Radio Massacre International, England

Berlin School Electronic; Space rock

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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

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Latest: Korai Orom 2013 (2013)

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

Korai Orom 2005 (2005)

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

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

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

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

---7/18/19

2000 Sound & Vision (2000)

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

---2/6/16

Korai Orom 1997 (1997)

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

---12/22/20

Korai Orom (1996)

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

---1/6/21

Korai Orom (1995)

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

---2/24/17

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

1/2/17 (new entry)

One Shot, France

Jazz rock; Zeuhl

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Latest: 111 (2023)

One Shot (1999)

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

---5/1/23

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

9/23/24 (new entry)

Siena Root, Sweden

Retro prog; Hard Rock

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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

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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

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Latest: An Old Warrior Shook the Sun (2024). To be released Nov 13

Uchi Naru Koe Ni Kaikiseyo (2014)

And after another lengthy break of eight years, Kenso returns with their 9th studio album Uchinaru Koe Ni Kaiki Seyo. Breaking tradition, for Kenso that is, the band have returned with an album that is in large part a followup to the previous work. So no major changes in direction here with fusion, hard rock, avant progressive - but rather the band seems to have found a comfy spot on the sofa to sit on. And that sweet spot, as it were, is their patented instrumental symphonic progressive rock that they first put on display so proudly on Kenso II. The flute, however, is sadly long gone and that was a critical component to their early 80s sound. They have also chosen to close with yet another female vocal track, this time in the form of a more classically leaning soprano. The underlying music, though, is unmistakably Kenso (even if there's a bit of funky business, to give us the requisite curve ball). If I were to pick a highlight track, I would go with 'Voice of Sankhara' which represents the album well in concise form. So while Uchinaru Koe Ni Kaiki Seyo doesn't break new ground, or leave one's jaw on the floor, Kenso have definitely delivered yet another solid set of modern instrumental melodic rock tunes. Reliable as they come, Kenso are. Yep.

---10/1/14

Utsuroi Yuku Mono (2006)

Kenso’s career has taken them to many different styles and genres over the years. Their 8th studio album Utsuroi Yuku Mono sees Kenso consolidate what they do best, and offers up no less than 17 tracks of tightly structured symphonic fusion, where melodies are treated with respect. While perhaps not as exhilarating as Fabulis Mirabilibus de Bombycosi Scriptis, there's no doubting this is Kenso, and their full-on tightly woven progressive rock sound is very much intact. The final three part track (entitled 'Codon' parts 1-2-3)  - and totaling only seven minutes combined - are a complete departure from this album and Kenso's sound in general. They are in fact a rock based interpretation on Flamenco music with its vocal tradition (by a female in this case). Perhaps they should have been labeled as bonus tracks, but then again the cover features a pretty Japanese lady adorned in traditional Andalusian costume, so who knows? Whatever the case, these being the final tracks, I feel they leave a confusing mark on an otherwise typically great Kenso styled instrumental symphonic album. Listen to the first 14 tracks and rate on those before embarking further.

---9/27/14

Fabulis Mirabilibus De Bombycosi Scriptis (2002)

After some experiments with fusion, new age, and hard rock, Kenso return to symphonic progressive form on Fabulis Mirabilibus de Bombycosi Scriptis, but blasted through the wall as if they suddenly merged with Happy Family. So the songwriting is at the same high level as Kenso II but mixed with a modern ferocity not usually associated with the group. This is an exhilarating album that is at once complex and yet heavy as hell. And melodic. The production is absolutely stellar, something that was hamstringing the group throughout their last three studio albums. If you're looking to start somewhere with Kenso, and like a little muscle to go with your romantic progressive sounds, then be sure to go with this one. A stunner.

---9/20/14

Ken-Son-Gu-Su (2000)

As if the band was responding to the criticism of the three previous studio albums, Kenso released the dynamic live album Ken-Son-Gu-Su - showcasing the band's enormous talents at their most raw and energetic. No gloss or production tricks here. Just the band's compositions played live and served up for judgment by a live audience, who appear to be lapping up every minute of it.  Recorded on April 30, 2000 for the band's 25th anniversary at On Air East in Tokyo. Starting with none other than the band's defining track 'Umi' (The Sea) from the debut, Kenso go on to lay the concert hall to waste. This is followed by 'Anasthesia Part 2' (aka Masui), with its devastating keyboard runs and melodic lines, taken from their most arguably progressive album Kenso II.  Following this is the moody and Japanese indigenous sounding 'Hyoto' (Frozen Island), just as it is on the Kenso II album - the two tracks forever linked like Santana's 'Black Magic Woman' and 'Oye Como Va'. Kenso II's opener 'Sora ni Hikaru' (Shining in the Sky) follows, putting the concert goers back on their feet, while engaging their brains in overtime. Moving along in chronological fashion, the fusionesque 'Beginnings' from Kenso III is presented, demonstrating an entirely different sound and outlook from the band. A pretty song in its own right, one very much worth including in this greatest hits live show - as it were. It's nice to see Kenso not shy away from their various style experiments over the years. And now for the first break on the linear curve, as Kenso looks back to their smoldering Kenso II closer usually known as 'Sayanora Proge' (aka Goodbye Prog), but here called by its Premiata Forneria Marconi styled name 'Arrivederci', which is appropriate considering the musical reference. Since the band was rocking out, time to get the audience grooving on their (at the time) new hard rocking and Led Zeppelin influenced Esoptron album with a track they call 'Festivity', which appears to be a much shortened version of the album's opener 'Kojinteki Kikyū'. This is followed by two more progressive, yet no less rocking, fusion cuts 'Gips' and 'Negai Kanaeru Kodomo Tsurete Yukō' from the same album. I was hoping Kenso weren't going to overlook their very fine Yume No Oka album, and of course they don't, playing for the crowd the album's lovely piano laden and expressive guitar closer 'Les Phases de la Lune II' followed by a rousing rendition of the superb 'The Ancient in My Brain', arguably one of Kenso's best compositions to date. After this, the band takes one more shot at their hard rocking current album with 'Zaiya Kara no Kikan'. The concert closes, oddly enough, with the first two tracks from their least rated 1989 album Sparta. If there's ever an album where the live experience will likely improve upon the original, it's Sparta. Both tracks demonstrate the compositions were solid, but that the production castrated the potential. Overall Ken-Son-Gu-Su works as both a fiery live concert and as a greatest hits album - and is an excellent place to start with the band if you're new to them.

---9/18/14

Esoptron (1999)

It would be another eight years before we heard from Kenso in the studio again. Most assuredly they would come back with their patented blend of European instrumental symphonic meets hard hitting fusion sound? Nope. How about Led Zeppelin?(!) Instrumental heavy blues rock with hard rock guitar and even a little flute, and in the case of the latter, one does have to call out Jethro Tull. The two keyboardists here provide synthesized sounds meant to represent the analog sounds of the 70s (i.e. Hammond organ, Mellotron, Mini-Moog (though I think it is actually a Mini-Moog)). The mid 80s fusion of Kenso III are here in abundance as well, though still filtered through a hard rock lens. There's even some hints of turn of the century Shibuyu-kei ('Chishiki o Koete'). Melodically, the music is unmistakably Kenso, despite all the stylistic trimmings. One complaint I do have about the album is the production, not usually an issue when it comes to Kenso - though as stated in earlier reviews, they could be a bit too slick. It's as if this is their response to the over digitized and professional gloss of Sparta and Yume No Oka. So they decided to purposely "muddy things up" a bit. As if to give it an authentic 70s edge. In 2014, many bands have mastered the art of the 1973 production method. In 1999, only a handful really had a grasp on it - and Kenso weren't one of them. So it sounds like a sludgy 90s digital recording failing to capture the spirit of another age. This does distract the listen somewhat. At the time of release, the album didn't quite live up to Kenso's lofty reputation they enjoyed. I have to say, in retrospect, it still doesn't. That isn't the same thing as saying this is a poor effort. Far from it - and is definitely worthy of ownership. To my ears, this is Kenso trying not to be Kenso. So if you're new to the band, don't start here.

---9/15/14

Yume No Oka (1991)

Yume No Oka, Kenso's 5th studio album, shows the band reflecting back to their more symphonic era of Kenso II, with a strong nod of high gloss fusion that adorned Kenso III. I remember when this was released, and my friends and I were all quite enamored and impressed by the tones and complexity proffered. In the cold reflection of hindsight, perhaps it still has a bit too much of that late 80s and early 90s digitalitis, though overall it's held up well especially among its peers. Tracks like 'The Ancient in My Brain', 'Mediterranean and Aryan', 'Alfama', and 'The Fourth Reich' are timeless - and all pack a strong punch. Certainly one of the best pure progressive rock albums from 1991.

---9/5/14

Kenso III (1985)

As foreshadowed on Kenso II, Kenso's third album goes all-in towards a powerful digital instrumental fusion sound. If there's ever an album that proves that modern technology didn't ruin progressive rock by itself, it's this one. The songwriting once again is top notch, and the compositions are complex yet melodic. The slicker tones do not detract, and everything sounds perfect for the music Kenso are trying to achieve here. As with the earlier Kenso albums, there's a myriad of ideas present within any bar of music, thus keeping the listener attuned at all times. While Kenso III doesn't quite hit the heights of its predecessor, no fan of instrumental symphonic fusion will want to miss this one.

---9/2/14

Kenso II (1982)

Kenso II sees the band absorbing from their debut the most European instrumental progressive rock side of their sound. Flute is more dominant, keyboards are confident, and the guitar tones are stronger. The songwriting and melody quotient are off the charts in terms of successful execution. The Asia Minor, Camel, and Rousseau influences that penetrated some of the debut is given more focus, but taken to the next level of intricacy and complexity. And tracks like 'Hyoto' demonstrate that Kenso have not abandoned their Japanese roots and recall the wondrous 'Umi' from the debut. 'Brand Shiko' forecasts their future with its blazing fusion sound. One can see where Kenso may have as well influenced the up and coming talented Hungarian group Solaris. Already by their sophomore work, Kenso were creating beautiful tapestries of sound. This is the definition of instrumental symphonic rock. A magical album.

---9/1/14

Kenso (1981)

Kenso, who have archival recordings going back to 1976, released their first studio album in 1981. It's important to note the music culture that Kenso grew up in to appreciate their debut album. By 1980, and flush with cash, Japan had become somewhat a fanatic nation for all things European - including the 1970s progressive rock movement. Italy, in particular, seemed to fascinate the fan/collector base. And it was common for wealthy Japanese businessmen traveling to Europe to come home with box loads of records to sell to the music shops in Tokyo. It is this market that ultimately propelled progressive rock back into the limelight worldwide - and throughout the 1980s, Japan was looked upon as a leading light for all things progressive rock. While there were certainly local bands trying to capture the spirit of what they were digesting, Kenso may very well have been the most successful. And so we hear an almost encyclopedic knowledge of European progressive rock being brought forth - especially albums with flute - bands as obscure as Rousseau, Asia Minor, Gotic, Ibio, and Dice are all clearly within the minds of a young Kenso. Not only that, but they also brought forth their own Japanese legacy to the table, like their landmark track 'Umi' which successfully mixes a Camel like sound with indigenous melodies. As well, the long piece here, the 15+ minute 'Kagome' demonstrates Kenso's appreciation for Japan's own early 1970s psychedelic past - a sound remnant of acts as diverse as Toshiaki Yokota, Food Brain, Far Out, and in particular George Hirota*. Going forward, they would shed the experimental bits and focus more on their accessible instrumental European progressive sound. As such, this album is looked upon as a bit of a departure and perhaps not up the quality of subsequent efforts. I see it as an equal, though a band still clearly seeking out a signature sound. Be sure to grab the CD, as it features 6 live tracks going back to 1976, of which I believe 5 of them are not represented anywhere else. Essential album if wanting to gain the entire Kenso experience.

* Our good friend Nobuhisa of Marquee (Tokyo) informs us that it is highly unlikely that Kenso would have known these obscure Japanese bands, as they were unknown even to hardcore collectors back then. He states - and most assuredly he's correct, having witnessed the events real time - that basically they came about a similar sound, and he states further "using Japanese motif within the context of western music was a common method for a Japanese musician to make "Japanified Western music" be it modern classical, movie sound tracks, Jazz, Rock / Prog." That makes sense to me as well.

---8/22/14

Other albums heard: Music for Five Unknown Musicians (1986); Sparta (1989)

10/1/14 (new entry)

Alphataurus, Italy

Neo Italian prog

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

AttosecondO (2012)

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

---12/11/12

Live in Bloom (2012)

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

---7/12/12

Dietro L'Uragano (1974;1992)

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

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

---9/1/12

Alphataurus (1973)

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

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

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

---2/12/01

8/14/12 (new entry)

Goat, Sweden

Space rock; Jazz rock; Neo psych

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

Requiem (2016)

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

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

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

---12/17/16

Commune (2014)

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

---6/27/18

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

12/17/16 (new entry)

Zopp, England

Canterbury; Retro prog

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

Zopp (2020)

Just like yesterday's La Maschera di Cera, Zopp are a band designed specifically for a progressive rock sound of the 1970s past. In this case it's the music of Canterbury - and even more to the point, National Health. It's a two piece group lead by Ryan Stevenson, who plays every instrument under the sun, including a host of analog keyboards (or simulations thereof), fuzz bass, and lead electric guitar. Essentially Stevenson is Zopp. Joining him in this endeavor is drummer Andrea Moneta, who does a fine job of maintaining the polyrhythms expected of the genre. In this way Ryan Stevenson is emulating another Englishman, a one Andrew Marshall, he of Willowglass fame. Marshall is all about Anthony Phillips era Genesis in the same manner that Stevenson is all about National Health. A bit obsessive, but very welcome to these ears anyway. In addition to the two piece, Stevenson recruited no less than 4 others to join him, most notably Andy Tillison of The Tangent and others. The album has a full sound, what you would expect from a much larger ensemble. All the great qualities of Canterbury are present including the wedgy analog sounds, the insouciant melodies, and the complexity of composition. For what Zopp set out to accomplish, they nailed it! I seem to never tire of the Canterbury genre, as it's a timeless and beautiful sound. It doesn't seem fair that we only got two studio National Health albums (not counting DS Al Coda or archival material of course). I mean if precisely one million bands and artists can copy the same old American Idol fare, it's not too much to ask for some small Canterbury portions is it? Zopp fits most comfortably with contemporary Italian and Spanish artists such as Moogg, Homunculus Res, and Planeta Imaginario. Easy recommendation for genre fans.

---1/26/21

6/16/23 (new entry)