Quantum Fantay, Belgium

UK Festival styled psych; Space rock

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Latest album: Oneironauts (2024). Released 6/14

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)

Lucifer Was, Norway

Heavy prog

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Latest release: En Fix Ferdig Mann (2024). 

Summary: Hard rock into heavy prog with flute and guitar as leads.

Albums I've heard: Underground and Beyond (1997); In Anadi's Bower (2000); DiesGrows (2014)

2/18/24 (new entry)

Kerrs Pink, Norway

Progressive rock

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Latest release: Historical Blunders EP (2024)

Summary: Symphonic prog with light folk touches.

Albums I've heard: Kerrs Pink (1980); Mellom Oss (1982); A Journey on the Inside (1993)

2/18/24 (new entry)

Trettioåriga Kriget, Sweden

Progressive rock

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Latest release: Till Horisonten (2021)

After 50 years, Trettioåriga Kriget are still going strong and playing live in 2024. Incredible.

Efter Efter (2011)

I've felt that all three of the 2000+ era Trettioariga Kriget albums have been very good. These are not clueless reunions or cheap cash-ins, but rather answer the question:"What would have TK sounded like after Krigssang in today's world?" Very few bands are able to capture the original spirit of their youth, while still possessing a keen understanding of modern times. It's unfortunate that more groups from the early 70s couldn't accomplish the same feat. And now time is running out.

So bravo to Trettioariga Kriget for yet another splendid effort. For my money, Efter Efter is the finest of the latter trilogy. Even closer to their 1974-1976 work. For my tastes, their debut is a Top 10 ever album, and while they don't come close to that greatness here, it's still nice to hear an intelligent and relevant effort.

---12/20/11

Hej På Er (1978)

1978 was a tough year for mainstream progressive rock bands in general. And while Trettioåriga Kriget were hardly a household name here in the States, they certainly were well known back home in Sweden. To survive, the expectation was for a band to produce a hit record of some sort. It's pop, punk, and disco - and a global plague of ADD. No more long journeys into the netherworld to sit back and contemplate. And Trettioåriga Kriget's first two brilliant albums are just that, showcasing an imaginative and talented band. So what's a group like this to do? Compromise. And honestly, Trettioåriga Kriget did about as good a job as anyone in accomplishing this. Had everyone followed this blueprint, prog rock may have indeed survived longer than it did. But most were hapless at trying (and leading lights Yes and ELP certainly turned in their respective clunkers for the year). Hej På Er balances straightforward rock with deceptively complex progressive music in compact form. It's not perfect of course, and the first two tracks are pretty bland. As if they were trying to fool the coked out record execs, and hoping they'd leave before the good stuff began playing. It's not a monster album naturally, but it's accomplished and not something to apologize for. It's instantly recognizable as a Trettioåriga Kriget album, but a bit more diluted. Something akin to a double IPA being reduced to a lager.

---9/27/17

Trettioåriga Kriget (1974)

Though Sweden had a healthy psychedelic progressive movement in the early 70s, Trettioariga Kriget (or the more proper spelling Trettioåriga Kriget) added a large dose of frenetic heaviness into the mix, and arguably laid down the ultimate Swedish progressive rock blueprint. Sounding like a weird mutant of Led Zeppelin and Yes, the music starts off in a ferocious manner and never truly lets up. A quartet of two guitars, bass, and drums, Trettioariga Kriget is one of the most exciting rides at the progressive rock theme park. There are no traditional keyboards, but plenty of mellotron to add an eerie feeling to the proceedings. And that gets us to vocalist Robert Zima. He has quite the pipes and can scream with the best of them. But it's the Swedish lyrics that are front and center. When I say Swedish, I mean with a capital S. The language plays a critical key role into the overall sound of Trettioariga Kriget, which is why they were the forbearers of the Swedish retro prog movement that ultimately led to Anglagard, Landberk, and the rest of them. Zima is an unlikely hero in this case, given that he himself was from Vienna, Austria! No matter, he went to high school with most of the band, and clearly mastered the language. It's really hard to pick a favorite, as every track is a 5 star winner, but I'd go with 'Röster Från Minus Till Plus' which encapsulates their overall sound best.

---8/22/21

Other albums I've heard: Krigssang (1975); Mot Olla Odds (1979); Elden Av Ar (2004); Glorious War (2004 - archival); I Borjan och Slotet (2007)

12/20/11 (new entry)

Rhùn, France

Zeuhl; Jazz rock 

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Latest album: Toz​zos (2024). 

After a decade of silence, Rhun has become very active and are releasing their second album in as many years.

Fanfare du Chaos (2013)

Like Caillou, Rhun are a new French band that fits squarely into the Zeuhl tradition. While Caillou were looking outward to the jazz side of the medium, Rhun sits very comfortably with the master creator of the genre itself: Magma. There are both jazz and classical references presented on Fanfare du Chaos, a CD from AltRock that combines the previous year's EP (first 3 tracks) with a 2008 unreleased demo (last 3). The music is rough and tumble for the most part, with the expected operatic Kobaian used as the vehicular language. Soft flute and bassoon are often juxtaposed against a blitzkrieg of fuzz bass, electric guitar, pounding drums, and squealing sax. Hard to imagine fans of both 1001 Centigrades and Mekanik era Magma - as well as the great Weidorje - not lapping this one up. It's a straight play for the hearts of traditional Zeuhl fans everywhere, of which I'm one. And they succeed for the most part. Rhun fortunately avoids the excess of modern bands such as early Koenji Hyakkei and second album Scherzoo, though I wouldn't mind if they traded a few of those pure noise improvisational parts (especially some of the atonal sax squonks) for actual songwriting. This is a band with tremendous potential. Let's see where they go next.

---12/14/13

12/14/13 (new entry)

Kikagaku Moyo, Japan

Heavy psych; Krautrock styled

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Latest release: Hasenheide (2024) archival from 2016.

Kikagaku Moyo (2013)

Kikagaku Moyo is Japanese for Geometric Patterns, and is a perfectly fitting name for this promising up and coming psychedelic space rock group from Tokyo. Fantastic artwork adorns the cover and is appropriate for the music within. According to the label, Kikagaku Moyo set out to recreate the magic sounds of the early 1970s Japanese underground. From this listener's perspective there cannot possibly be enough bands to attempt that! Kikagaku Moyo have done an admirable job of creating that unique Oriental atmosphere (by way of Eastern scales, Japanese wind instruments, and sitar), while adding layers of strummed acoustic guitar, anguished wah wah guitar solos, echoed female narration, pounding drums, and theremin. And while the goal may have been to recreate the music of four decades ago, there is no mistaking this to be a modern recording - especially when you consider the slabs of fuzz distortion that come blasting from the speakers. Have no fear, Kikagaku Moyo are a million miles away from Stoner Metal. As well, there are no unhinged solos ala Acid Mothers Temple that would have you screaming STOP! and running from the room in seconds. This is indeed the underground of the 70s, the world of bands like Far Out, Far East Family Band, Love Live Life + One, and Genshi Kyodotai. Time is taken to create the hazy atmosphere, but musical climaxes are delivered at just the right time - similar to the 70s masters.  Probably the 90s Japanese band Ghost is a good guidepost, but I feel Kikagaku Moyo has already surpassed them in quality. This is an exciting new band that I hope we will hear more from soon.

---12/4/13

12/4/13 (new entry)

Deus Ex Machina, Italy ***Inactive***

Progressive rock; Hard rock

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Latest release: Devoto (2016)

Deux Ex Machina don't appear to have any new activity since 2018.

Devoto (2016)

Deus Ex Machina go back to their hard rocking roots on Devoto. It's a surprising return to form, especially for a band who had dabbled in more academic avant prog waters for such a long time. Hard rock guitar, crunchy organ, shredding violin, a driving rhythm section, and the Demetrios Stratos-like soaring Italian vocals of Alberto Piras, define this fine album. It's not dumbo hard rock either, but very much the complex sound of the early 70s. Truth be told, classic Italian prog was always more heavy than ever given credit for. Even bands like Area and Arti+Mestieri kicked out the jams once in awhile. If you listen to the early Deus Ex Machina albums, this is the sound you'll find, except now with more vintage gear in tow. Devoto is about as grimy, nasty, and dirty-under-the-fingernails as you'll ever hear on the refined Cuneiform label. My kind of album.

---9/2/16

Cinque (2002)

When this album was released there was an air of disappointment among the prog rock set that I associated with. I can't recall the discussions as to why. Even for myself, I had it the lowest rated of their seven studio albums (as of 2024). This was their first album to be released on Cuneiform, which had a much larger global footprint than the regional Italian label Kaliphonia. Maybe we all wanted too much from it? I'm not sure, but in retrospect, I hear it no different than its predecessor. It's a fine mix of complex prog rock and driving hard rock. I think sometimes the latter was off putting to my peers. It's just this element that has aged well for me. One interesting real-time review from Brazil on RYM states: "Too much American publicity. It's not that good." Maybe that also captured the mood from an international perspective. For bands that I have multiple albums of, I usually can find a few representative works, and ditch the rest. Not sure Deus Ex Machina has any weak spots. At this point, I hear all seven as essential.

---2/5/24

Equilibrismo da Insofferenza (1998)

In 1998, Deus Ex Machina were one of those bands that myself and my running set were tracking real time. Their first three albums were all excellent, and they seemed to improve with each release. I had the pleasure of seeing them live in 1996 and they didn't disappoint there either. So there was much anticipation when Equilibrismo da Insofferenza was released. And boy, did it pack the WOW factor! They had streamlined their sound further, added even more complexity, while bringing forth a more mature songwriting approach. Not to mention a much better, more retro styled production. For 1998, it seemed to be their best effort yet, and one of the finest prog albums for the entire year - a sentiment shared by many at the time. 22 years later, and that impact has diminished somewhat. The music is dense, with tons of stop/start moments while Piras continued to push the boundaries of the Demetrio Stratos styled vocal gymnastics. And now he's singing in his native Italian verse Latin - which remains a plus in my book. Truth be told, I didn't remember much about the album going into revisit. And I don't remember much about it afterward - and it was only three weeks ago! When reflecting on Deus Ex Machina's best songs, it's starting to emerge that their sophomore effort is their most accomplished, and the one album the band relies on more for their live repertoire. The 90s tinny production was more the issue considering that release. There is an exception to everything I said above - and it's very significant: 'Cosmopolitismo Centimetropolitano' may very well be the single finest track (ever) to marry hard rock and avant prog. And it is memorable. It never stops driving forward, with one of the all time great guitar riffs combined with complex rhythms. And Piras has never been better than here. It was this one song that I think propelled it as one of the great albums in my mind. And for 10 and a half minutes, it most certainly is. For the other hour not so much. Is it Deus Ex Machina's best album? It may still very well be. We'll see how the other albums fare on further revisits.

---11/13/20

De Republica (1995)

I bought this album upon release, and played it quite a bit through the time I saw them live in 1996. And I don't think I've heard it since. 22 years later, my opinion remains unchanged, though I recalled little about it as I listen again. The rhythm section along with Alberto Piras' Demetrios Stratus imitation is what really makes it work. Not very melodic, but definitely rocks hard despite the complexity.

---12/20/18

Deus Ex Machina (1993)

I feel sometimes that this album, Deus Ex Machina's second offering, is the forgotten work in their canon. Since much of their live repertoire is taken from this album, it appears to contain their strongest material from a composition standpoint - at least as the band sees it. The execution isn't as crisp, and the sound quality isn't dynamic (a bit of a flat digital sound - typical of early 1990s albums). Singer Alberto Piras demonstrates here what a force he was to become. A very good album that has aged well and I feel a slight improvement on their chaotic and unfocused debut.

---3/13/11

Gladium Caeli (1991)

Deus Ex Machina burst onto the progressive rock scene in 1991 with their debut Gladium Caeli. When me and my running set acquired this CD real time, it was quite the revelation - and not easy to handle honestly. I've often referred to this album as chaotic and unfocused. But it's probably been 25 years since I last heard it, when it was found hiding deep in the collection. And after all that time, my conclusion is...

...it's chaotic and unfocused. Which isn't necessarily a bad thing mind you. Deus Ex Machina draw just as much influence from 70s hard rock as they do from progressive rock. And that's a fine mix as far as I'm concerned. There's some long form guitar jamming here that certainly recall Led Zeppelin or even Deep Purple. The vocals are one of many unique twists - Alberto Piras being one of the marvels of the Italian prog renaissance. His idol was none other than Demetrio Stratos of Area, and to add even more distinction, he sings in Latin! Most of the album was ignored by the band for later stage shows, and it's easy to see why, as they lack the kind of memorable hooks one seeks to hear in a live setting. One exception to this is 'Ignis ab Caelo', sometimes referred to simply as 'Ignis'. For awhile the band played a truncated version of 'Dialeghan' arguably the album's finest track, and most certainly the fieriest. There are no major peaks here, but everything is at least very good. It's a fine first effort, released at a time when progressive rock was just rolling again. It was well received, and they would improve leaps and bounds from here. And yet I find this album just as enjoyable, rough and tumble as it may be.

---5/9/19

Other albums I've heard: Non est ars quae ad effectum casus venit (1997); Imparis (2008)

 

9/2/16 (new entry)

Polis, Germany

Heavy prog

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Latest release: Unterwegs 1 (2023)

Weitklang (2020)

Funny to see the name of Polis, as that's the name of our current governor here in Colorado. I'm guessing it's a German word meaning "raise your taxes."

Speaking of which, language plays a major role in the sound of Polis. They sing defiantly in their native German, and from my perspective that's a positive development. Indigenous languages offer up one more ingredient to the stew. Because of this, the first thought one might have is Weitklang is Deutschrock, but that's certainly not the case here. Because they are located in the former East Germany, it's also been suggested they represent the sounds of the late 70s and early 80s GDR progressive rock bands. I don't hear that either, primarily because the guitars are of the modern variety. The heavy guitar tone conjured up on Weitklang is very much of a post 90s sound. It's this same guitar that also keeps it from the retro prog realms, that I originally thought it might fit comfortably with. The real stars of the show are the analog keyboard beasts of yore, primarily Hammond organ and analog synthesizers. This keeps the balance nicely and the album avoids falling into the stoner trap. Apparently Polis started as a blues rock band, and that's apparent in some of the guitar solo parts. I'm not so keen on the songs themselves, but most of the tracks have some fine instrumental mid sections.

---2/5/24

2/5/24 (new entry)

Cinema Styge, Italy

Retro prog; Neo Italian prog

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Latest release: Tra di Noi (2023)

Tra di Noi (2023)

Cinema Styge are one of many bands languishing in complete obscurity. In my era, these were the groups that might record a few pieces onto cassette and hand them to friends, family, and the six people in the audience that went to go see them at some dive bar (where some drunk would inevitably put something on the jukebox in the middle of the show).

Right from the beginning we hear organ, impassioned Italian vocals, hard guitar, mellotron, piano, and woodwinds. Plenty of start / stop moments. Oh... this is an Italian prog album alright.

Segueing nicely into the second piece, the music starts out in the grand tradition of adding a chugging hard rock element. These guys are doing everything the retro way. Italian narration and synth solos while they're at it. This track comes with a video and we can see they are enthusiastic young men. All of this takes me back to the late 1980s when progressive rock was being revitalized for the first time since the classic era.

Track 3 begins in mellow fashion with synthesizer in the lead. Recalls the 70s Midwest American scene, with Italian vocals of course. About two thirds through, it breaks out of ballad mode and goes into something like pop psych, similar to the earliest Italian bands. And then onto a jazzy sequence that's quite cool with mellotron (early Latte e Miele comes to mind here).

This is followed a short sound collage / percussion interlude. Tracks 5 through 7 could be seen as a suite, with a soft ballad sandwiched between two more traditional prog rock tracks. The finale wraps up their sound nicely with a mix of battle and love.

It's clear that Cinema Styge has a soft spot for the romantic element of the style, which is also true to many of the masters. Perhaps a bit more dynamism is required during these moments to give it the sit- up-on-the-edge-of-your-seat that makes Italian prog special.

There's no physical release for this album. Like Architrave Indipendente, this is ripe for a gatefold LP. The artwork they are using is perfect for that too.

---2/4/24

2/4/24 (new entry)

Runaway Totem, Italy

Progressive rock; Zeuhl

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Latest: Creators (2024)

Still chugging along, Runaway Totem just released their first new album in five years. At one point I owned six albums by the band. Today I'm down to two. Having said that, their debut remains a total classic for me. I'll need to get some more thorough notes down. I'm certainly up to hearing the others I missed (they have 12 total).

Affreschi e Meditazione (2012)

A very odd new release for Runaway Totem. Those coming to this album looking for their trademark Zeuhl sound will be sorely disappointed. It's mainly an electronic album (heavy on the brass sounds) with acoustic nylon guitars, all heavily filtered - and could almost be considered an ambient release. There are a couple of rock moments, with Italian vocals, but overall this one is a real curveball. That's not to say it's a bad album - it is indeed a very forward looking and progressive release in the truest meaning of the term. Not sure where I stand on it.

---5/9/13

Andromeda (1999)

Andromeda is a straightforward by-the-numbers Zeuhl release. There's little variation in tone, dynamics, composition, and rhythm. One sound - all the time. Surprising given that Runaway Totem's debut Trimigesto was so wonderfully unpredictable. All the same, Andromeda is a very competent release for the style, and die-hard fans will enjoy.

---8/27/10

Other albums heard: Trimegisto (1993); Zed (1996); Pleroma (2004); Manu Menes (2009); Le Roi du Monde (2011)

2/4/24 (new entry)

Zero Hour, USA-California

Prog metal; Tech thrash

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Latest: Agenda 21 (2022)

Another group that I thought was long gone. They reformed recently without twin brother bassist Troy.

Specs of Pictures Burnt Beyond (2006)

This CD is what made me think of the band in the first place. I haven't heard any Zero Hour in many years, and these CDs (I have four of them) are gathering dust on the shelf. I had this one rated as the lowest. Well, then, I guess I'm in for a treat when I get back to the other three! The best comparison I've read about the band in general is that of Watchtower meets Meshuggah. You get the technicality, melodicism, and high pitched voice of the former with the sheer heaviness and calculating rhythms of the latter. Nothing sits still for too long, and the music will challenge your synapses.

---2/3/24

Other albums heard: The Towers of Avarice (2001); A Fragile Mind (2005); Dark Deceiver (2008)

2/3/24 (new entry)