Aquaserge, France

Avant prog; Canterbury styled; Space rock

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Latest: La Fin de L'Economie' (2024). 

Ce Très Cher Serge, Spécial Origines (2010)

Aquaserge reminds me of a time when the French reigned supreme in the creativity department. Think back to the early 1980s, when France was bursting at the seams with interesting bands like Dun, Catastrophe, Eskaton, Asia Minor, Abus Dangereux, Rahmann, Nuance, Art Zoyd, Synopsis, and many more. Aquaserge combines Canterbury, space rock, and general wackiness to create a fun filled progressive extravaganza. To me, these qualities all add up to primo Gong, though Aquaserge are more complex, more jamming, and less silly overall. Makoto Kawabata of Acid Mother's Temple provides some splendid acid guitar, and it's in this kind of setting that he shines most brightly.

---7/04/11

Other albums heard: A L'Amitie (2014)

7/04/11 (new entry)

Patchwork Cacophony / Ben Bell, England

Progressive rock; Prog AOR 

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Latest album: Hourglass (2024). Release date: May 1

Patchwork Cacophony (2014)

In general, I'm not a fan of solo albums, but when Ben Bell asked me to give a listen to his debut work Patchwork Cacophony, something told me this might be a bit different. And sure enough, I was right (at least this time...). I knew Ben from the Fusion Orchestra reformation album (technically with an appended 2 to the moniker). He seemed like such a genuinely pleasant fellow, and his positive demeanor and overall disposition were perhaps a bit closer to my own. And it was obvious, to me at least, that he had an enormous influence over Fusion Orchestra's return success (artistically speaking of course).

Basically Ben Bell plays about 40 instruments here, and that's one reason why it works so effectively. This includes the critical ingredients such as keyboards, guitars, and drums/percussion. So instead of the usual limited palette, Bell creates a myriad of sounds via both older analog, and newer digital, instruments. In this way, Bell could be considered a modern Mike Oldfield, marrying his Hergest Ridge and Amarok eras in seamless fashion. Though perhaps Bell's work is more in line with traditional symphonic progressive, than what the mercurial Oldfield would release. The only track with vocals, 'Dawn Light', has a distinct Supertramp feel - at their most progressive. Hammond organ, acoustic piano, and sampled mellotron drive the tones, and he does an admirable job with the rhythms - and especially the additional percussion. And an occasional fuzz guitar intrusion never hurt anyone (especially me!). Of course, one can always benefit from the "creative friction" and synergy of a group effort, though admittedly the stress levels are so much calmer when it's only you that you're left  arguing with...

I had to laugh when Bell stated "As a gesture to my teenage version of myself who loved reading these lists while listening to albums, trying to spot each part like a a treasure hunt checklist:". And then he listed the instrumentation in detail. Yea, well, I also liked doing that when I was 13 too. And guess what? I still like doing that as I close in on 51...

In conclusion, a highly recommended album for symphonic progressive rock fans.

---1/26/15

1/26/15 (new entry)

Seven Impale, Norway

Progressive rock

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Latest release: Summit (2023)

Contrapasso (2016)

A much different take on progressive rock, Seven Impale adds metal elements and even electronics to the stew. Once you realize this will not be a retro prog effort, the results are just as satisfying as the debut. One can see why this album isn't as highly rated, but I enjoy them the same, though they're obviously very different in their approach. One of those albums you know needs more listens to properly absorb.

---3/24/24

City of the Sun (2014)

Seven Impale's debut is a dense work recalling Van der Graaf Generator and King Crimson, with a more contemporary vocal style. A somewhat typical modern take on 70s prog rock, borderline impenetrable, but ultimately satisfying.

---5/5/22

6/16/23 (new entry)

Tarot, Australia

Progressive hard rock

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Latest album: Glimpse of the Dawn (2024). Release date: April 12

Reflections (2016)

Tarot's first album (or the compilation of cassette EP's as it were) was a great opener that had a unique blend: The music of the early 80s epic metal bands as played by 1971 era Uriah Heep.

Reflections sounds like 1974 era Uriah Heep. Period. End of story. Not the best period of that fine band now is it?

I'm all for the newer bands recreating the past, with history on their side to filter out only the best parts that have aged well to modern ears. But we don't necessarily need to rehash the past verbatim either. Is the third album going to be straight AOR, followed by a disco album, and then synth-pop maybe?

OK, I'm sure that isn't going to happen. And this is a very good album without context. But I was hoping for more dynamic output. Reflections is a bit ordinary to be honest. Interestingly, I found the vocals to be an improvement on the debut. They had to do something, though as I've read elsewhere, not everyone agrees with the execution.

---12/29/16

The Warrior's Spell (2015)

Tarot's first full album compiles 3 cassette EP's from 2014 onto one album, and adds two new tracks in the middle for good measure. The songwriting is epic metal similar to Mark of the Beast era Manilla Road (1981) as played by 1971 Uriah Heep (mellotron, Hammond organ, hard guitar). So this is what is now known as "heavy rock" but with the spirit of a metal band. I wish the vocals to be more dynamic, and they tend to be a bit monotone (at least he sings and doesn't growl or grunt!). A small quibble really. I'm not sure I can hear enough bands who sound like this. I want more. Lots more.

---4/27/15

4/27/15 (new entry)