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)

Kikagaku Moyo ~ Japan

Heavy psych; Krautrock styled

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Latest: Hasenheide (2024) archival from 2016.

UMR review page for Kikagaku Moyo

12/4/13 (new entry)

Deus Ex Machina ~ Italy

Progressive rock; Hard rock

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Latest: 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)

Cinema Styge ~ Italy

Retro prog; Neo Italian prog

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Latest: 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 (review)

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)

Bondage Fruit, Japan

Avant prog; Zeuhl

Latest release: Bondage Fruit VII (2024)

Well this came out of nowhere! 19 years since their last album, Bondage Fruit returns. I didn't find any online presence for the group, though it may be in Japanese somewhere.

Bondage Fruit - VI (2005)

Bondage Fruit's 6th, and apparently last album (until 2024), sees the band diversifying their sound to the point of no identity. The Zeuhl backbone of their early works has all but been rubbed out here. Not to say that they didn't hit pay dirt on a few of these numbers. Opener 'Three Voices' is the longest piece here, and sounds like Tortoise playing the music of Mahavishnu Orchestra. Which seems like an oxymoron, until you actually hear it. A fantastic opening. 'Rath' is a raga rock piece, and fits well with Bondage Fruit's style. 'Locomotive' is a strange tune that's closer to Southern Fried blues rock, and contrary to what I said about 'Rath', this seems a bit self-indulgent for a band with no history of such. 'Dear Gazelle' has a bit of KBB styled Celtic violin, but begins to cook wildly midway, and is my personal favorite of the album. A very strong heavy fusion piece. 'The Train' recalls mid 70s King Crimson with long stretches of atmospheric violin but gets a bit long in the tooth after a while. 'Something Green' is a pretty melancholic instrumental that eases the tension. And 'I/O' sounds like 'Dueling Banjos' meets Bollywood electronica.

---12/31/16

1/26/24 (new entry)

Mushroom ~ USA ~ San Francisco, California

Space rock; Jazz rock; Krautrock styled

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Latest: Messages from the Spliff Bunker. To be released Feb 10.

Still playing live in 2025.

UMR review page for Mushroom

1/20/24 (new entry)

Cooperativa del Latte, Italy

Neo Italian prog

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Latest album: Fogli d​’​Acqua Sparsi (2023)

OK, this is getting crazy. But in this case, here's a group who only released one album back in 1998, and completely disappeared... until now. And the new album was released back in July! To think I used to keep up with all new releases - like in 1996 haha.

Il Risveglio (1998)

Two months after the return of Cooperativa del Latte, their debut album came up for collection review. I don't think I've heard this since first acquiring the CD back in 2000. The album definitely belongs to the 90s Italian prog renaissance. Comparisons to Aria Palea, Germinale, Malibran, and Finisterre wouldn't be out of place. CdL are little bit more focused on retro instrumentation, in particular the keyboards (organ, analog synth, piano). However it's also a bit more tepid in its approach. The meter shifts are more carefully studied, the vocals are more subdued, the rhythms are less complex. The electric guitar has a 90s tinge to it. On the flipside, the use of flute and acoustic guitar add much to its 70s authenticity, which is a plus. Final track is also quite beautiful. Given its place in the Italian prog timeline, this one is worthy of further exploration.

---2/21/24

12/31/23 (new entry)

Dialeto, Brazil

Progressive rock

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Latest release: Pandelirium (2024)

And here we go again with yet another band I wasn't aware were still kicking around. I bought the LP below when it came out. I knew they reformed but really haven't followed them since. Will need to catch up.

Dialect (1991)

Dialect sounds like a heavy psych version of King Crimson's Discipline. I also hear the absolute best moments from the Brazilian neo psych band Violeta de Outono. Highly original album, especially considering the date. 

The band rerecorded portions of this album in 2008 under the band name Dialeto with the title "Will Exist Forever". Too bad they didn't reissue this original recording, as it's quite good.

To be clear, Will Exist Forever is not the same album. The label says: "Nova versão desse clássico disco progressivo nacional, lançado originalmente pela Faunus Records com o nome Dialect, teve regravadas todas as vozes, guitarras adicionais e violinos. Ou seja, um disco totalmente reformado e com uma qualidade de som bem melhor. O CD traz ainda duas músicas bônus, "Just For Free" (um improviso gravado na época na mesma sessão) e "Animal" em português. Edição limitada de 500 cópias em formato mini-LP.". With Google Translate's help, the key translation is: "re-recorded all the voices, additional guitars and violins. Ie, a disk with a completely remodeled and better sound quality.". Re-recording voices and adding instruments makes it a different album.

---1/13/11

12/31/23 (new entry)

Aziola Cry, USA-Illinois

Prog metal

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Latest release: The Ironic Divide (2021). Reading they plan to release a new album in 2024.

Another band I had no idea were still around. Great to see so many of these groups hanging in there.

Ellipsis (2005)

Aziola Cry are a band from Chicago who took instrumental mid 70s King Crimson as a blueprint - and who were lead by a stick bass player - and then added a heavy metal undertone. It's "so 2005". I kind of like it anyway.

---10/13/16

12/31/23 (new entry)

Djam Karet, USA-California

Space rock; Progressive electronic; Progressive rock

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Latest: Island in the Red Night Sky (2022)

Regenerator 3017 (2014)

Regenerator 3017 is a good example of an album I had zero recollection of. I had categorized in my space rock collection, like many of their others. Wrong. This is a mellow instrumental progressive rock, oftentimes falling into jazz fusion or even jazz funk. Plenty of great lead guitar that the band is known for, along with mellotron and thoughtful rhythms. This was their 30th Anniversary album that flew under the radar. I bought it dutifully when it came out and didn't give it the proper attention. This was to be the last Djam Karet album for me to buy, and that is likely to remain the case. I find it makes an excellent bookend to my already extensive collection by the group. A good place to rest.

---12/30/23

Recollection Harvest (2005)

Quite possibly Djam Karet's finest album and catches the group at their peak. Made up of two separate musical approaches, the title work is a retro instrumental prog that reminds me some of the classic 70s Dutch scene. The melodic quotient is very high here. 'Indian Summer' is the other concept, and here we're treated to an electronic rock style similar to Heldon or even late 70s Tangerine Dream.

---1/31/24

The Devouring (1997)

When this came out, I think we were all relieved that Djam Karet were back on track. Even to this day, it's arguable that The Devouring is their most fully realized work. The opening 3 tracks are brilliant hard rock / psychedelic / progressive instrumental tracks. It would be tough to expect them to maintain that pace, but the album miraculously never wanders off too much, though it gets a bit samey towards the end. I have most of the Djam Karet catalog, but I'm not sure how much will stick around. But for certain this, along with the first one I bought - Reflections from the Firepool, most certainly will.

---6/11/20

Suspension & Displacement (1991) 

Bought this when it came out, famously with its cousin CD Burning the Hard City. For most of that time since, I held the other CD as the better of the two. Now I'm not so sure. My mental image of Suspension & Displacement was that of a boring electronic / space rock album. But I had dismissed the full band effort here, and there are many organic moments, including much needed warmth instruments like acoustic guitar. A definite +2, and I have a whole new outlook on this, some 31 years after the fact.

---4/9/22

Reflections from the Firepool (1989)

Reflections from the Firepool is where Djam Karet went pro. Prior to this, their releases had been more jam oriented, with far less focus on composition and melody. It's also the album where I was first introduced to this fine long running band from California. I picked up the CD from a mail order dealer not long after release (be sure to see the "more section" below), and was subsequently blown away.

To understand this, one must go back to 1989. It was a time of optimism for many reasons, but all one needs to remember was the basic collapse of The Warsaw Pact on a nearly weekly basis. Tyranny was out and Freedom was in. On the music front, after years of dormancy, the psychedelic guitar was being brought back to prominence. Djam Karet, along with Tangle Edge and Ozric Tentacles were leading the charge and using the instrument not just as an accent, but rather as a focal point. This wasn't the 80s indie rock / neo psych hybrid that was popular with the post New Wave crowd, on the contrary, these new groups had in mind Ash Ra Tempel, Amon Duul II, and Gong - along with other such great bands from the early 1970s.

'The Sky Opens Twice' is a perfect opener. As I read other reviews, there seems to be a unanimous chorus that the album is nothing more than loose instrumentals. This is far from the case here. While certainly there are some incendiary guitar jams sprinkled throughout, that of course is what this listener (and my peers) would hope for. The payoff of the investment as it were. Other highlights include 'Run Cerberus Run' and the title track. Perhaps only 'All Doors Look Alike' with its incongruous free sax blowing on part 1, and the second half of 'Scenes From the Electric Circus' aren't up to snuff (though the first part of this track is super).

All in all, Reflections from the Firepool is the album that put Djam Karet on the map. They sort of lost their way in the early 90s, only to come back ferociously with The Devouring, and never looked back again. For my tastes, Reflections From the Firepool is a very important work of the latter 80s, which ushered in numerous other bands who followed suit in the very interesting and productive 1990s.

---7/30/18

The Ritual Continues (1987)

After purchasing Reflection from the Firepool I immediately went back to the mail order dealer and acquired the tape of its predecessor, which is the album of today's discussion. That tape is slightly different than the CD I now possess (which wasn't released until 1993), but essentially is similar from a musical perspective. This album captures Djam Karet going from the raw jams of their debut tape No Commercial Potential to the relatively composed Reflections from the Firepool. Opener 'Shamen's Descent' is arguably the finest track here, mixing the exotic psychedelic jam with progressive rock complexity. 'Technology and Industry' is another highlight. If you do have the CD, then you'll be treated to the most Krautrock oriented song in 'Tangerine Rabbit Jam' performed by Happy Cancer, who is Djam Karet's direct ancestor. Some of the album can meander a bit, but it's in the spirt of naïve exploration, a most welcome trait in an era that frowned on such activity. Had this been a newer release, I wouldn't be overly enthused, but given its place in history, I feel the album deserves much praise. An enjoyable album throughout and one of America's pioneers of new psychedelic oriented music.

---9/7/23

No Commercial Potential (1985)

Djam Karet's debut album, the cassette No Commercial Potential, was a true anomaly when released in 1985. The concept of long form, psychedelic guitar driven rock instrumentals, was an extinct concept in the mid 1980s. Whereas LS Bearforce released the homage to early Guru Guru in 1983, Djam Karet had taken the idea of combining mid period King Crimson mixed with any number of west coast late 60s psychedelia bands. And yes, with more than a hint of Krautrock as well. Djam Karet were born out of a (still operating) California record store, and it's no accident they possessed the historical capacity for musical research. Quite simply, they were considerably ahead of their time, and by the 90s many were following their lead, arguably to lesser success. It must be said, the title is as accurate as any in history.

---8/12/17

Other albums heard: Burning the Hard City (1991); Collaborator (1994); Still No Commercial Potential (1998); Ascension (2001); New Dark Age (2001); A Night for Baku (2003); ...And Still Getting the Ladies (2004); The Trip (2013)

1/15/17 (new entry)

Viima, Finland

Progressive rock; Prog folk

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Latest release: Väistyy Mielen Yö (2024). 

Ajatuksia Maailman Laidalta (2006)

It’s getting to the point that everything that’s from Finland is great. They are to the current decade what the French were to the 1980s. And thank goodness for that. Wasn’t sure what to expect here. Was told it was Finnish folk prog, and about the only band I associate with that is the obscure and rare Scapa Flow. It’s not really like that however. Even though it’s sung in beautiful Finnish, the album has more of a UK feel than one from continental Europe. The female vocals are one distinguishing factor. What’s interesting to me are the guitar breaks, which are rooted in hard rock – a clear departure from the acoustic folk psych of the base material. I quite liked this one.

---Dec 2006

11/25/23 (new entry)

Hamadryad, Canada-Quebec ***Inactive***

Progressive rock

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Latest release: The Black Hole (2017)

The band is still posting so we'll assume they haven't completely called it a day. But they haven't played in many years.

Safe in Conformity (2005)

Hamadryad's second album primarily swirls around the mid 70s Genesis era of Trick of the Tail. There's the faux mellotron, familiar Collins-esque vocals, and Hackett styled guitar. There's also some muscular early 70s heavy prog in the Uriah Heep sense of the word. And the other diversion is about two-thirds of the way through, where they go all-in Rush but with a bit of prog metal thrown in. It's definitely a shoehorn, but it adds diversity on a continuous listen. Safe in Conformity is the kind of album that grows in stature with time, as it has done with me. A keeper.

---6/1/20

Conservation of Mass (2001)

I have quite a few albums in the collection that I'm most excited to hear - many of them I anticipate are better than I have them rated. This is yet another album I haven't heard since it first came out. So 22 years later we have our second visit. I'm much more familiar with their follow up effort Safe in Conformity. My notes for that album are above.

On their debut, Hamadryad start with a heavier Rush like sound and move gradually over to Yes, rather than Genesis. It's a busy album with lots of time changes, harmonies, instrumentation, and a myriad of ideas. There's much to absorb here. I listened twice in a row, thus tripling my familiarity lol. Easy +1 listen and my self-prophesy of the album being higher rated than I had it was fulfilled.

---12/24/23

12/24/23 (new entry)

Present, Belgium

Zeuhl; Avant Prog; Chamber rock

Latest release: This is Not the End (2024). 

Certitudes (1998)

It was sometime in 1985, while visiting my favorite underground record store in Dallas (Record Gallery for those that were there), that I first discovered Le Poison Qui Rend Fou. Everything about it was new to me - the album, the band, the label (Cuneiform), and the music (what later would be dubbed avant prog). For me it was a new kind of complex progressive rock, and one that captured my 20 year old mind's imagination greatly. Unfortunately that seemed to be about it for Present. I later learned about their considerably more obscure debut (at the time) and their association with a one Univers Zero, a group I began to seek and collect as well. Present did pop up here and there in the next decade performing music that was not necessarily "Present-like", including the rather interesting Live blues rock album that I've written about on this blog already. So it was with much excitement that Present returned to form on 1998's Certitudes. This was the sound of Le Poison Qui Rend Fou moved forward. The complex layering, the haunting vocals (male instead of female though), the pounding piano, the searing electric guitars, and the impossible rhythms. This is the Present I first discovered and loved. The primary problem with a band such as Present is the music isn't particularly memorable. When one thinks to pull out an album such as Certitudes, the mind goes into this jumbled mess. Knowing that yes, this is sophisticated music, and the instrumentation is correct. But memorable melodies and passages? No.

But Certitudes is special to me for another reason, beyond the return to my mid 80s exploratory years. One fine evening in May of 1998, the band performed live in what was then our current home town of Denver. At that time I'd been married for just over a year. My wife, never one to embrace the music I enjoy, was still open minded about going to concerts and trying different things. I took her to this Present concert. It was an incredibly intense show resembling the Certitudes album (and with local Denver mover and shaker Dave Kerman on the drum kit, replacing Daniel Denis). During the show, while I was certainly enjoying myself, I began to really worry about my wife, as I suspected it was just too much for her young and untrained ears (fortunately we brought ear plugs). After the show, I asked her what she thought. She said it was really good, very different and intense, but she really appreciated the effort and the authenticity of the band. Wow! Fast forward 22+ years, just as I was to pop this into the CD changer (for the first time in the same 22 years), I asked her if she remembered the concert. She did and recollected pretty much the same sentiment. Again, I was surprised, as it's hardly been a Happy-Hour discussion topic. Funny though, she wasn't clamoring to join me on the listening session... 

And for all the reasons above, this is why I tend to revere Certitudes as one of Present's best efforts.

---12/14/20

Live! (1996)

An interesting live album from Belgium's Present. Sounding more like a psychotic blues rock take on their first 2 albums, the album has a rawness and deep soul missing from their studio works. Present always sounded to me like a typical mathy, ultra precise, avant prog unit. Here, they sound a bit messy, and even give into the odd guitar jam, just the kind of dirty soot the band needs. I've had this CD since it first came out, and never held it among the finest of their works, but I'm hearing it in a whole different light this go round. Hmm.

---6/13/16

Triskaidekaphobie (1980)

Only a European band whose roots are clearly planted in the Rock in Opposition movement would name their album after the fear of the number 13 - in French of course. Perhaps the listener will have the same fear as they are greeted with rhythms performed in 13/16. Present's debut is a hellish music where the blueprint is clearly Univers Zero, who are a direct parent on the ancestry chart. A blueprint that is dragged through King Crimson's 'Fracture' for the ultimate bad trip. Bad trip as translated in the avant prog language I mean...

---7/15/16

Other albums heard: Le Poison Qui Rend Fou (1985); No. 6 (1999); High Infidelity (2001)

7/15/16 (new entry)

Kubusschnitt ~ Europe

Berlin School Electronic

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Latest: The Core (2022)

UMR review page for Kubusschnitt

12/7/23 (new entry)

Arabs in Aspic, Norway

Retro prog hard rock

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Latest album: The Magic of Sin (2023). Released Dec 1.

Pictures in a Dream (2013)

Robert Fripp has stated that Larks' Tongues in Aspic means: "Something precious which is stuck, but visible. Something precious which is encased in form."  So with that heady bit of insight, it's obvious to me that Arabs in Aspic means... yea, I have no idea either. [shrug]

But what is "in aspic" is the band's ability to recreate the sounds of the 1970s. Specifically the American FM sound of 1975 and '76. Despite being from Norway, Arabs in Aspic are yet another band that would fit well in my USA Midwest / Ontario Progressive Rock (1970's/early 80s) list. Sounds odd doesn't it? Well... it's not as strange as it may first appear.

In 1990, in my European backpacking days, I was on an overnight train from Oslo to Bergen. And I befriended a nice looking couple who I thought might be American. They didn't look American (jeans and white tennis shoes were still strictly the provenance of Americans in those days), but they sure did sound like it. So I ventured into conversation with them - both college kids and only a few years younger than I at the time. They went on to explain that they not only learn English, but "American English" in school. Crap - they spoke the language better than I did (do)!

So a band from Norway being able to immerse themselves completely into the American mindset isn't that far fetched at all. Note I said the FM sound of America - not just bands from the USA. To me Arabs in Aspic have carved a niche out of something very familiar - somewhere between Pink Floyd, Kansas, Deep Purple, Uriah Heep, and Led Zeppelin. It's a fascinating blend - like mixing a new drink with common ingredients.

Sure, you say, but most of those bands were British and they were popular everywhere, right? True. But Arabs in Aspic remind me of those US bands that tried, successfully or unsuccessfully, to copy them. A deep diver may call out other 70s Norwegian bands like Host, Aunt Mary, or Ruphus, but that's not it... I hear the music here as something created in North America - not in Europe. Even more so than Black Bonzo, who came close, but still sounded "English". Seriously.

(Of note, they threw in two tracks with Norwegian vocals, that completely changes the tone of the music. For me, I'd like to hear more of this trend.)

To approach the album properly, I would probably avoid thinking of it as "progressive rock". More like "classic rock".

9/4/13 (new entry)

Tabula Smaragdina ~ Hungary

Progressive rock

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Latest: A Szavakon Túl (2009). Seems the band last played in 2012, though they have maintained their FB page.

A Szavakon Túl (2009)

Tabula Smaragdina (a Latin word referring to the Hermetic Emerald Tablet) were one of the precursors to Yesterdays, a relatively more known group from Transylvania (Romania/Hungary). Tabula Smaragdina's sole album (to date) is a refined type of progressive rock, with modern Yes sensibilities though there's more room given to vintage instrumentals - the closing track is the best example of what I mean here. Acoustic guitar and piano are put to good use throughout the album. There's light metal riffing here and there demonstrating its modern heritage. References to The Flower Kings and Spock's Beard are not unfounded. When the band aim for more commercial structures, they are more similar to the aforementioned two groups. Which is less to my tastes than neo prog and the late 70s North American proggy AOR acts. This album has a very good reputation on sites such as ProgArchives, but this is where my tastes diverge from that particular mainstream of thought. No right or wrong of course, just a different perspective. A good album on the whole, though not the type of progressive rock I'm personally seeking.

11/26/23 (review)

11/26/23 (new entry)