Location: Copenhagen
Overview: Mantric Muse are bread and butter Hillage-era Gong styled progressive rock. For fans of early Ozric Tentacles and Quantum Fantay.
UMR notes
May 17, 2013
Mantric Muse, Denmark
Location: Copenhagen
Overview: Mantric Muse are bread and butter Hillage-era Gong styled progressive rock. For fans of early Ozric Tentacles and Quantum Fantay.
UMR notes
April 29, 2013
Walrus, Sweden
Overview: Walrus mixes retro progressive with classic Krautrock sounds.
UMR notes
April 28, 2013
Kama Loka, Sweden
Location: Stockholm
Overview: Kama Loka brings back the classic psychedelic progressive rock of early 1970s Sweden.
UMR notes
February 20, 2013
Kharmina Buranna, Peru
Location: Lima?
Overview: Though from Peru, Kharmina Buranna remind me quite a bit of the 1970s Argentine progressive rock scene. They squarely fit the "retro prog" category and play a direct mix of early 70s styled blues rock mixed with classic era Yes, and a dose of 70s Italian progressive rock.
UMR notes
February 11, 2013
Montibus Communitas, Peru
Overview: Though a 6 piece ensemble, who play a myriad of acoustic and electric instruments, the band seem more like a free folk collective than a rock band per se. Montibus Communitas' music is about cycles, trances, and meditation. Deeply ritualistic.
UMR notes
February 4, 2013
Psycho Praxis, Italy
Location: Brescia (east of Milan)
Overview: Psycho Praxis are a retro prog Italian band heavily influenced by the early 1970s UK scene.
UMR notes
January 19, 2013
My Brother the Wind, Sweden
Location: Stockholm and Gothenburg
Overview: Formed by guitarists Mathias Danielson (Gösta Berlings Saga, Makajodama) and Nicklas Barker (Anekdoten), My Brother the Wind (named after an obscure Sun Ra album from 1970) exists as the musician's vehicle for improvised space rock.
UMR notes
January 3, 2013
Ornithos, Italy
Location: Umbria
Overview: Ornithos are a sextet that is culled from the excellent ensemble Il Bacio delle Medusa. Like many new progressive bands from Italy, Ornithos looks back to the classic 1973 era for inspiration.
UMR notes
January 2, 2013
Sithonia, Italy ***Inactive***
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La Soluzione Semplice (2011)
La Soluzione Semplice (2011)
It's a rare case indeed when a band that possesses a full 6 piece membership reforms after 13 years with all attendees still accounted for and present. Perhaps even more surprising is that it sounds like Sithonia picked right up where Confine left off, especially from a compositional standpoint. And, best of all, this time the band showed up with some old-fashioned analog gear, allowing Sithonia to showcase their immense songwriting talents with the proper (or preferred I should say) instrumentation. So I had asked the question in my Spettacolo Annullato review what that album would've sounded like with a less tinny and digital sound. And we get our partial answer here. It's different material, but the style is similar, and thus I think we know that the album in question would benefit with the addition of organ and mellotron, as presented here. Not to mention the fatter production.
All the trademark sounds of Sithonia are present: Great songwriting, an impassioned vocal performance (appropriately done in Italian), and excellent instrumental work which also now benefits from a larger palette of sounds to choose from.
In short, La Soluzione Semplice is Sithonia's best album to date. Quite a remarkable achievement for a band that was gathering mothballs for over a decade. Let's hope they continue this reunion with another effort!
All the trademark sounds of Sithonia are present: Great songwriting, an impassioned vocal performance (appropriately done in Italian), and excellent instrumental work which also now benefits from a larger palette of sounds to choose from.
In short, La Soluzione Semplice is Sithonia's best album to date. Quite a remarkable achievement for a band that was gathering mothballs for over a decade. Let's hope they continue this reunion with another effort!
---1/2/13
Confine (1995)
On the Spettacolo Annullato review, I mentioned that it would be interesting to hear that album with a more modern (and analog) recording. In some ways Confine is that album. Not quite what I would expect from a band today, but at least this effort from 1995 has more heft than its predecessor. Especially surrounding the guitar sound, which when in riffing mode, at least gives off a whiff of true heavy metal. Make no mistake, Sithonia aren't a progressive metal band, but at least if they're going to use a heavier tone, give it a little muscle - and they did. The keyboards are still digital, but are somehow mixed a little further back and the sound is a bit better as a result. On the down side, I don't think Giovannini's vocal performance is as inspired as on Spettacolo Annullato, and the compositions aren't as memorable or as deep. Perhaps they're letting the production be the star, like we see in the movie industry (who needs plot when we have special effects). However, there is no question they manage to capture the spirit of the best themes from their past. On the whole, Confine is a very good album.
---10/12/11
Spettacolo Annullato (1992)
Spettacolo Annullato is Sithonia's sophomore effort and is a huge leap in quality from their good-not-great debut.
In some ways, the band succeeds despite itself. The guitarist plays in that annoying pseudo-metal riffing style, stopping just short of actually being balls-out metal (which would be far more preferable actually), with plenty of pig squeal guitar leads to send everyone racing from the room covering their ears. Worse are the digital keyboards, a set of plastic wonders that A Flock of Seagulls most assuredly would enjoy playing.
With that bit of grime out of the way, let's focus on why the album works. Primarily it's the compositions themselves, which are incredibly well thought-out while constantly on the move, in that classic early 1970's Italian style. There is quite a bit of thematic development as driven by the fantastic acoustic piano work, and the melodies are in your mind long after the music has stopped. With the right editing, and other factors, some of these songs could have been major label radio hits. But perhaps best of all is new vocalist Marco Giovannini's performance. What an outstanding impassioned display he gives here - some of the finest from the Italian progressive rock scene.
I rarely vote for re-recordings, but I would love to hear Sithonia record this album with a instrument setup of all analog gear and perhaps a bit more crispness during the recording. It should prove to be a masterpiece.
In some ways, the band succeeds despite itself. The guitarist plays in that annoying pseudo-metal riffing style, stopping just short of actually being balls-out metal (which would be far more preferable actually), with plenty of pig squeal guitar leads to send everyone racing from the room covering their ears. Worse are the digital keyboards, a set of plastic wonders that A Flock of Seagulls most assuredly would enjoy playing.
With that bit of grime out of the way, let's focus on why the album works. Primarily it's the compositions themselves, which are incredibly well thought-out while constantly on the move, in that classic early 1970's Italian style. There is quite a bit of thematic development as driven by the fantastic acoustic piano work, and the melodies are in your mind long after the music has stopped. With the right editing, and other factors, some of these songs could have been major label radio hits. But perhaps best of all is new vocalist Marco Giovannini's performance. What an outstanding impassioned display he gives here - some of the finest from the Italian progressive rock scene.
I rarely vote for re-recordings, but I would love to hear Sithonia record this album with a instrument setup of all analog gear and perhaps a bit more crispness during the recording. It should prove to be a masterpiece.
---10/9/11
Other albums heard: Lungo il Sentiero di Pietra (1989); Hotel Brun (1998)
1/2/13 (new entry)
November 20, 2012
Klotet, Sweden
Location: Uppsala
October 27, 2012
Tanger, Argentina ***INACTIVE***
Progressive rock; Space rock
Latest release: Mundos Paralelos (2008)
---UMR notes
Mundos Paralelos (2008)
With Mundos Parelelos, Tanger finally carries the same lineup forward. Not surprisingly, the sound doesn't evolve much. Though it's clear that Tanger are beginning to slow down as rockers, and the flute becomes even more of the focus. At this point, Tanger are starting to resemble more the Catalonian group Gotic more than Humus and King Crimson, though that's overstating it somewhat.
Ciudad (2006)
Once again Tanger changes the lineup on Ciudad, this time replacing the guitarist and the drummer. And as per protocol, not much changes regarding the music. The psychedelic aura is perhaps slightly more toned down, and melodic interplay is more championed. At this point, Tanger are sounding more like an updated version of the obscure 1970s Chilean group Blops at the time of Locomotora.
La Otra Cara (2002)
Very little changes from their debut on Tanger's sophomore effort La Otra Cara, perhaps only scaling back the excess slightly, with only one of the (again) 12 songs exceeding the 5 minute mark. It is interesting to note that Tanger did swap out flautists, and yet you wouldn't notice unless you had a scorecard. Tanger seems to be modular when it comes to the individual's participation.
Tanger (1999)
Tanger's debut is quite startling, and was quite a revelation for me in 1999. The sound is right from the Mexican school of neo psychedelic space rock as championed by Loch Ness, Humus and Frolic Froth. A thick, wedgy and very psychedelic guitar sound permeates. Muddy bass and thunderous drums takes you through the wilderness of the Andes, and images of Krautrock legends such as UFO era Guru Guru are not far away. The angular nature of the compositions call out another obvious influence: King Crimson at the time of Larks' Tongues in Aspic. But that only tells half the story: Tanger's ace-in-the-hole is the contrasting instrument amongst the fray - that of the flute. So in the end you get 12 individual tracks of an all-instrumental psychedelic version of the Beauty and the Beast. Beautiful and melodic flute lines are offset by evil and mean fuzz guitar licks. Colucci himself is probably the least intrusive of the band members, primarily staying in the background, content on keeping the proceedings grounded with his steady hand on the bass. And this is the formula Tanger takes forward to the future.
10/27/12 (new entry)
September 25, 2012
September 3, 2012
I Treni All'Alba, Italy (Eddie review)
Today's post is once again courtesy of our friend Eddie Lascu, who penned this for Gnosis earlier in the year. I haven't heard the album myself, but it sounds intriguing!
"Many musicians ought to ponder what other approach to create good progressive rock has left untouched and unexplored, so that the music released sounds fresh and original. How about two duelling acoustic guitars? Yeah, that hasn't been done, it could work. And it does indeed. I Treni All'Alba is a new band from Torino, Italy. "2011 A.D." is its second album after the 2008's "Folk Destroyers". While I haven't heard the debut, I understand that the sophomore effort marks a departure from a somewhat folk-oriented sound (which apparently got destroyed on that first album) and a venture into the Rock Progressivo Italiano realm. Not surprisingly, we are welcoming such unexpected turn of events.
Adorning an amazing cover by Domenico Sorrenti, the focus on this entire instrumental album is on the duel of the band's two acoustic guitarists (Daniele Pierini and Paolo Carlotto), both with obvious classical training background, as the sound is well anchored in the Spanish and Flamenco style of playing. Sabino Pace adds layered support on piano and various keyboard instruments. The quartet is rounded up by drummer Felice Sciscioli and he turns out to be an extremely versatile musician as the sudden sonic outburst on the second track of the album, "Attila", would suggest. Although not a member of the band, Francesco Vittori is complementing the rhythmic section on bass guitar on all 9 tracks of the album.
The album is opened by "Intro" a rather short, pastoral piece that is not giving away the onslaught that is about to be unleashed. The track segues nicely into "Attila" and almost one minute into it, you are hit by the first wave of the high level of energy that this band can display. The third track, "L'Arte della Guerra" is probably the best of the album, showcasing the amazing trumpet work of Felice Moro. His delicate touches help elevate the tension of the song to dramatic overtones of a real Mexican standoff. Just listen and you will see what I mean.
"L'Apocalisse" is the longest track of the album, clocking in a little over 8 minutes, but despite its length, the band moves flawlessly through several musical themes, so that you will barely notice the passage of time. The only song where the dual acoustic guitar over piano interplay is abandoned and replaced by hard electric guitar riffs is "Tempi Moderni?". The formula may be different, but the outcome is the same: excellent progressive rock music. The electric guitar will make two more cameo appearances on the last two tracks of the album but by now your impression is formed: you will always remember I Treni All'Alba for the great use of acoustic guitars to create fresh, exquisite progressive rock music.
Eddie Lascu
January 3, 2012
I Treni All'Alba:
Daniele Pierini - acoustic and electric guitars, tuba and trombones synth
Paolo Carlotto - acoustic and electric guitars, guitarra de coimbra
Sabino Pace - piano and synth
Felice Sciscioli - drums
Featured guests:
Francesco Vittori - bass guitar in all songs
Ramon Moro - flugelhorn in "L'Arte della Guerra" "
August 28, 2012
La Desooorden, Chile
UMR notes
We also once housed Eddie's review here. It's been moved over to Gnosis.
August 13, 2012
March 29, 2012
February 23, 2012
Lunar Dunes, England
Location: London
Overview: Lunar Dunes are a top tier psychedelic space rock band with well written melodies and a tinge of the Middle East.
UMR notes
December 10, 2011
October 23, 2011
Black Bonzo, Sweden ***Inactive***
News: The band are not currently an operating unit, but they do occasionally post on Facebook (last was in 2016), so we'll keep a band page up in case they do reform. Last check: December 26, 2018
Location: Skellefteå (northeast Sweden, not too far from Finland)
Overview: Black Bonzo play an early 70’s influenced hard rock progressive sound. Think Uriah Heep mixed with some Caravan and early KC. They later morphed int a more straightforward band,but their first two albums are worth investigating.
UMR notes
October 4, 2011
Mr. Quimby's Beard, England ***Inactive***
News: I thought this band was long gone and buried, but they're pushing along as of September 2017 - well at least they are still posting on social media. But that means the flame is not yet extinguished! Last check: December 26, 2018
Location: Sunderland
Overview: Mr. Quimby's Beard were one of the more successful bands to come out of the UK Festival Psych scene from an artistic perspective. Well worth checking out if a fan of said scene.
UMR Notes
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