute, guitar, and analog sounding synth lines dominate the melodies, while the rhythm section mixes things up often to keep the music from becoming static. As in the past, you'll hear traces of Asia Minor, Solaris, Gotic, and perhaps more pointedly than ever, the godfather of such a sound: Camel. TEE could also be seen as an instrumental parallel band to Spain's L'Herba d'Hameli. 'Epimetheus' is a brilliant opener, and it appeared this album may well in fact be their best work to date. 'Mother Earth' is another standout track. There is nothing less than what I would consider an "excellent" track here. I would offer that Tales of Eternal Entities is a hair off the pace from the prior Trans-European Expression, but all of their albums are outstanding and not to be missed. One of the best albums from 2016 so far for my tastes.

---8/19/16

Trans-Europe Expression (2012)

So it appears TEE is going to be an acronym that remains fluid. For their debut album, they were known as The Earth Explorer. And now it is Trans-Europe Expression. Perhaps The Egg Enema won't be far behind...

Let me take you back 20 years to 1992. At that time, much was made of Änglagård bringing progressive rock back to its original splendor. Their appearance at the first Progressive Rock Festival in 1993 only solidified the legend. And I wholeheartedly agree with all the enthusiasm laid at the feet of this great Swedish band.

However, for myself and a few others, there was another album that had as much impact, but is not as well remembered. Two years prior to Änglagård, a band from Hungary released their second album: The mighty 2 LP opus 1990 by Solaris. It was a jaw dropper, a truly complex progressive rock album, with outstanding keyboards, guitars and flute. Perhaps it's only downfall for the revisionists is its lack of 1970s vintage analog equipment. And while I too would have enjoyed that, it has zero impact on my enjoyment of that amazing album.

Trans-Europe Expression is the second coming of Solaris' 1990!

This is a magnificent work, with some of the most melodic flute and guitar driven progressive rock I've heard in over 20 years. I find music like this irresistible. Love the European hill town photograph artwork as well.

Other albums heard: The Earth Explorer (2009); Total Edge Effect (2022)

---3/13/12

3/13/12 (new entry)

Flowers Must Die, Sweden

Space rock

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Latest: OCH/FMS Split (2023)

Still active, I'm sure they'd be great to see live.

Flowers Must Die 3 (2013)

I was first drawn to this Swedish collective by their most fortunate choice of the group name Flowers Must Die. However, despite this moniker, Flowers Must Die will not likely make you recall Ash Ra Tempel, and especially not the Schwingungen album. Mainly because there isn't some madman screaming "Flowers Must Die - Die! Die! Die! Die! Die!". And there isn't much Krautrock here unless you count a steady rhythm, which recalls an entirely different branch of the genre.

The first two albums came and went before I even had a chance to hear. So we start with the third album, which was described to me as Psychedelic Doom Jazz. I don't hear much doom or jazz to be honest. Flowers Must Die are good old fashioned space rock. Probably the closest comparison would be to My Brother the Wind on their debut, or some of the less edited Oresund Space Collective albums. Their 3rd album is a double LP, and as such, there are long jams driven by electric guitar, that are explored to the last drop. Sometimes, especially on Side 1, the songs drag on long past their shelf life. The addition of guest violin is probably their strongest move, which gives it a whiff of ancient Swedish folk and thus recalls some of the Swedish pioneers such as Algarnas Tradgard and Flasket Brinner. Hawkwind is another obvious influence here. I should be clear, I think Flowers Must Die is a very good group, and I do enjoy this album quite a bit. But I would like to see more compositional quality. A few twists and turns to keep me guessing. I'm sure their music translates better in a live setting.

---2/14/13

2/14/13 (new entry)

Dungen, Sweden

Neo psych 

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Latest: Otis (2024). EP of what RYM calls Jungle and Darkside. Essentially variations of Drum and Bass, so it doesn't appear to be a typical Dungen release, though I'm sure it's still going to be interesting. There's a full explanation on Dungen's FB page of the background.

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.

---12/22/23

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.

---2/24/18

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.

---11/3/15

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.

---9/29/22

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.

---4/10/23

Other albums heard: Dungen (1999-2001); Ta Det Lungt (2004); Tio Bitar (2007); Skit i Allt (2010)

11/3/15 (new entry)

Electric Orange ~ Germany

Krautrock

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Latest: Ada (2024)

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9/21/17 (new entry)

Amoeba Split, Spain

Canterbury style; Jazz rock

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Latest: Todos los Animales son Iguales (2024). Best I can tell it's only available on LP and only 100 exist. No CD or Digital. Seems like a lot of work for 100 people (if that)? Oh well, I'm sure it will eventually turn up.

Second Split (2016)

Amoeba Split are a band from Galicia, in the far northwest of Spain, who play a decidedly UK form of progressive rock: That of the Canterbury movement. Second Split is appropriately enough the band's sophomore effort. It's been 6 years since their debut, and they're now missing one key component - the female voice of Maria Toro. And with that, the late Canterbury sounds of National Health have fled the scene. No matter, as the all instrumental Amoeba Split have stayed the course, and have arguably released an even better album, demonstrating their experience over style. Opener 'Clockwise' is a clear homage to Soft Machine's Third, at that perfect point in 1970 where psychedelic, progressive rock, and jazz meet. Further in the album, 'Backwards all the Time' is once again a tribute to Soft Machine, this time emulating their 1971 sound, and thus tilts more towards the jazz side of the equation. 'Those Fading Hours' blends Canterbury with David Cross like violin, that gives an odd King Crimson vibe, which is unique and very satisfying. 'About Life, Memories and Yesteryears' once again marries Canterbury sounds with something unusual - this time symphonic progressive rock. Perhaps even a trace of Genesis can be heard. But the best for me was 'Sundial Tick' where the band finally demonstrates a bit of their native heritage, though further east towards Catalonia. And hear they blend their trademark sound with that of the classic Gotic album, and is truly splendid. Overall, a fantastic second album, and hopefully we hear from the band more frequently than every six years.

---8/12/16

Dance of the Goodbyes (2010)

Amoeba Split are one of two current Spanish bands (that I'm aware of anyway) playing in the Canterbury styled jazz rock space. The other is the more known Planeta Imaginario. Of the two, I'd say Amoeba Split are the more purest when referring to the classic bands of Soft Machine and National Health. The instrumentation is right out of the 70's: Hammond organ,piano, Mellotron, Mini-Moog, flute, sax, guitar, bass and drums. The major differentiator here is the female vocals, which are admittedly a bit shrill. Her slightly accented delivery is a bit odd, but I have a feeling that will add to the charm on repeated listens. She's really not that far from some of the early 70's shrieks of Sandrose and Joy Unlimited. But it is unusual in this setting, where we're used to the soft affected tones of The Northettes. Amoeba Split score well on both of the style's major attributes - melody and complexity. A no-brainer pickup for fans of the 1970's UK Canterbury scene.

---4/24/11

4/24/11 (new entry)

Solaris, Hungary

Progressive rock

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Latest: Martian Chronicles III (I or A.I.) (2024)

Nostradamus (1999)

For my tastes, Solaris' 1990 is one of the greatest post 70s progressive rock albums there is. There was a magic about it that captured my imagination greatly when first released, and it preceded even Anglagard in that this whole prog rock revival thing might be worth staying around for. Of course the debut Marsbeli Kronikak is table stakes for any 80s progressive rock collection. Then I saw Solaris live in Los Angeles and was mightily impressed.

It is with this background that I came into Nostradamus with. And while the great prognosticator had been played out already, who better than Solaris to elevate it to the highest level of art? For me, this was one of the most anticipated albums I can ever recall.

Hmm. It just didn't happen. I recall vividly my first impression. I was nonplussed. Not disappointed mind you, just not wowed as I expected to be. Of course it's often time nigh impossible to meet such a lofty, perhaps unrealistic, goal. My Gnosis grade in real time was a 10 (a 3.5 here). And into the collection it was filed after a couple of earnest attempts of "feeling it". And now, I finally have brought it back out from the vaults for a revisit. Here's where I'm going to tell you my tastes have changed, and I have a whole new appreciation for it right? Nope. It remains a 3.5.

The odd thing about Nostradamus is it sounds very much like Solaris. I wouldn't chalk it up to the sudden tragic death of guitarist Istvan Cziglan. Even more bizarre is that the opening 3 'Book of Prophecies' tracks are the weakest, which comes completely unexpected. There's a hollowness to the overall sound here. It's big and bright, and very much a product of the 90s. But it isn't exactly like 1990 was an analog dream. In fact quite the opposite. If it not for the brilliant flute work of Attila Kollar, the album wouldn't be as good as it even is. But his brilliant phasing, melodic disposition, and overall tone is hard to beat. At this point, he seems to be Solaris. And it comes as no surprise he later ventured on his own for two more albums that surpassed Nostradamus in quality.

I want to be clear here: This is not a bad album by any stretch. But the Solaris name is highly revered in the ashratom world. And this one came up short. Perhaps I should have predicted it. The protagonist would have. Or would have he?

---5/7/17

Marsbéli Krónikák (1984)

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

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

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

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

---5/28/18

Other albums heard: Solaris 1990; Back to the Roots (2000 archival); NOAB (2005 archival); Martian Chronicles II (2014)

11/29/24 (new entry)

Pocket Size (Stockholm), Sweden

Retro prog; Space rock

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Latest: Att G​ö​ra Kompisar (2022)

Pocket Size is still performing live as of this past summer.

Immortality: Cleaning the Mirror Volume 2 (2018)

Pocket Size is a band that I got in on the ground floor with and dutifully documented their first two albums enthusiastically. My initial reaction to this album wasn't as positive as the other two, and I didn't take any notes. So now some five plus years later, let's dive in. The album was recorded live in 2016 in front of what sounds like three people. As with their other albums, this isn't a solo endeavor but rather a full band effort. And early 70s instrumental prog mixed some space rock jamming is what you can expect here. There's a touch of the jazz rock style as well. I think this may have been one too many cleaning the mirrors for me. Not getting the same vibe as I did out of the other two. Also not very Swedish, more generic in terms of region. A fine album, but I have enough of this kind of style from the 70s.

---11/24/24

Vemood: Cleaning the Mirror Volume 1 (2016)

Pocket Size have perfectly captured the essence of being alive in 1973 Sweden. Cigarette and marijuana compete for your olfactory senses, but your eyes water no matter the substance. You, of course, recite the Manifesto of the Communist Party verbatim, but only because you think you might get laid if you do. Otherwise King and Country works too, whatever. Progg, hell yea! Or not... who cares? Images of perfectly formed naked breasts shine ever so perfectly as you gaze blindly from your flat. Vemood is your soundtrack to your dream night in Stockholm. Long track Hammond organ jams that battle with saxophone, flute, and loud electric guitar. And even a melody to whistle to while waltzing down Drottninggatan. Ahhh.

---6/30/17 

Exposed Undercurrents (2014)

Contemporary 2014 Sweden is loaded - and I mean loaded - with rock bands emulating the sounds of the early 1970s. Most are of the US/UK hard rock variety, or they go for that "turn the amps to 11" stoner pseudo-metal sound. There are fewer bands that are making a try for the true progressive rock era sound of the early 70s era. I don't mean the all-in-proggy-prog Anglagard type either, but rather the more common sound of the day coming from Sweden like November, Saga, Flasket Brinner, and Trettioariga Kriget. There's a real psychedelic element to Pocket Size's sound as well, and that can only be considered a plus to the UTR's world.

The band themselves seem to possess a confused identity. In effect, the group is the vision of guitarist Peter Pedersen. Depending on which site you are reading (including their own), you're likely to see the band listed as Pocket Size, Pocket Size Sthlm, or Pocket Size Stockholm. No matter, as what's most important is that Pedersen brings in no less than 9 participants for his creative work. So this isn't a solo work with a monolithic viewpoint - or worse - a sterile digital sound. Not even close. What you get here is exactly what you would expect from a studio effort circa 1972, complete with all the requisite analog instruments and a certain je ne sais quoi attitude. Hammond organ, saxophone, electric guitar with a multitude of effects, spacey vocals (much of it in glorious Swedish), theremin, vibraphone, and flute give one an idea of what to expect. Put that together with a planned structure and a few melodies, a handful of complicated breaks, and some solo sections. This was the way music was presented years ago, when the last thought on Earth was obtaining a radio hit or falling in line with whatever scene a band was perceived to be associated with. A knowledge of jazz, classical, blues, and early rock and roll was all that was needed - and a strange desire to actually progress from there. Give me more of this.

---11/21/14

11/21/14 (new entry)

Quantum Fantay ~ Belgium

UK Festival styled psych; Space rock

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Latest: Oneironauts (2024)

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9/14/12 (new entry)

Halloween, France

Progressive rock

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Latest: Psy-Ko (2024)

Another band from the great late 80s and early 90s period that has unexpectedly reformed. It's been close to 25 years since we last heard from them.

Part One (1988)

One of the early groups coming from the French renaissance of progressive rock. I bought the LP not long after it came out. Like many such bands, one had to have tolerance for modern production values and a high level of amateurism. By that time I was such a huge fan of the genre, I was willing to overlook all of the flaws. Clearly the band were trying to emulate on some level the great Pulsar, but fell well short. They were to improve greatly after this. In any case, I was pretty much ready to dump this CD after all these years until the last 2 tracks, where the band finally hits their stride. And that's 15 minutes worth of high quality material. The CD is the way to go here, because the two live bonus tracks ditch the poor production while the quality of the musicianship and compositions come to life. My grade remains the same, but it moves into the solid keeper category.

---4/17/23

Other albums heard: Laz (1990); Merlin (1994); Le Festin (2001)

11/24/24 (new entry)

La Fabbrica dell'Assoluto, Italy

Neo Italian prog; Retro prog

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Latest: 1984: L'Ultimo Uomo D'Europa (2015). New album coming soon though!

1984: L'Ultimo Uomo D'Europa (2015)

Let's get down to brass tacks here: This album is made strictly for early 1970's styled Italian prog rock fans, performed by early 1970's styled Italian prog rock musicians. One could call this masculine Italian prog. Take parts Banco del Mutuo Soccorso, Alphataurus, Semiramis, Museo Rosenbach, and even Pholas Dactylus - throw them all in the blender. And go weeeeeeee.

---12/5/15

7/25/16 (new entry)

La Torre dell'Alchimista, Italy

Neo Italian prog

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Latest: Neo (2007)

Another one of those bands from the past that allegedly are still working on a new album. Details are scarce.

Neo (2007)

La Torre dell’Alchimista (LTdA) are one of the many current Italian progressive rock acts that are recreating the sounds of the past and moving it forward to the 21st century. LTdA are a bit more purist than most groups in this space, eschewing modern tendencies such as metal, electronica, and post rock. Keyboards are the focal point, like with many of the 1970s classic groups, and bandleader Michele Mutti possesses an impressive array of vintage gear including Hammond C3, Mini Moog, Mellotron, and a 1973 Fender Rhodes amongst many others. However, unlike fellow Italian retro rockers Wicked Minds, modern production techniques are in full force, and there’s no question that LTdA are a band from the current age. All of these historical references don’t matter if the music compositions aren’t there - and LTdA come through on this front. As students of the Italian progressive rock genre are keenly aware, the options of creating exciting and unique music is immense, and LTdA have found their little slice of the big pie. And fortunately they use the Italian language which goes so naturally with the style. File along with La Maschera di Cera as the current torchbearers of the original Italian progressive rock sound.

---9/17/07

Other albums heard: La Torre dell'Alchimista (2001)

7/15/11 (new entry)

October Equus / Angel Ontalva, Spain

Avant Prog

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Latest (October Equus): Noches Blancas, Luces Rojas (2022)

Latest (Angel Ontalva): Persian Courtyard (2024)

Angel Ontalva is also heavily involved with Vespero and an offshoot group Seaorm. I have Vespero listed separately on UTR (and Seorm eventually...)

Carta Marina (2018)

Carta Marina is the instrumental collaboration album of Angel Ontalva from Spain and the Russian group Vespero. An interesting pairing, but given that both represent some of the best progressive rock music of the last 15 years, I think this is going to be great album. At least on paper.

And it came to pass that yes - it is. Angel Ontalva is the guitar player, chief composer, and de facto leader of October Equus. Their early albums were something of a psychedelic avant prog combination, a unique juxtaposition of sound. And that psychedelic effect was primarily achieved via Ontalva's heavy fuzz tone, and somewhat unhinged playing, which was the dichotomy against the rest of the band's more structured approach. Enter Vespero, arguably the best space rock band operating in the world today. What separates our friends from Astrakhan from the rest of the pack, is that Vespero is not one just to jam out, and hopefully find a groove or two to explore. But rather the group enjoys composition with their improvisation, plus they add indigenous elements for a truly exotic blend. They are at once a space rock band, yet also progressive rock, and while still paying an occasional homage to Krautrock.

So there's your ingredient label, but how does it taste? Excellent in fact. There's a bit of that "two strong leaders vying for the top position" within these songs, and it's clear the impact of each artist's unique sound. At an hour long, there's an investment of time here, especially considering the first listen doesn't reveal nearly enough. It takes a few hours worth of hearing to let it soak through. There are no obvious highlights here, yet there's nothing worthy of skip button status either. While this isn't the peak album of either camp, the results together are still undeniably great. If either band are on your radar today, then you can't go wrong here.

---2/16/19

Mundo Flotante (2012)

Ontalva is the guitarist for October Equus, and even though it's under his name, it's a full band effort made up of members of... October Equus! The difference is this is complex and melodic rather than complex, cold, clinical, and dissonant like the last OE album was. They probably should have just chosen a new name for the band, but who cares really, as this is great. Highly recommended! I hope there's more from this water well to draw from...

---5/2/13

Saturnal (2011)

Saturnal is the 3rd album from arguably Spain's most complex rock band. Their first album was almost like a psychedelic Present (Belgium), a very interesting combination that I found highly appealing. With each subsequent release, October Equus ups the ante on complexity, while toning down the more jamming aspect of their sound. It's pretty clear this is a band that now must play live with scored music charts, rather than rehashing more simple material and letting loose on occasion. On Saturnal, October Equus has entered the realms of a new force of music - one that was pioneered by Thinking Plague - and now mastered by many more. Sophisticated, dense, mathematical, academic are a few adjectives that can describe the music within. It's the blueprint sound of the AltRock label. Avant progressive at its most pure. And for me, each new album becomes a little less exciting but more intelligent. The fun and creative high school kid is going to be a doctor. His mother would be proud.

Overall, I still find October Equus to be an excellent band. I just wish they'd loosen up a bit.

---3/12/12

October Equus (2006)

One never knows when a new force enters into the progressive rock landscape. Steven Wilson meekly introduced himself with his bedroom tapes for Porcupine Tree. Fabio Zuffanti was somewhat anonymous when he hit the world stage with Finisterre. And a one Angel Ontalva announced his presence with a new band called October Equus. Though in this case, Ontalva showed up with a bang, dominating the sounds around him.

When October Equus' debut arrived, I was all about the sound they were creating. Looking at some old notes, I started at a 5 star masterpiece, something I almost never do. They mixed the aggressiveness of Belgium's Present with the psychedelics of France's Nebelnest's debut to create what I considered the perfect recipe. Over time, I've dropped the album a full 2 points, which still keeps it in the excellent category. Music like this almost immediately finds itself out the door, as I feel I have too much of it. Generally I keep the ones of personal historical interest, that I first discovered in the 80s and early 90s. And yet, I still found myself enjoying the heck out of this one - clearly a cut way above the norm. It's more the Nebelnest influence that holds my interest here - there is a warmness to that sound that balances the cold rigid complexity that avant prog represents. I continued buying October Equus albums through 2013's Permafrost, though I'm not sure how many of those remaining three will remain, but for certain the debut will be here for the long haul.

---8/13/22

Other albums heard: Hydra (2004); Charybdis (2008); Permafrost (2013)

3/12/12 (new entry)

Radio Massacre International ~ England

Berlin School Electronic; Space rock

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Latest: Galactic Furnace (2024)

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10/18/15 (new entry)

Korai Orom, Hungary

UK Festival styled Psych; Progressive Electronic; Tribal Trance

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Latest: Korai Orom 2013 (2013)

Even though it's been over a decade since they last released an album, Korai Orom is still going strong on the live circuit.

Korai Orom 2005 (2005)

Korai Öröm 2005 is the 6th album (or 7th if one counts the first cassette) from this fine Hungarian band. Though I have dutifully picked up every album they've released (save their last 2013, so total of nine), I can honestly say I recall little about each. The one that had the great impact here is 1997. In recent years I've gone back to the debut (1995) and 2000 - Sound & Vision, and both fell into a similar pattern which I'll describe here shortly. As memory serves, 2005 was one of the very best, perhaps only second to 1997 in quality. After this revisit, I'm hoping that's not the case.

Listening to this CD now, it's as if I'd never heard the album before as I had no prior memory of it. Just the style. And I fear to say that will be the case for most of the Korai Öröm catalog. In reality, their sound hasn't deviated much from the debut, so it's really a matter of the execution and dynamism of each. So what is that sound? Organic psychedelic dance music, for a lack of a designation more official. And what I mean by organic is they they use real instruments verse just samples, synthesizers, and the like. Because of this, Korai Öröm are often compared to Ozric Tentacles, and in some ways that is a fair conclusion to make. Ozric though were more informed by the 70s space rock bands such as Gong and Here & Now than only considering modern dance music. They blended both seamlessly (and often times just went raucous space rock). Korai Öröm takes an Ozric extract and applies it more toward the rave club circuit. The instrumentation and personnel is impressive, with a variety of indigenous wind and string instruments, a raftful of modern keyboards, electric guitar, additional percussion, and a pounding rhythm section. Along with guest female vocals.

After hearing '2005/1' you'll know if this is your cup of tea or not. The band doesn't extend the style palette much, however the music definitely is varied. The biggest issue I have with Korai Öröm is that they should let loose more in the rock sections like the best bands in this genre do (Ozric, Dasputnik, Quantum Fantay, Vespero). It seems they're always holding back, constantly building the atmosphere and not allowing for more ideas and changes to come forth. It also seems there isn't much in the form of music composition but rather Korai Öröm are more about texture and sound. Yes it's still excellent in aggregate, but one begins to think how much better it should have been.

Personal favorites include the pounding '2005/4' and the exotic, psychedelic, and tuneful '2005/7'. 

---7/18/19

2000 Sound & Vision (2000)

Sound & Vision 2000 is the 4th album from the Hungarian collective Korai Orom. At this point in their career, Korai Orom sounded like a direct cross between Can and Ozric Tentacles, but as played for Rave parties typical of the turn of the century. It's repetitive, danceable, and yet still very psychedelic rock influenced. Given they are a large scale band that plays real instruments, the music is far more interesting than a DJ with a massive sampler reserve bank. All the same, while the album is most certainly excellent background music, it's not as engaging on close listens as I'd prefer.

---2/6/16

Korai Orom 1997 (1997)

Korai Orom's 3rd album, the first to have a title (such as it is), is when the group really started to gel. Their combination of EDM, various culture's indigenous music, and fiery space rock proved to be a popular one, and Korai Orom made a nice career out of it. Most certainly their live shows proved to be even more exciting than the studio efforts. For my tastes, 1997 has remained my favorite of the albums I own by the band. It also happens to be their most energetic, so perhaps not a coincidence. The opener sets the mood perfectly with the hyper percussion and shimmering guitars. I can do without the "hoo ha ha" parts, but otherwise it's exactly what Korai Orom are about. This then leads to the best segue of their career, that of track 2 (they had a habit of not naming their songs) - a countdown followed by a blistering sequence of psychedelic guitar, fast percussion, and wood flutes. If that wasn't enough, the following segue into track 3 almost matches it with yet another killer beat and some awesome Moog like synth sounds. Once again the guitar is on fire here. After this it doesn't maintain this momentum (not sure it could have), but the album is still great throughout. Unfortunately 1997 suffers the same fate as all the Korai Orom albums, and that would be that the tracks are too long. Most of these could have been chopped 2 to 4 minutes and the impact would have been that much greater. Certainly if the primary purpose of the music is set for dancing, then one can understand this situation for a live setting. But for home listening, the fast forward button starts to look appealing. A minor gripe I suppose, as I still hold 1997 as one of the finest examples of the genre, and it maintains its excellent rating. If you're into bands such as Ozric Tentacles and want to explore a more exotic alternative, Korai Orom's 1997 is the place to start.

---12/22/20

Korai Orom (1996)

This is the album that sits between their debut and 1997. 1996 is the stepping stone from one to the other. It's a bit more zoned-in than the debut, but it's more measured than the kinetic 1997. It's also a bit less dance-y than the latter. I'm finding that Korai Orom is a band I must listen to while chilling at night. For dedicated, focused listening, their music tends to drag. In this way, Korai Orom needs to be approached in the same manner as Tangerine Dream or any similar type of electronic music. When hearing in this light, 1996 gets a +1.

---1/6/21

Korai Orom (1995)

Korai Öröm's debut laid down the blueprint that the band continually draws upon to this very day. They were at once influenced by the UK Festival Psych scene, as well as many of the free spirited dance cultures that came about in the 90s. In effect, Korai Öröm are an organic chill out band. While they certainly do utilize electronics as a core component, the separation aspect is the use of real rock band instruments. In particular the electric guitar is a centerpiece, and often times played with in a fiery fuzz tone manner, and sometimes in high octane mode, which creates excitement within the generally low key "chill" environment. The unusual use of trumpet is also a fascinating addition to their sound. The musical themes often borrow from Western Asian and Australasian indigenous traditions, the latter represented by the heavy use of didgeridoo. On their debut, I'm most reminded of Ship of Fools, a band that arrived late to the UK Festival Psych scene and had a similar approach to crossing over with dance. The main drawback on this debut, is that Korai Öröm stretch their ideas a bit too far, and often times boredom ensues. The group were still finding their identity at this point, and hadn't quite seen their potential yet as a dynamic psychedelic rock unit. All the same, there's a solid 30 to 35 minutes here of excellent music (out of 55), and if you're a fan of the band, it's a must pick up.

---2/24/17

Other albums heard: Live '93-'96 (2000); 2001 - Sound & Vision; Korai Orom 2009; Korai Orom 2010

1/2/17 (new entry)

One Shot, France

Jazz rock; Zeuhl

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Latest: 111 (2023)

One Shot (1999)

This is the original mix. I bought this when it came out as it promised to demonstrate what the current Magma lineup was doing on their off days when Vander wasn't around. Well it isn't Zeuhl, but rather a heavy kind of instrumental jazz rock similar to the 70s masters. It's very well done with excellent instrumentation and sound. However it's very derivative lacking any kind of hooks, composition, or innovation one would look for at this late date. It's a One Shot jam essentially, which was the premise of the group to be fair. This one really is too much of the same thing. A lot of notes but not a lot of music. I own three others by them, hopefully they're more interesting to me. 

---5/1/23

Other albums heard: Vendredi 13 (2001); Ewaz Vader (2006); Dark Shot (2008)

9/23/24 (new entry)

Caillou ~ France

Jazz Rock / Zeuhl

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Latest: Caillou (2013)

10/1/25 update: Nothing posted since Dec 21, 2024. Considering them inactive for now.

They reformed for a concert in late 2023 and were active as of April of 2024. They have at least one new song, so we'll see if they carry on further. 

UMR review page for Caillou

12/10/13 (new entry)

Kenso ~ Japan

Progressive rock; Jazz rock; Hard rock

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Latest: An Old Warrior Shook the Sun (2024). 11/13

UMR review page for Kenso

10/1/14 (new entry)

Alphataurus, Italy

Neo Italian prog

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Latest: 2084. Viaggio nel Nulla (2024). To be released Oct 4.

AttosecondO (2012)

For the music, AttosecondO finally closes the book on their unfinished second album, the previously titled Dietro L'Uragano. The Live in Bloom (CD version) concert demonstrated very competent versions of two of these tracks, and it seems the band was in top form. AttosecondO adds the final important track 'Claudette' (13:40), to complete the mystery of "what if these tracks were recorded properly"? For those who bought the Live in Bloom for the same reason as I did - that is to hear the second album performed properly - fear not. The versions found on AttosecondO have been radically reworked from the Live in Bloom concert, to arguably greater success. But that's only part of the story here, as Alphataurus have added two entirely new tracks to open the album 'Progressiva Menta' (8:29) and 'Gocce' (9:27), both of which sound like the best of the modern Italian progressive rock bands that are striving to recreate the past. Of course, it would make sense that Alphataurus would be experts at this  - since they actually were one of those original bands! However, as we all know by now, most of these reunions haven't been near the level we'd originally hoped. Alphataurus is the exception. They clearly have recaptured the spirit of their youth, and seem on the cusp of releasing another monster album like their 1973 debut. Even though the founding two members are in their 60s, let's hope they don't quit just yet and prove that the older guys can be as creative as the youngsters - of which now three of said youth are part of the Alphataurus machine.

---12/11/12

Live in Bloom (2012)

I bought the CD mainly to hear the fully realized versions of 'Ripensando E…' (7:36) and 'Valigre di Terra' (12:02), both tracks from the unfinished second album. As it turns out the former composition is an instrumental and so it wasn't quite as different as I expected. But 'Valigre di Terra' was the highlight of that archival release, and to hear it with vocals, makes this well worth the price of admission by itself. That along with the beautiful cover art (the CD is in the mini-LP format), painted by the same gentleman who impressed everyone with the brilliant triple fold out of the original 1973 album.

---7/12/12

Dietro L'Uragano (1974;1992)

Similar to many Italian bands of this era, Alphataurus seemed to flare out after one release. But Mellow Records turned up a complete album minus the vocal sections. Apparently the band was looking for another singer when they finally gave up. 1974 was the end of the line for most of the Italian scene, so ultimately this should come as no surprise. On Dietro L'Uragano, the music is more playful, slightly less complex, and far more dependent on keyboards than the debut effort. Parts of this remind me of the heavy but simple tracks found on The Trip's Caronte album, though overall Alphataurus is more engaging here. ELP circa Tarkus, is another obvious influence. Unfortunately it's apparent the music was written with a vocalist in mind, so there are some gaps to be found.

I sold the CD a few years ago to no regrets. The good news is that these tracks were re-recorded on their two 2012 albums, and are fantastic.

---9/1/12

Alphataurus (1973)

The Italian progressive rock scene between 1972 and 1974 seemed to foster a culture in which bands would compete to determine who could be more imaginative, which group could create the most exciting, intelligent and challenging album to date. Historically, Italy has always had this mindset. The painters, poets, sculptors and other artisans of the Renaissance dueled frequently to catch the eye of Popes, Kings, mighty nobles and other magistrates of the era. With this is in mind, Alphataurus were one of the better contenders, a clear winner to create the frescoes for the small village church.

Like all worthy Italian bands of 1973, Alphataurus on their self-titled debut, featured top notch musicians to play guitars (electric and acoustic), bass, drums, and an arsenal of keyboards (organ, synths, piano, spinet, vibraphone). And, of course, the requisite dramatic, powerful vocals in the Italian language. The music alternates between heavy and soft, and is at most, heavy rock with hundreds of time signature changes, not to mention navigating through the style changes which include classical, blues, jazz, Italian pop of the 19th century and hard rock. How this all meshes seamlessly is the brilliance of the Italian progressive rock Renaissance. The five long tracks here all display these wonderful qualities and represent yet another classic of the day. Stylistically, they compare most to Banco del Mutuo Succorso.

Fortunately, it wasn't just the music that called for high levels of creativity. The album art work was but one more exciting component of the movement. And here, Alphataurus moves to the top of the class. The original on Magma Records features a triple fold out cover of an olive branch-carrying dove dropping nuclear bombs out of its hatch while an inferno takes place below. A jaw dropper.

---2/12/01

8/14/12 (new entry)

Goat, Sweden

Space rock; Jazz rock; Neo psych

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Latest: Goat (2024). To be released Oct 11.

Requiem (2016)

Mid 1970s Embryo, Archimedes Badkar, and Kebnekaise all mashed up and distilled for the modern age. I dig it. Immensely so.

So the above represented by quick scratch off review. In listening again, I don't have that much more to add. Clearly the band are about indigenous ancient traditions - mixed with the psychedelic. Mostly African, but also the original inhabitants of South America too. My initial three bands listed above all have history with recording music with African musicians, and/or at least focusing on the continent exclusively. I would also add Los Jaivas to this mix as a good representation of South America. Then I'd add a bit of Flasket Brinner, when Goat turn on the psychedelic aspect of their sound. The album runs the gamut of the 1970s, where the first part of the decade is psych oriented, and the latter half of the decade was more into the exploratory spirit of World Fusion. While I'll maintain my 4 star rating, I have two small complaints that hold it back from being an even higher rating. 1) Some of the instrumentals have an excellent premise that they do little with. 'Temple Rhythms' in particular is just screaming for some guitar soloing. The tribal drums and wood flutes provide the perfect backdrop. But rather it just repeats itself rather than progress. I'm sure that's the point - to create a trance like state. But for this listener, it would have been devastating to hear it developed. 2) The female vocals here sound like annoying wails rather anything associated with singing. To be honest, it sounds bitchy as opposed to transcendental. Fortunately the album isn't dominated by them.

Small gripes to an otherwise excellent release. I love that modern bands are revisiting these musical areas that were abandoned all too quickly back in the day.

---12/17/16

Commune (2014)

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

---6/27/18

Other albums heard: World Music (2012). I also own Oh Death (2022) but haven't heard it yet.

12/17/16 (new entry)

Zopp, England

Canterbury; Retro prog

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Latest: Live at Danfest (2024). To be released Oct 4.

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)

Cuprum, Czech Republic

Retro prog

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Latest: Samizdat EP. 1 (2024)

Brahma Višnu Šiva (2014)

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

---7/11/14

Musica Deposita (2011)

With Cuprum what you get is good old fashioned hard rock meets progressive with loads of fuzzy guitar, Hammond organ and a little flute. Sure, it's retro 1971 England or Germany, and a sound you've heard from other modern bands like Wicked Minds (Italy), Seid (Norway), Siena Root (Sweden), Blood Ceremony (Canada), Hypnos 69 (Belgium) and a few others. But the Czech Republic has no such tradition, and hearing this style performed with the Czech language is quite interesting indeed. About the only band from 1970's Czechoslovakia that even came close to this sound was Flamengo and maybe Modry Efekt - both groups only at their most hard rocking selves. The songs for the most part are quite compelling, even though it does possess that been-there-done-that feeling. I think if Cuprum expands their instrumental palette, adds a few more ideas per composition, navigates the twisty road and turns on a dime capriciously and truly does "go for the gusto", then they will hit Masterpiece status. Even as it stands, I'm quite happy with what they accomplished on this most extraordinary debut.

---6/11/12

6/11/12 (new entry)

Planeta Imaginario, Spain

Canterbury style; jazz rock

To the best of my knowledge, Planeta Imaginario does not have an internet presence. You can find samples via the labels and other sources.

Latest: Planeta Imaginario IV (2024). This according to Wayside. Cuneiform was their last label, so it's possible it will be released by them.

Biomasa (2008)

This is an album I've gone back and forth on, but I'm firmly in the pro camp now. For their debut I wrote that they sound every bit like a second generation Canterbury band from the late 1970s. That observation is where the breakdown occurs on Biomasa. This really isn't a Canterbury album. Gone are those warm melodies and insouciant touches. In its place is a more cerebral jazz rock, more dissonant but creative. It is interesting that if you put on a prog rock hat and listen to an album that is jazz, it doesn't sound so great. Switch to a jazz hat, and a different perspective reveals itself. The hype strip doesn't help much either, also indicating an "attractive Mediterranean sound" while listing National Health as but one Canterbury reference. Naw, none of that here. It's much more "rock jazz" if that makes sense. Favorite track is 'La Caja Negra'. An excellent album that takes multiple spins to penetrate.

---4/8/23

¿Qué Me Dices? (2004)

Out of nowhere in 2004, arrived Planeta Imaginario, a band who seemed to not be aware of the last 25 years of music before entering the studio. Lucky us. Sounding every bit like a second generation Canterbury band from the late 1970s, Planeta Imaginario absorbed and filtered the best parts out of Soft Machine and Nucleus. The 8 piece band - including 2 sax players, trumpet, trombone, Hammond Organ, Rhodes electric piano and the usual rock band plus guests on flute and percussion - created a most beautiful album from a most beautiful form of melodic jazz rock (Canterbury). And the amplified guitar recalls the greats from the 70s past. I also love the horn charts, well composed and played. It's hard not to think of National Health while listening to this fine debut. Spain had no Canterbury tradition prior to this album, and Planeta Imaginario more or less imported it for the first time (and followed also later by the great Amoeba Split). A superb album, that still sadly appears to be off everyone's radar. Let's see if we can get it a bit of recognition anyway. The band later signed to the prominent Cuneiform label where presumably more fans migrated their way. 

---1/4/16

Other albums heard: Optical Delusions (2011)

8/8/16 (new entry)

Mammoth Volume, Sweden

Heavy prog

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Latest: Raised Up by Witches (2024). Release date: Aug 23

A Single Book of Songs (2001)

As a rule I don't have much appreciation for the "stoner" genre. I appreciate the sounds, but after awhile, the premise becomes worn out and boredom ensues. Those vocals and those fuzz guitar sounds. Sometimes I'll hear about a "progressive stoner album", which is some type of oxymoron I believe. A Single Book of Songs is a progressive stoner album. It does exist after all. And the organ sounds are straight out of an American 60s garage. Flute and bells? This is one strange album, that's for sure. Not strange in the NWW list kind of strange, mind you.

I bought this CD not long after it was released, since it was advertised as a "progressive stoner band". Gullible as always, I bit. 15+ years later it's time to sell it right? I like it better now than then. Hmmm.

---5/3/17

7/28/24 (new entry)

Elephant9, Norway

Jazz rock; Krautrock styled

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Latest: Catching Fire (w/ Terje Rypdal) (2024). Release date: Oct 18

Silver Mountain (2015)

For the opener ‘Occidentali’, take 1969 era Pink Floyd, King Crimson, and Soft Machine. Roll them up tight in a ball, and then have Wolfgang Dauner’s Et Cetera play that imaginary music. Get your attention, did I? Not sure I’ve ever heard those 4 names tossed together in the same breath. This is followed by a Stevie Wonder cover tune, as driven by the same above parameters. OK then. Not that you’ll actually recognize the tune, as it’s about as psychedelic interpreted as it can possibly get. There’s also this strange 1971 vintage Tangerine Dream quality about these two compositions. Like a long form ‘Ultima Thule’ if that makes sense. As the ladies of HGTV like to often say, these 2 songs are ahh-MAY-ZING. ‘Abhartach’ is a bit too much though, and ear fatigue begins to set in. It reminds me of those modern Japanese bands where they never seem to know when to quit. Redlining it all the time is tiresome. Though experience tells me there's a contingent of those who feel "too much of a good thing, is a good thing", so you'll probably love this track too. ‘Kungsten’ starts out similar, and it’s time to find the fast forward button. But by the 7 minute mark, the band slows it back down to atmospheric keyboards,  psychedelic moods, and jam sequences. This is clearly where Elephant9 shines, on this effort anyway. The last 2 minutes brings back the energy of the prelude, though its placement here is far more effective. Finale ‘The Above Ground Sound’ recalls ‘Occidentali’ mixed with ‘Kungsten’. Once again Dungen’s guitarist Reine Fiske is on board, and his decidedly acid guitar tone adds much to the overall psychedelic stew. Vintage keyboards, primarily organ, electric piano, and mellotron, are still the focus here. Overall, Silver Mountain is certainly Elephant9’s most experimental album to date, though no less worthy. Four albums in, and Elephant9 have yet to disappoint. They are by far, IMHO, the best band on the Rune Grammofon label.

---3/26/17

Other albums heard: Dodovoodo (2008); Walk the Nile (2010); Atlantis (2012)

2/26/13 (new entry)

Blues Pills, Sweden

Blues rock; Hard rock

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Latest: Birthday (2024) to be released Aug 2

I quite liked their first album, not so much the second. I need to revisit that first CD and get some notes down while continuing to explore their other works.

Albums heard: Blues Pills (2014); Lady in Gold (2016)

7/6/24 (new entry)

Entity ~ Italy

Neo Italian prog

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Latest: Il Naufragio della Speranza (2024)

UMR review page for Entity

7/4/24 (new entry)

Sacri Monti, USA-California

Retro prog; Heavy psych

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Latest: Retrieval (2024) to be released Jul 26.

Sacri Monti (2015)

Sacri Monti are a new band from the San Diego area (north near Carlsbad), who play a very aggressive form of heavy psychedelic music. The reality is no one actually performed with this energy in the late 1960's, maybe Blue Cheer at the beginning, but this is far more focused and pertinent. Perhaps filtered even. And while you know Sacri Monti has digested the "stoner" genre in total, they somehow manage to avoid all the pitfalls that befell lesser groups who have tread similar paths. The guitars are heavy on the wah pedal, and the organ is thick as molasses. Killer solos, and compositions that actually seem to be... well... composed. There are no "slabs of fuzz distortion" or "vocals on the 6th whiskey" here. Just south of that actually, which is why it works so well. It's borderline Monster Magnet, but then they reel it back to the year 1970 just in time. "Just in time". Yes, that. Great start and I'm most curious what they come up with next.

---7/28/16

Other albums heard: Waiting Room For the Magic Hour (2019)

7/28/16 (new entry)

Hidria Spacefolk, Finland

Space Rock; Festival Psych

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Latest: Rama Rama (2024) single

Been ages since we last heard from Hidria Spacefolk, one of the contenders for the best group of the 2000 decade for my tastes.

Astronautica (2012)

Space rockers Hidria Spacefolk return five years after Symetria with Astronautica, an album that has been highly anticipated by many, including myself. A couple of changes have occurred in the interim. The original keyboardist moved to Germany and has been replaced by Veikko Sutinen, who seems to favor the Fender Rhodes a bit more than his predecessor (that's a good thing). Hidria Spacefolk have also expanded to a sextet (yet another good thing) with the addition of percussionist Olli Kari, formerly of the much respected Uzva. Olli plays marimba, vibrafone, xylosynth, and sundry percussion. Despite these changes, Astronautica is largely a continuation of the style found on Symetria. Broader strokes, larger sound, simpler compositions, with more emphasis on atmosphere rather than tricky intricacies. However, there's no mistaking that this is a Hidria Spacefolk album, and they continue with their lively instrumental melodic psychedelic music, with plenty of tempo changes and electric guitar solos. Great driving the highway music! Overall an excellent album, though still not up to the high standard (IMO) of Symbiosis and Balansia. I'm already waiting anxiously for the next album! (ED: which still hasn't happened as I update this post 12 years later!)

Symetria (2007)

Symetria shows Hidria Spacefolk cutting back on the edgy complexity of their first two albums, while adding more of a steady post-rock sensibility. These changes are somewhat understated, so it's more like a trimming of the hedges, rather than a replanting of another bush. The title track and 'Futrur Ixiom' demonstrate quite well this movement to the center. Gone are the high powered psychedelic sequences and ripping guitar solos, and its place is a more staid melodic and atmospheric approach. That's not to say the band has moved away from mid-tune meter shifts, it's just a bit more toned down. '322' seems inspired by the stoner metal movement, as no doubt the band performs live with many acts that represent that genre. However they do manage to avoid the standard trappings of stoner rock (slabs of metal guitar distortion, raw drunken vocals, etc...), and instead inflect the typical Hidria Spacefolk treatment, that as a bonus inserts midstream a cool funky rock sequence complete with horns. 'Flora/Fauna' is a new twist for the band, calling out their Scandinavian heritage - in this case the region's penchant to produce a type of [i]rural rock[/i], a favorite style of nearby Denmark, especially in the early 1970s. To be honest, at this point of the album, Symetria is a bit of a disappointment. However, Hidria Spacefolk saves the best for last, and the last two tracks, totaling close to 20 minutes recall the superiority of Symbosis and Balansia. All the same, I hear this album a full star less than its predecessors, though still quite excellent obviously. It's probably no surprise that Hidria Spacefolk decided to break at this point, probably realizing they were beginning to hit a rut. Fortunately they reconvened in 2012 for a new album.

Balansia (2004)

Picking right up from Symbiosis, Hidria Spacefolk deliver another set of smoking space rock tunes. All of the first 5 tracks are near or above the 7 minute mark, and each add a unique twist to their classic Ozric/Hillage/Gong inspired sound: 'Kokkola' features heavy percussion; 'Modus Operand Hermetik' goes east to India (at the break) for inspiration; 'Astroban' loads up on the wah-wah funky guitar and features some wild extended jamming; 'Pajas' adds bluesy Krautrock styled guitar and sampled organ; 'Pako Originaux' shows a remarkably researched track, full of classic 1970s French references (Clearlight, Heldon, and a host of obscurities). And then there's 'Tarapita', Hidria Spacefolk's one attempt to date at the extended atmospheric and exotic early 70's Kosmiche Kourier styled composition, with plenty of high energy jamming at the finish to polish it all off. Agitation Free meets Ozric Tentacles. An amazing album by an amazing band.

Symbiosis (2002)

The obvious comparison to Hidria Spacefolk is of course Ozric Tentacles, but that's only part (albeit a large one) to the entire equation. What's left out of most reviews is what comes after the plus sign - the early 1970's Scandinavia song craft - a certainly melodic sense that adds the key ingredient which makes Hidria Spacefolk so special. As someone who has listened to countless hours of the early 70s Scandinavian progressive scene, it's apparent immediately. From Sweden, you hear snippets here and there of Algarnas Tradgard, International Harvester, Lotus, Kvartetten Som Sprangde, and Saga. From Finland, there's Kalevala, Nimbus, and Haikara. The driving rhythms, electronica bits, synthesizer sequencers and riffing guitar point to a modern era. The bluesy guitar solos, sometimes with a Latin Santana influence, the Indian Eastern mysticism, the lead melodies, and the Hammond organ samples all point to a different era - one these lads most certainly absorbed growing up, even if unwittingly (though I suspect they are quite aware of their origins). If Ozric Tentacles is the post graduate course, then Symbiosis is the perfect score - 100%. 'Nasha Universo' is my favorite short-form progressive song for the entire 2000 decade.

HDRSF-1 (2001)

Finland’s Hidria Spacefolk broke onto the scene in 2001 with HDRSF-1, which featured recordings from as early as 1999. And what a debut it is! Hidria Spacefolk are one of the very few bands to take the Ozric Tentacles space rock via Hillage formula, and actually take it further by adding more instrumentation, putting together more complex compositions, and rocking harder than Ed Wynne and crew (that’s no small feat right there). While Hidria wasn’t even close to reaching their peak at this stage, there were plenty of signs they could put together a masterpiece (and their subsequent two albums did just that). Most notably ‘Sindran Rastafan’ is the type of space rock rave-up that leaves one amazed, exhausted, and overwhelmed. Hidria mixes wah wah style funk, hard rock guitar, cosmic and very fuzzy synthesizers, Middle Eastern melodies, Indian flute and didgeridoo, sometimes all in the same song! Variety is their strong suit, and they mix high energy jams with meditative quiet sections with ease. The band likes to change things around in a rapid manner, so the music never gets stale and always remains exciting. This debut demonstrated to the world that Hidria Spacefolk were to be one of the best space rock bands of the modern era.

---10/14/06

Other albums heard: Live Eleven am (2005)

11/14/12 (new entry)

Haze, England

Neo prog

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Latest release: The Water's Edge (2024)

C'est la Vie (1984)

Haze were one of the more known names from the initial New Wave of British Progressive Rock bands that emerged in the early 80s. They were often mentioned in the same breath with IQ, Marillion, Twelfth Night, and Pallas. Armed with this knowledge, when I arrived in London in the summer of 1984, it was my every intention to come home with their first full length LP C'est la Vie. But it was one I could not find anywhere, and the band's hazy moniker represented my own memory of them. C'est la vie indeed.

Fast forward to 1992, now touring my own country, and we're in Greensboro, North Carolina visiting a record store (as if I'd be doing anything else...). And there (of all places), staring me right back, was the ever elusive Haze album, with its unique blue vinyl cover design. It was there, I was there, and it was $2. Mine. Finally. Eventually arrived back home, played it probably twice, filed it.... and haven't heard it since...

...Since today, 24 years later. The vinyl still has its comfy spot in the collection, but now the CD just walked in the door. Time for a serious headphones listen.

To be honest, I was almost afraid to listen to it. I figured perhaps my quest had added a point or two to the overall rating, in my often fits of nostalgia. The good news is, I enjoyed it more now than I remember. The album very much reminds me of the cassette tape culture that was prominent at the time. So yes it's true, the production quality is lacking, and the performance is amateurish. The band weren't ready for prime time, and yet that's where its charm lies. In addition, Haze weren't your typical Genesis/Yes fixated neo prog outfit, but rather they represented a variety of English bands - anywhere from Iron Maiden to Duran Duran to Van der Graaf Generator. No, they weren't metal or synth pop in the slightest, but the songwriting was reflective. The other major influence that emerges obvious is that of Rush, which gives the band the surge of energy they most certainly needed.

The CD decided to reverse the sides of the LP, so the first track you hear is 'Mirage'. This composition goes back to 1979, 4 years before anything else on the album, and demonstrates that Haze started out far more progressive minded than they ended up. The other standout track is the now-closer 'The Load' which is where VDGG becomes the lead influence. In between are subtle prog tracks, a ballad, a bit of hard rock, and just general no-budget-but-cool sounding 1984 rock.

The liner notes inform us that the song, and record label, Gabadon comes from a translated form of the license plate of a Land Rover the band usurped from a friend to help with touring.

With history now in place, Haze were an early dropout in the neo prog sweepstakes. They were quick to move away from progressive rock, and made their stab at more commercial offerings. A typical failed strategy. The band has reemerged since but I have yet to hear anything thing new by them as I write this.

---8/9/16

Other works heard: The Cellar Tapes (1983); Cellar Replay (1985); The Ember (1985); In the End 1978-1988 (1993)

6/18/24 (new entry)