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 The original keyboardist moved to Germany and has been replaced by Veikko Sutinen, who seems to favor the Fender Rhodes a bit more than his predecessor (that's a good thing).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). To be released Jul 1.

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)

Red Sand, Canada-Quebec

Neo prog

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Latest release: Paint Box (2024) to be released Sep 13.

Mirror of Insanity (2004)

Canada's Red Sand are quite simply Script For a Jester's Tear era Marillion, right down to the Fish-like vocalist and album artwork. Which is fine with me, as I felt the early years of the neo-progressive movement held promise. And I never thought Marillion gave their more progressive side a chance and were too quick to embrace AOR styled music. Mirror of Insanity has a few new ideas to add and it's nice to hear a band tackle a genre that lost its way years ago. All the same, perhaps a bit more originality would have helped them here.

---6/21/16

Other albums heard: Gentry (2005)

6/18/24 (new entry)

Crypt Sermon, USA-Pennsylvania

Epic doom metal

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Latest: The Stygian Rose (2024)

The Ruins of Fading Light (2019)

And continuing on the theme of the Oh Sees, Crypt Sermon are another band that I was tipped to by my friends here in town. Contrary to what I stated about the Oh Sees, Crypt Sermon are the type of group I would still seek out. I've just noticed that RYM has added a new genre, one they call Epic Doom Metal, named naturally enough after Candlemass. I agree with this designation, as I've always felt that Candlemass and their ilk were closer tied to the Manilla Road and Cirith Ungol's of this world than those that strictly adhere to the formulaic slow paced metal doctrine.

The Ruins of Fading Light is the second release from Crypt Sermon and is a natural follow-up to the debut. I've recently written about Out of the Garden, and here are some thoughts from that release: "When I first saw the LP, I asked the record store owner what kind of music it was, and that cinched it for me. It reminded me of first discovering Manilla Road's Crystal Logic in 1983 - no way a cover like that would house anything but an interesting record. And I was rewarded with a fine album in the doom metal space. I'm not too keen on the funereal side of the genre and prefer some crunchy mid paced riffing, and that's precisely what Out of the Garden provides. Vocals are more matter-of-fact than the operatic Candlemass style, but otherwise the comparison holds true." How about that? If this is a genre that interests you, then Philadelphia's Crypt Sermon is an easy recommendation.

---7/28/21

Out of the Garden (2015)

Sometime in 1989, while standing in line at the grocery store, my eyes fixated on a new novel called Foucault's Pendulum by the Italian author Umberto Eco, who I was unfamiliar with even though he already had a best seller with Name of the Rose. I've never been a book-of-the-week kind of guy, but the premise was highly intriguing. And it introduced me to the world of Medieval secret orders, namely The Knights Templar, a topic I continue to be fascinated by. I find it humorous that I was introduced to such a weighty topic in the Tom Thumb grocery store line. Right next to The National Enquirer and packs of gum.

Not long prior to this discovery, I had also been introduced to a new metal band from Sweden called Candlemass. They played in a style called "doom metal", and it seemed to be a direct response to the era's preferred fast approach including speed metal and thrash. Calling upon classic Black Sabbath, but with a modern sense of heaviness and lyrical content, Candlemass blew the dust off of the 70s in a most exciting way.

Crypt Sermon is the combination of those two late 80s personal discoveries. When I first saw the LP, I asked the record store owner what kind of music it was, and that cinched it for me. It reminded me of first discovering Manilla Road's Crystal Logic in 1983 - no way a cover like that would house anything but an interesting record. And I was rewarded with a fine album in the doom metal space. I'm not too keen on the funereal side of the genre and prefer some crunchy mid paced riffing, and that's precisely what Out of the Garden provides. Vocals are more matter-of-fact than the operatic Candlemass style, but otherwise the comparison holds true. If any of what I said above resonates, you'll want to grab this one.

---11/17/20

6/1/24 (new entry)

The Revolutionary Army of the Infant Jesus, England

Krautrock styled; Neo Gothic Progressive

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Latest: The Dream We Carry (2024) to be released June 28.

Beauty Will Save the World (2015)

The Revolutionary Army of the Infant Jesus' debut Gift of Tears sounded like Popol Vuh and Emtidi met head on with Harmonia - with a big dose of intense spirituality a la Dead Can Dance. The EP Le Liturgie Pour le Fin du Temps sounded like a Krautrock Delerium. Other albums left a big WTF behind. And here we are with their first new album in 20 years. RYM gives it the genre of Avant Folk, the same as Moondog and Catherine Ribeiro (shakes head. Huh?). Anyway, forget it, the band defies categorization. Are they even from here? Earth, that is...

---12/5/15

Other albums heard: The Gift of Tears (1987); Mirror (1991); Le Liturgie Pour le Fin du Temps (1993); Paradis (1995)

12/5/15 (new entry)

Tusmorke, Norway

Progressive rock; Prog folk

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Latest: Dawn of Oberon (2024)

Nordisk Krim (2021)

I last left Tusmørke in 2017 (Tusmorke if searching in English) after Hinsides, which was their 4th album. This is their latest, and Tusmørke are already on their 9th album (!). I was yin and yang on those first quartet of works, having enjoyed the debut and their 3rd, but the other two were perhaps a bit too folky/singy. Given that Nordisk Krim clocks in at over 80 minutes, it would seem that we'll likely get the entire Tusmørke repertoire. And more or less, that's exactly what this album brings. You can read my reviews of the others and have an idea of the sound here. Flute remains a key ingredient, and that's their best asset IMO. If you're new to the group, this wouldn't be a bad place to enter, even though this comes late in their career. At this stage of my collecting career, it's getting to the point that even an "excellent" rating isn't moving the needle much. I need some wow moments, which Nordisk Krim lacks. But how can I say it isn't great? I don't know if I'll keep all 5 albums that I own by them, but this won't be the first out the door either.

---5/9/22

Hinsides (2017)

Tusmørke have been an entirely frustrating band. Their debut showed immense promise. Their sophomore effort was a slight step back only to have their 3rd album demonstrate a resurgence. And now another regression here on their 4th release. Tusmørke's music tends to be vocal heavy and the music lacks the kind of breaks one looks for in progressive rock. But the overall sound is still welcoming, with a distinct analog 70s feel. And the flute, as usual, provides the requisite warmth and melodic lines. Borderline keeper, but the 23 minute 'Sankt Sebastians Alter' is a cut above the rest. Couple that with the excellent packaging (yes, those things matter), and OK we're good for now. I stopped here with Tusmørke, as the band started to release albums at an alarming rate. Suitable for Buckethead maybe, but not for a group such as Tusmørke, where one would presume an extraordinary amount of effort would go into each album. And reviews have been entirely mixed. I'll keep an eye out for cheap copies all the same.

---4/29/20

Fort Bak Lyset (2016)

Ført Bak Lyset is the 3rd studio album from Tusmørke. The band continues to move away from their obvious Jethro Tull beginnings, to something far more native. As if to respond to the critics, the album opens up with a musical quote from none other than Edvard Grieg himself. English is a thing of the past, and Tusmørke are now defiantly singing in Norwegian 100%. The Viking styled choruses from the second album are still here in abundance, but they've fortunately returned back to their debut when considering the progressive quotient. Flute continues to be the main instrumental driver, and the compositions have added a bit of complexity. There's an underlying hard rock muscle throughout. It takes awhile for the ears to adjust to this one, but Ført Bak Lyset is a step in the right direction as far I'm concerned. This album just basks in its Norwegianess (word of the day). If bands from the 70s like Host and Hades excite you, then you'll be pleased with this one.

---1/12/17

Riset Bak Speilet (2014)

Riset Bak Speilet sees Tusmørke beginning to carve out their own identity, and the strong Jethro Tull influence of the debut has subsided significantly. Tusmørke have moved towards a distinct Scandinavian folk rock sound, with more vocals, less complexity, and Viking styled anthemic choruses. Even though the album seems to use only analog instruments, the style of music has a certain modern sheen to it - similar to some Scandinavian heavy metal bands - but minus the metal guitars (if that makes sense). It's not until we get to the title track, which happens to be almost double the longest, clocking in at nearly 15 minutes, that the familiar progressive rock of the debut returns. Here we get multiple shifts in theme, meter, and dynamics, along with more instrumental time for Hammond organ, flute, woody/fuzz bass, and Mellotron. The lyrics are in both Norwegian and English, though it's interesting to note that while they took the time to translate the Norwegian ones, they did not the English (presuming, I'm sure, no one in Norway needs them translated anyway). And just to add to the confusion, or fun as they probably would have it, 'Gamle Aker Kirke' is sung in English. OK, I give up! As for the bonus tracks, once again its curious to label them as such, as the music is exactly like the album proper. Of course, since it is being released on LP, it's fair to consider the extra tracks on the CD as bonus I suppose. In conclusion, I feel Tusmørke has stepped in a direction that's moving away from my personal interest area. As stated prior, this has more in common with folk rock than progressive rock, or even progressive folk rock. It's very lyric heavy, and as such, instrumental flights of fancy are rare. It's still a very good album, barely a half point off the debut. I'm ready for the third, though I do hope they consider moving back towards progressive rock styled compositions in the future.

---7/6/14

Underjordisk Tusmørke (2012)

One of my pet peeves is that every time a band features flute in rock music, then they must be compared to Jethro Tull. I mean seriously - there isn't a hint of Jethro Tull in the music of Gotic, Solaris, or Mythos - and I could site hundreds of examples here. So having said that, Tusmørke have a flute driven progressive rock sound that will remind you of... Jethro Tull. That is exactly what they're trying to accomplish - early 1970s Tull. But the abundance of mellotron and the dark nature of their music (they're Norwegian, they can't help it) will suddenly make you realize that the music is distinctive enough to not sweat the obvious comparison. In fact, if you're a deep diver of the 1970s Scandinavian progressive rock scene, then a couple of bands leap to mind. First is the Finnish band Tabula Rasa, especially at the time of their debut album. But even more to the point, is the archival release from Colours by a band called Hades, who released 20 minutes of really fine flute driven material that had as much in common with those zany Italians Osanna as it did with Jethro Tull. Most of Underjordisk Tusmørke is sung in English, with that gnarled-tree-Ian-Anderson inflection. But the final track and one of the bonus tracks feature their native Norwegian, which sounds more natural - and mysterious - and something I hope they stick with on their followup. This band has enormous potential.

---1/25/13

1/25/13 (new entry)