Under the Radar Music

Latest: Ada (2024)

Misophonia (2016)

Misophonia is Electric Orange's 11th proper studio album. They were one of the first Krautrock revivalists from the Fatherland, and have more or less stayed on script throughout their 25+ years career. I started with the band at the beginning, and have dutifully picked up all their albums to date. And the all instrumental Misophonia definitely has the right sounds, with rumbling drums, and grungy Hammond organ to the fore. So it comes as a surprise to me that I really don't enjoy this album very much. It's certainly good enough, but for Electric Orange, it's a sub par effort. I picked up the CD upon release, and heard it last year for the first time - and have stuck with it now for over a year. But the needle isn't moving.

So what gives? Well... I've struggled to put my finger on it, but for one thing there is no songwriting. Now with Krautrock that certainly isn't de rigueur, but most at least intersperse a few melodies among the chaos. Electric Orange did not do that either. But if there aren't any songs, then one would look for a climatic payoff of some sort - a build up to an intense jam for example. Nope, not here. Then there's the lack of tonal diversity. A flute, saxophone, or more electric guitar would have helped immensely. The latter is there primarily to set the tone, but doesn't play a major role in the album. In effect, Misophonia is one of those albums that has all the right ingredients, but doesn't taste right. To be honest, it's a bit dull. If I were to characterize the album - it would be something of a new genre - Ambient Krautrock. Not electronic in the slightest - definitely a rock based album. But it's very static. I do think that's what the band was striving for. To create the mood of the original early 70s Krautrock movement. To that end, they succeeded then. But that's all they did. Overall, I expected more.

---4/29/18

Netto (2011)

In 1993, Electric Orange almost single-handedly restored the cosmic Krautrock genre back to greatness (with the exception of some truly obscure outfits like Attempt to Restore, Nova Express, and Der Kampf Gegen den Schlaf). They took a detour shortly thereafter into the realms of electronica, realized the error of their ways, and returned back to form in 2001 with Abgelaufen!. Since that time, Electric Orange have gone from amateur to professional status, added more band members, and have released a number of quality albums with consistency. I've gone back and forth on this title, but in the end, it's too static for my tastes. A lot of rumblin' and bumblin' but it never seems to take off or go anywhere. It's a fine effort for developing a particular kind of atmosphere, yet I couldn't identity what that is.

---2/13/12

Krautrock from Hell (2010)

As the title suggests, this work is meant to be a purest Krautrock effort. Most of it is very good, but without any highs for the first six tracks, and kind of drifts by without notice. They would benefit by adding more dynamic and metric shifts, similar to how Titan executed this on Raining. No matter, the Hammond organ takes center stage, and is a delight to hear in this kind of setting. The album closes on a high with 'Wurmloch', which is also the only atmospheric piece. This composition truly captures the 1970 German experimental underground. Lots of organ, flute, and pounding drums. All that's missing is the freakout psychedelic guitar. Something akin to Tangerine Dream's Electronic Meditation and Annexus Quam's Osmose. Can't think of too many modern groups who have accomplished this aura so perfectly.

---2/20/24

Morbus (2007)

So here I sit with Morbus, an album that immediately brought to mind the earlier Platte, except it’s even more heavy, intense, and relentless. And I don’t mean that in the I-can’t-take-it-anymore-noise-fests of Acid Mothers Temple, but rather this is far more measured, where they capture a groove and expand upon it, rather than destroy it to the last note. When the group started, they were more or less an extension of Dirk Jan Muller’s one man show. Now it’s a fully fledged 5 piece group, armed with the latest in technology and a pile of vintage gear (especially in the keyboard department). I like the addition of the German narration, the wordless female vocals, and even the occasional lyrical song in English. Electric Orange are getting better as each year passes.

---11/13/07

Abgelaufen! (2001)

I've often referred to this album, their 4th (proper), as their "return to form" work. After a couple of diversions into the world of electronica, Electric Orange go back to their Krautrock roots. At times I feel this is more show than content, but that might be a bit of a cynical outlook. Their stock in trade is atmosphere, and they do truly capture the kosmiche kouriere in us all. Rhythms galore, wah wah guitar, heavy Hammond, mellotron overlays, and phased voices all play a role in this. There's even some Klaus Schulze styled electronic rock here. Orange Peel meets Can? Sure, why not.

---5/19/24

Orange Commutation (1996)

Essentially a Krautrock techno album. Taking their debut album as a blueprint, Electric Orange dives into electronica and adds beats and other modern devices to make for a wholly unique release. I'm favorable to albums that mix real analog instrumentation with computerized digital enhancements. It's the former that is rarely heard in music such as this.

---1/31/24

Other albums heard: Electric Orange (1993); Tonbandreste (1994); Platte (2003); Fleischwerk (2005); Electric Orange & Sula Bassana (2006); Volume 10 (2014)

9/21/17 (new entry)

Amoeba Split, Spain

Canterbury style; Jazz rock

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

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)

Great Wide Nothing, USA-Georgia

Progressive rock; Neo Prog

Latest: Hymns for Hungry Spirits, Vol. II (2023)

The View From Olympus (2019)

Great Wide Nothing are from Atlanta and clearly embrace progressive rock at its early 70s UK major group peak. Classic Yes and Genesis seem to be front and center and the vocals have that distinctive Fish neo prog edge to them. I like the woody bass sound, something that should be required for any up and coming prog group. Piano, organ, and analog synthesizers are also part of the recipe. And some fake mellotron. This is one of those oxymoronic retro / neo prog type acts. The standard bearer for such a phenomena would be Cliffhanger, that most wonderful Dutch band that largely went unnoticed. Good start here! Will check out their other albums eventually.

---11/24/24

11/24/24 (new entry)

Pocket Size (Stockholm), Sweden

Retro prog; Space rock

Latest: Att Göra 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

Latest: Oneironauts (2024)

Oneironauts (2024)

I keep saying I'm not going buy new albums in styles I already have well covered in the collection, especially by bands that I own eight albums from already. But I was in the right mood, and Quantum Fantay were one of the highlights of the last decade, so why not order one more on last call. Besides it's been five years since their last album, telling me they might be more energized and creative this go round. Interestingly enough they open the album just as they did on their last Yemaya Orisha, where I stated: "The opening title track could be considered "typical" (but still very good)". What I mean by typical is their patented Ozric Tentacles interpretation of space rock. Though unlike the prior album, they didn't open the flood gates on the second track. At times I felt the music to feel too formulaic. But as the music kept spinning, my head continued to bob and I found myself getting immersed into their fiery brand of space rock. The title track even borrowed a couple of riffs from the almighty Bridges of Kukuriku. Quantum Fantay are to be credited for keeping their compositions from wandering off into the weeds, and always keeping an eye on melody. The elaborate ornamentation of sequencer based electronics and synthesizers space gazing add the proper atmosphere. Rhymically, Quantum Fantay often move beyond 4/4, and get complex at times. Such a great band really. Will this be the last album I buy from Quantum Fantay? I say yes. But that's what I said last time.

---11/24/24

Yemaya Orisha (2019)

Quantum Fantay proved to be one of my favorite bands of the 2010's, perfectly capturing everything I like about the Ozric Tentacles sound. They filtered out the reggae and lengthy ambient pieces, while going for the throat on high octane space rock. Yemaya Orisha is their 8th, and to date, last studio album. By now I just have too much of this kind of thing, and I'm weeding some out. But I'm not sure though if any of the Quantum Fantay's will be touched. The opening title track could be considered "typical" (but still very good) and I was thinking this may have been one purchase too many. But 'Mami Wata' packs a wallop, and hits all their trademarked qualities: Ferocious guitar chords, flute melodies, synthesizers galore, and insane rhythmic work. They maintain this pace on 'Riddles of the Sphinx'. By now the last two tracks could be country and I wouldn't care. But of course they're not - just more Quantum Fantay goodness. It's highly likely I stop here with the band - presuming they continue - unless it's essentially given to me. But what a run they had for 15 years.

---11/24/22

Tessellation of Euclidian Space (2017)

Their 7th album is, to date (2024), the only album by Quantum Fantay that I didn't connect with. It's more ambient / electronic, and can get clubby in places. I think 3) is really great and 5) also captured my imagination. There's some space whisper Gong and Pink Floyd references this go round too. I can't blame the band for wanting to extend their palette of sound, but it doesn't always work for each listener. For some, this may be their best effort. I'll keep working on it.

---2/18/24

Dancing in Limbo (2015)

Quantum Fantay have always been a Masters Class course at the Ozric Tentacles University. And on their 6th studio effort, Dancing in Limbo, yet another thesis has been proposed and accepted. So much so, that the professor himself - one Ed Wynne - even guests on the album! If you're the sort that appreciates Ozric Tentacles most in full blown space rock mode with fiery guitar solos and fluttering flute, meanwhile constantly twisting and turning with jumpy rhythms, then Quantum Fantay will certainly blow your socks off. I'm of that sort, and my socks are missing. Dancing in Limbo earns Quantum Fantay yet another "A".

---11/4/15

Terragaia (2014)

So exactly how would Quantum Fantay follow up the brilliant Bridges of Kukuriku? It would take four years to find out, but the band has finally reappeared with Terragaia, and the CD (that's right - a CD - remember those?) is housed in a fine triple fold out digi-pak. I would say that Quantum Fantay have found themselves back to their roots of Ozric Tentacles' inspired space rock. Unfortunately, there aren't any of the hair raising, head turning moments of the last two albums to be found. However, let's not get carried away and start pointing fingers as if this is some kind of failed effort. Hardly. The music here is as brilliant as Ugisiunsi, but with a distinct Middle Eastern and Chinese theme running throughout the melodies (and some snippets of Caribbean and Celtic music too). There's so much to admire about Quantum Fantay in the studio - and their variation of the Gong You era is as fine as anyone as ever realized, including Ozric Tentacles themselves. So what you have is the usual fiery guitar solos, flute overlays, bubbling synthesizers, and hyperactive rhythms that you expect - and want - from the genre. Quantum Fantay are money, man. I'm already looking forward to the next release!

---6/27/14

Bridges of Kukuriku (2010)

I've been a fan of Quantum Fantay since their first album. All are very good variations on the Ozric Tentacles sound. But I wasn't prepared for the greatness that is Bridges of Kukuriku. Everything about this album is exponentially better than prior efforts (and that's saying something). Whether it's the production (listen to the panning from speaker to speaker as if Dieter Dirks himself took the controls), the instrumental interplay (crisp and tight), the energy level (extremely kinetic) - or just the general exoticism surrounding the compositions. And this has real melodies, something you can actually latch onto and remember, rather than just a technical exercise in musical theory. The amazing transition from 'Follow the Star' (track 2) to 'Shiver Moments' (track 3) and the subsequent blitzkrieg of said track practically gave me a stroke. Music like this is truly exciting, as you never know what will happen next, and yet it still rocks hard in a psychedelic way. Ozric has never come close to fully realizing an album like this. We're in the rarefied territory of those Finnish groups Hidria Spacefolk and Taipuva Luotisuora. This album is absolutely brilliant and will most certainly be considered one of my personal favorite albums of the entire 2010 decade.

---9/14/12

Kaleidothrope (2009)

After the great success of Ugisiunsi, Quantum Fantay return with Kaleidothrope... ...and serve notice that they are serious and are here to stay. The jumpy sequencers, fluttering flute, hyperactive rhythm section, and - best of all - pyrotechnical psychedelic guitar work, are here in abundance. All of this while never forgetting that melody is truly important to a great composition. Not to mention the constant shifting of themes, meters, and dynamics. Final track 'Telepathy' is a monster and needs to be heard by all. And to think they would actually improve on their next album. Wow! If there's a criticism of Quantum Fantay, it's that they veer too close to Ozric Tentacles. And while that may hold true, one should know that it's more like Ozric extract: All the good stuff is filtered in while leaving the chaff out.

---9/14/12

Ugisiunsi (2007)

While the debut Agapanthusterra could be considered another Ozric album, the sophomore effort Ugisiunsi utilizes to a greater extent other music vehicles like flute (in more abundance than the debut), sequencer based electronics, and haunting wordless female voice, thus adding color to the usual guitar / keyboard rave-ups. The guitarist (from Srdjan 'Sergio' Vucic, in his only stint with the band) adds some metal crunch at times, recalling the Dutch group Kong. And the solos are Ed Wynne-esque in their intensity. Like Hidria Spacefolk (Finland), Quantum Fantay also display a penchant for progressive rock themes and complexities – something that Ozric did more frequently in their past with songs like ‘White Rhino Tea’. Tracks like 'Snowballs in Ghostlands' show Quantum Fantay were capable of writing beautiful melodies as well - moving beyond the usual "if you can't find it, grind it" mentality. At this point in their career, Quantum Fantay looked to be a major force in the space rock circuit. And as it turns out, they ended up being just that.

---9/12/12

Agapanthusterra (2005)

Agapanthusterra is Quantum Fantay's most Ozric Tentacles-like album - right down to the reggae bits. That said, the compositions are entirely unique and offer one more perspective of an already great formula. On this debut, Quantum Fantay were a four piece with synthesizers, bass, drums and flute. Guitars were performed by a guest of the band (who would later join as a full time member on their 3rd album Kaleidothrope), but despite this designation his participation here remains a centerpiece to their overall sound. Best tracks are the heaviest rocking pieces 'Lantanasch' and 'Chase the Dragon'. Worth noting that the final track 'Amoevha' is hidden and not listed on the CD itself.

---9/11/12

9/14/12 (new entry)

Halloween, France

Progressive rock

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

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)

Tale Cue, Italy

Neo prog

Latest: Voices Beyond My Curtain (1991)

Talk about a band I never thought we'd hear from again! Apparently they are working on new material 30+ years on from their sole album. Their Facebook page is post heavy and uninformative. Most curious what they come up with. I really liked their debut as noted below.

Voices Beyond My Curtain (1991)

Tale Cue were of the earliest bands to participate in the Italian progressive rock renaissance. For the era and location, they were wired closest to Ezra Winston. That is to say, a strong neo progressive sound with English vocals. So early in fact, it's quite apparent Tale Cue were pre-Google Translate as well. I haven't the slightest idea what Voices Beyond My Curtain, Prisoner of Cutting Light, and Flying to Fade can possibly mean. No matter though, as I probably wouldn't understand the Italian variations either, though I would have preferred the local language had been applied. Still it's apparent Tale Cue have quite an imagination, and the six lengthy tracks here allow them to expand those ideas in unique ways. This is definitely a guitar based album, and the instrument dominates along with the shrill female vocals - vocals that somehow fit the music perfectly.

---6/8/13

10/7/24 (new entry)

La Torre dell'Alchimista, Italy

Neo Italian prog

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

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

Latest: Galactic Furnace (2024). To be released Oct 25

Rain Falls in Grey (2007)

Radio Massacre International are one of today's most innovative groups. Case in point: Rain Falls in Grey. On this outing, RMI pay their respect to Syd Barrett. Musically this is RMI's most overt space rock effort, with raging electric guitars, and ferocious drumming. As well, RMI have successfully created those magical atmospheres that one would typically find on an old German Ohr release, who themselves were enamored with late 1960's Pink Floyd. This being RMI, one is never too far from classic mid 70's Tangerine Dream, and the combination of the early Krautrock sound with "Berlin School" electronics is highly fascinating. After a bit of a lull at the beginning of the decade, RMI has created a triumvirate of classic releases starting with Emissaries. Each represents an entirely different sound. Rare is this kind of innovation found, much less from a band whose recording history was almost 15 years old by this point.

---2008

Septentrional (2006)

Radio Massacre International have to be viewed as one of the most innovative of recent groups. Certainly within the electronic music space, a field that has the same devotion and non-wavering loyalty to sub-genres as does heavy metal. You're either "Berlin School" or "Ambient" or "Techno" or any other such labels, but you shouldn't be all of them - say many fans. RMI, who started out pretty much strictly "Berlin School", are now all the above and more, with recent excursions into tripped out Krautrock, and whatever else they feel like doing. Septentrional is one of their most polarizing CD albums (their privately released CD-R's are even more controversial). Produced by Ian Boddy, and released on his DiN label, Septentrional is RMI at their most modern and cutting edge. But in a paradoxical way. See, Septentrional has more of that ancient mellotron than any of their other albums. Of course it's put through the production grinder and is echoed, techno'd, phased, manipulated, and ultimately tortured through Boddy's mad scientist lab. It's all rather fascinating. Headphone music for the modern age. If looking for just one composition to leave your jaw hanging, may I suggest 'Trident', which is truly a beautiful thing to hear and behold.

---10/18/15

Solid States (2003)

Solid States is made up of 4 live and studio concerts during November of 2002, performed in both Philadelphia and the Los Angeles area. This is one of Radio Massacre International's more psychedelic releases, and that's primarily due to the abundance of electric guitar. Basically what we have here are long journeys of Berlin School electronic music with fat analog sequencers, mellotron, and loud acid guitar solos. If this sounds like Encore era Tangerine Dream, including the concerts-in-the-USA theme, then yes, you have tracked the scent indeed. One cannot possibly get enough of 'Coldwater Canyon' in my book, and here you'll swim in roughly 2 and a half hours of it. Essential.

---5/26/16

Planets in the Wires (2001)

According to my database, I have accumulated 14 RMI albums to date, and sold one (Zabriskie Point). Too much of the same thing you ask? That's kind of where my head was at going into this listen. Of all their albums that I do own, I've held this one with the least regard.

Now I'm not so sure of that assessment. I will say that it is too long, and the 75 minute length could have been trimmed by 20 minutes easy. Some of the lengthy "ambient" sections don't add much to the recording and get away from what Radio Massacre International does best: Essentially copy Baumann-era Tangerine Dream. But once the sequencers begin to roar and Gary Houghton begins to wail on his guitar similar to Edgar Froese, well it sure is hard not to appreciate the contents within. I probably do have too much of this kind of stuff. Where to draw the line? I dunno - kicking that can down the road some more. I have other fish to fry.

---6/24/22

Knutsford in May (1997)

The hardest part about writing on Radio Massacre International, is that they have so many doggone great albums, it's near impossible to determine what is great from what is really great. If you're a fan of the Berlin School of electronic music (Tangerine Dream, Klaus Schulze, etc...), and you like sequencers, mellotron and electric guitars (and even real drums on later albums) - then do not wait another second - don't walk, but run out, and buy at least one RMI album. You almost cannot go wrong, though as I said in the prelude, there is a bit of separation on their respective titles. Knutsford in May is one of their can't miss titles for fans of the genre. This one has more than its share of mellotron and guitars, and while listening to this you'll feel like someone dropped you into Edgar Froese's studio circa 1975. RMI have completely mastered the style, and if you're looking for a starting place - Knutsford in May is as good as any.

---5/17/11

Frozen North (1995)

It all starts here for Radio Massacre International (RMI). That most creative English band that almost single-handedly brought back the Berlin School trio format back to prominence. All three perform on a raft full of analog keyboard equipment (yes, of course, mellotron, Moog's, etc...), while one doubles up on electric guitar. Sound familiar? Sure it does. So if you're looking for about 20 more quality albums from the glory days of Tangerine Dream's "Virgin Baumann years", well do I have good news for you! Not that RMI was content to just sit in that same zone, as many of their albums followed other trends of German Kosmische, but primarily RMI were all about sequencer and atmospheric mid to late 70s Tangerine Dream. And the double CD Frozen North is the perfect place to start (if you can find it that is - I bought mine not long from its release date). We are talking 2 hours and 15 minutes of Encore meets Rubycon era Tangerine Dream. Not a mere copy, but yet a completely unique take on a classic sound. To say it is essential for fans of Berlin School elektronik music would almost be understating the matter.

---12/21/14

The God of Electricity (1994 archival)

In effect, The God of Electricity is Radio Massacre International's earliest album, though not released until 2000. The album was recorded throughout the summer of 1994, and later pieced together, which is a bit different than the normal RMI protocol. It's a darker work, with synthesizers dominating the proceedings even more so than later in their career. The sequencers remind us once again that Baumann-era Tangerine Dream is the blueprint for all future RMI recordings. The God of Electricity is yet another excellent album from RMI, though I wouldn't recommend it as a starting place (better to try their actual debut Frozen North to get the true Radio Massacre International experience).

---1/1/16

Other albums heard: Republic (1996); Organ Harvest (1997); Borrowed Atoms (1998); Zabriskie Point (2000); Upstairs Downstairs (2000); Startide (2001); Walking on the Sea (2004); Emissaries (2005); Philadelphia Air-Shot (2008); Time & Motion (2010)

10/18/15 (new entry)

Korai Orom, Hungary

UK Festival styled Psych; Progressive Electronic; Tribal Trance

Soundcloud

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

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)

Siena Root, Sweden

Retro prog; Hard Rock

Latest: Revelation (2023)

Here's a band I lost touch with 15 years ago. Putting a page up. I have a couple of their albums on CD and hope to pen reviews for them.

Albums heard: Kaleidoscope (2006); Far From the Sun (2008); Different Realities (2009)

9/23/24 (new entry)

Caillou, France

Jazz Rock / Zeuhl

Latest: Caillou (2013)

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.

Caillou (2013)

Caillou are an all instrumental group from France that is firmly within the confines of the jazz rock wing of the Zeuhl factory. Fender Rhodes and electric guitar lead the solo parade (and both will occasionally fuzz out, much to my glee). Drumming is scattered in the jazz tradition, while the bass rumbles along, trying to hold it all together. Analog synthesizer definitely adds much needed color. Comparisons I've read to One Shot are spot on. Caillou are their best when they attempt songwriting, and throw in a memorable melody or two (such as on 'Victor F.' and '200 Toiles'). It stands as a fine debut, though they can certainly improve in the composition department, while adding a bit more complexity and trimming off the solo excess. It can seem a bit monolithic over the course of the 55 minutes on display. I look forward to where they go from here.

---

Well... they didn't go anywhere obviously, but they have reformed as reported above. So we still have a chance for a follow-up. In hearing this album tonight for the first time since that initial experience, I find myself enjoying the sloppy jazz rock aspect of the album. I mean sloppy in a positive way, not one of incompetence. The music has a layer of rawness that was prevalent in early 70s jazz rock, especially within Germany and some of the private recordings here in America. The label - Soleil Mutant - indicates it wasn't intended to be a pure Zeuhl album. And that would be correct, even though there are certainly elements of the genre, namely the bass work. 'Les Carpates' is one example that brings the heavy Magma intensity. So with that... I look forward to where they go from here. :-)

---12/10/13; 9/20/24

12/10/13 (new entry)

Kenso, Japan

Symphonic Prog