Cuprum, Czech Republic

Retro prog

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Latest: Samizdat EP. 1 (2024)

Brahma Višnu Šiva (2014)

The sophomore effort Brahma Višnu Šiva shows Cuprum upping their game a bit. The flute is more present, the guitars have a louder psychedelic tone, the 70s keyboard set is full blare (Hammond, Rhodes, Moog, Mellotron). All still sung in their native, and wonderful, Czech language (can I please ask for those wishing for English to stop? My goodness, is there really no one else singing in English now?). The songwriting has seen a bump up as well, and the album engages the listener that much more. It's telling that I've seen videos of Cuprum covering Flamengo. There cannot be a better band from the old Czechoslovakia to emulate. And there's still room for improvement, as they have yet to explore the more kinetic aspects of progressive rock. For those who can't seem to get out of the 8th decade of the 20th Century (like me par example), then Cuprum is your dream band. Ground zero of the Retro Prog movement is right here. Wonderful stuff. Keep it going my friends from the East!

---7/11/14

Musica Deposita (2011)

With Cuprum what you get is good old fashioned hard rock meets progressive with loads of fuzzy guitar, Hammond organ and a little flute. Sure, it's retro 1971 England or Germany, and a sound you've heard from other modern bands like Wicked Minds (Italy), Seid (Norway), Siena Root (Sweden), Blood Ceremony (Canada), Hypnos 69 (Belgium) and a few others. But the Czech Republic has no such tradition, and hearing this style performed with the Czech language is quite interesting indeed. About the only band from 1970's Czechoslovakia that even came close to this sound was Flamengo and maybe Modry Efekt - both groups only at their most hard rocking selves. The songs for the most part are quite compelling, even though it does possess that been-there-done-that feeling. I think if Cuprum expands their instrumental palette, adds a few more ideas per composition, navigates the twisty road and turns on a dime capriciously and truly does "go for the gusto", then they will hit Masterpiece status. Even as it stands, I'm quite happy with what they accomplished on this most extraordinary debut.

---6/11/12

6/11/12 (new entry)

Planeta Imaginario, Spain

Canterbury style; jazz rock

To the best of my knowledge, Planeta Imaginario does not have an internet presence. You can find samples via the labels and other sources.

Latest: Planeta Imaginario IV (2024). This according to Wayside. Cuneiform was their last label, so it's possible it will be released by them.

Biomasa (2008)

This is an album I've gone back and forth on, but I'm firmly in the pro camp now. For their debut I wrote that they sound every bit like a second generation Canterbury band from the late 1970s. That observation is where the breakdown occurs on Biomasa. This really isn't a Canterbury album. Gone are those warm melodies and insouciant touches. In its place is a more cerebral jazz rock, more dissonant but creative. It is interesting that if you put on a prog rock hat and listen to an album that is jazz, it doesn't sound so great. Switch to a jazz hat, and a different perspective reveals itself. The hype strip doesn't help much either, also indicating an "attractive Mediterranean sound" while listing National Health as but one Canterbury reference. Naw, none of that here. It's much more "rock jazz" if that makes sense. Favorite track is 'La Caja Negra'. An excellent album that takes multiple spins to penetrate.

---4/8/23

¿Qué Me Dices? (2004)

Out of nowhere in 2004, arrived Planeta Imaginario, a band who seemed to not be aware of the last 25 years of music before entering the studio. Lucky us. Sounding every bit like a second generation Canterbury band from the late 1970s, Planeta Imaginario absorbed and filtered the best parts out of Soft Machine and Nucleus. The 8 piece band - including 2 sax players, trumpet, trombone, Hammond Organ, Rhodes electric piano and the usual rock band plus guests on flute and percussion - created a most beautiful album from a most beautiful form of melodic jazz rock (Canterbury). And the amplified guitar recalls the greats from the 70s past. I also love the horn charts, well composed and played. It's hard not to think of National Health while listening to this fine debut. Spain had no Canterbury tradition prior to this album, and Planeta Imaginario more or less imported it for the first time (and followed also later by the great Amoeba Split). A superb album, that still sadly appears to be off everyone's radar. Let's see if we can get it a bit of recognition anyway. The band later signed to the prominent Cuneiform label where presumably more fans migrated their way. 

---1/4/16

Other albums heard: Optical Delusions (2011)

8/8/16 (new entry)

Mammoth Volume, Sweden

Heavy prog

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Latest: Raised Up by Witches (2024). Release date: Aug 23

A Single Book of Songs (2001)

As a rule I don't have much appreciation for the "stoner" genre. I appreciate the sounds, but after awhile, the premise becomes worn out and boredom ensues. Those vocals and those fuzz guitar sounds. Sometimes I'll hear about a "progressive stoner album", which is some type of oxymoron I believe. A Single Book of Songs is a progressive stoner album. It does exist after all. And the organ sounds are straight out of an American 60s garage. Flute and bells? This is one strange album, that's for sure. Not strange in the NWW list kind of strange, mind you.

I bought this CD not long after it was released, since it was advertised as a "progressive stoner band". Gullible as always, I bit. 15+ years later it's time to sell it right? I like it better now than then. Hmmm.

---5/3/17

7/28/24 (new entry)

Elephant9, Norway

Jazz rock; Krautrock styled

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Latest: Catching Fire (w/ Terje Rypdal) (2024). Release date: Oct 18

Silver Mountain (2015)

For the opener ‘Occidentali’, take 1969 era Pink Floyd, King Crimson, and Soft Machine. Roll them up tight in a ball, and then have Wolfgang Dauner’s Et Cetera play that imaginary music. Get your attention, did I? Not sure I’ve ever heard those 4 names tossed together in the same breath. This is followed by a Stevie Wonder cover tune, as driven by the same above parameters. OK then. Not that you’ll actually recognize the tune, as it’s about as psychedelic interpreted as it can possibly get. There’s also this strange 1971 vintage Tangerine Dream quality about these two compositions. Like a long form ‘Ultima Thule’ if that makes sense. As the ladies of HGTV like to often say, these 2 songs are ahh-MAY-ZING. ‘Abhartach’ is a bit too much though, and ear fatigue begins to set in. It reminds me of those modern Japanese bands where they never seem to know when to quit. Redlining it all the time is tiresome. Though experience tells me there's a contingent of those who feel "too much of a good thing, is a good thing", so you'll probably love this track too. ‘Kungsten’ starts out similar, and it’s time to find the fast forward button. But by the 7 minute mark, the band slows it back down to atmospheric keyboards,  psychedelic moods, and jam sequences. This is clearly where Elephant9 shines, on this effort anyway. The last 2 minutes brings back the energy of the prelude, though its placement here is far more effective. Finale ‘The Above Ground Sound’ recalls ‘Occidentali’ mixed with ‘Kungsten’. Once again Dungen’s guitarist Reine Fiske is on board, and his decidedly acid guitar tone adds much to the overall psychedelic stew. Vintage keyboards, primarily organ, electric piano, and mellotron, are still the focus here. Overall, Silver Mountain is certainly Elephant9’s most experimental album to date, though no less worthy. Four albums in, and Elephant9 have yet to disappoint. They are by far, IMHO, the best band on the Rune Grammofon label.

---3/26/17

Other albums heard: Dodovoodo (2008); Walk the Nile (2010); Atlantis (2012)

2/26/13 (new entry)

Entity ~ Italy

Neo Italian prog

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Latest: Il Naufragio della Speranza (2024)

UMR review page for Entity

7/4/24 (new entry)

Sacri Monti, USA-California

Retro prog; Heavy psych

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Latest: Retrieval (2024) to be released Jul 26.

Sacri Monti (2015)

Sacri Monti are a new band from the San Diego area (north near Carlsbad), who play a very aggressive form of heavy psychedelic music. The reality is no one actually performed with this energy in the late 1960's, maybe Blue Cheer at the beginning, but this is far more focused and pertinent. Perhaps filtered even. And while you know Sacri Monti has digested the "stoner" genre in total, they somehow manage to avoid all the pitfalls that befell lesser groups who have tread similar paths. The guitars are heavy on the wah pedal, and the organ is thick as molasses. Killer solos, and compositions that actually seem to be... well... composed. There are no "slabs of fuzz distortion" or "vocals on the 6th whiskey" here. Just south of that actually, which is why it works so well. It's borderline Monster Magnet, but then they reel it back to the year 1970 just in time. "Just in time". Yes, that. Great start and I'm most curious what they come up with next.

---7/28/16

Other albums heard: Waiting Room For the Magic Hour (2019)

7/28/16 (new entry)

Hidria Spacefolk, Finland

Space Rock; Festival Psych

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Latest: Rama Rama (2024) single

Been ages since we last heard from Hidria Spacefolk, one of the contenders for the best group of the 2000 decade for my tastes.

Astronautica (2012)

Space rockers Hidria Spacefolk return five years after Symetria with Astronautica, an album that has been highly anticipated by many, including myself. A couple of changes have occurred in the interim. The original keyboardist moved to Germany and has been replaced by Veikko Sutinen, who seems to favor the Fender Rhodes a bit more than his predecessor (that's a good thing). Hidria Spacefolk have also expanded to a sextet (yet another good thing) with the addition of percussionist Olli Kari, formerly of the much respected Uzva. Olli plays marimba, vibrafone, xylosynth, and sundry percussion. Despite these changes, Astronautica is largely a continuation of the style found on Symetria. Broader strokes, larger sound, simpler compositions, with more emphasis on atmosphere rather than tricky intricacies. However, there's no mistaking that this is a Hidria Spacefolk album, and they continue with their lively instrumental melodic psychedelic music, with plenty of tempo changes and electric guitar solos. Great driving the highway music! Overall an excellent album, though still not up to the high standard (IMO) of Symbiosis and Balansia. I'm already waiting anxiously for the next album! (ED: which still hasn't happened as I update this post 12 years later!)

Symetria (2007)

Symetria shows Hidria Spacefolk cutting back on the edgy complexity of their first two albums, while adding more of a steady post-rock sensibility. These changes are somewhat understated, so it's more like a trimming of the hedges, rather than a replanting of another bush. The title track and 'Futrur Ixiom' demonstrate quite well this movement to the center. Gone are the high powered psychedelic sequences and ripping guitar solos, and its place is a more staid melodic and atmospheric approach. That's not to say the band has moved away from mid-tune meter shifts, it's just a bit more toned down. '322' seems inspired by the stoner metal movement, as no doubt the band performs live with many acts that represent that genre. However they do manage to avoid the standard trappings of stoner rock (slabs of metal guitar distortion, raw drunken vocals, etc...), and instead inflect the typical Hidria Spacefolk treatment, that as a bonus inserts midstream a cool funky rock sequence complete with horns. 'Flora/Fauna' is a new twist for the band, calling out their Scandinavian heritage - in this case the region's penchant to produce a type of [i]rural rock[/i], a favorite style of nearby Denmark, especially in the early 1970s. To be honest, at this point of the album, Symetria is a bit of a disappointment. However, Hidria Spacefolk saves the best for last, and the last two tracks, totaling close to 20 minutes recall the superiority of Symbosis and Balansia. All the same, I hear this album a full star less than its predecessors, though still quite excellent obviously. It's probably no surprise that Hidria Spacefolk decided to break at this point, probably realizing they were beginning to hit a rut. Fortunately they reconvened in 2012 for a new album.

Balansia (2004)

Picking right up from Symbiosis, Hidria Spacefolk deliver another set of smoking space rock tunes. All of the first 5 tracks are near or above the 7 minute mark, and each add a unique twist to their classic Ozric/Hillage/Gong inspired sound: 'Kokkola' features heavy percussion; 'Modus Operand Hermetik' goes east to India (at the break) for inspiration; 'Astroban' loads up on the wah-wah funky guitar and features some wild extended jamming; 'Pajas' adds bluesy Krautrock styled guitar and sampled organ; 'Pako Originaux' shows a remarkably researched track, full of classic 1970s French references (Clearlight, Heldon, and a host of obscurities). And then there's 'Tarapita', Hidria Spacefolk's one attempt to date at the extended atmospheric and exotic early 70's Kosmiche Kourier styled composition, with plenty of high energy jamming at the finish to polish it all off. Agitation Free meets Ozric Tentacles. An amazing album by an amazing band.

Symbiosis (2002)

The obvious comparison to Hidria Spacefolk is of course Ozric Tentacles, but that's only part (albeit a large one) to the entire equation. What's left out of most reviews is what comes after the plus sign - the early 1970's Scandinavia song craft - a certainly melodic sense that adds the key ingredient which makes Hidria Spacefolk so special. As someone who has listened to countless hours of the early 70s Scandinavian progressive scene, it's apparent immediately. From Sweden, you hear snippets here and there of Algarnas Tradgard, International Harvester, Lotus, Kvartetten Som Sprangde, and Saga. From Finland, there's Kalevala, Nimbus, and Haikara. The driving rhythms, electronica bits, synthesizer sequencers and riffing guitar point to a modern era. The bluesy guitar solos, sometimes with a Latin Santana influence, the Indian Eastern mysticism, the lead melodies, and the Hammond organ samples all point to a different era - one these lads most certainly absorbed growing up, even if unwittingly (though I suspect they are quite aware of their origins). If Ozric Tentacles is the post graduate course, then Symbiosis is the perfect score - 100%. 'Nasha Universo' is my favorite short-form progressive song for the entire 2000 decade.

HDRSF-1 (2001)

Finland’s Hidria Spacefolk broke onto the scene in 2001 with HDRSF-1, which featured recordings from as early as 1999. And what a debut it is! Hidria Spacefolk are one of the very few bands to take the Ozric Tentacles space rock via Hillage formula, and actually take it further by adding more instrumentation, putting together more complex compositions, and rocking harder than Ed Wynne and crew (that’s no small feat right there). While Hidria wasn’t even close to reaching their peak at this stage, there were plenty of signs they could put together a masterpiece (and their subsequent two albums did just that). Most notably ‘Sindran Rastafan’ is the type of space rock rave-up that leaves one amazed, exhausted, and overwhelmed. Hidria mixes wah wah style funk, hard rock guitar, cosmic and very fuzzy synthesizers, Middle Eastern melodies, Indian flute and didgeridoo, sometimes all in the same song! Variety is their strong suit, and they mix high energy jams with meditative quiet sections with ease. The band likes to change things around in a rapid manner, so the music never gets stale and always remains exciting. This debut demonstrated to the world that Hidria Spacefolk were to be one of the best space rock bands of the modern era.

---10/14/06

Other albums heard: Live Eleven am (2005)

11/14/12 (new entry)

Haze, England

Neo prog

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Latest release: The Water's Edge (2024)

C'est la Vie (1984)

Haze were one of the more known names from the initial New Wave of British Progressive Rock bands that emerged in the early 80s. They were often mentioned in the same breath with IQ, Marillion, Twelfth Night, and Pallas. Armed with this knowledge, when I arrived in London in the summer of 1984, it was my every intention to come home with their first full length LP C'est la Vie. But it was one I could not find anywhere, and the band's hazy moniker represented my own memory of them. C'est la vie indeed.

Fast forward to 1992, now touring my own country, and we're in Greensboro, North Carolina visiting a record store (as if I'd be doing anything else...). And there (of all places), staring me right back, was the ever elusive Haze album, with its unique blue vinyl cover design. It was there, I was there, and it was $2. Mine. Finally. Eventually arrived back home, played it probably twice, filed it.... and haven't heard it since...

...Since today, 24 years later. The vinyl still has its comfy spot in the collection, but now the CD just walked in the door. Time for a serious headphones listen.

To be honest, I was almost afraid to listen to it. I figured perhaps my quest had added a point or two to the overall rating, in my often fits of nostalgia. The good news is, I enjoyed it more now than I remember. The album very much reminds me of the cassette tape culture that was prominent at the time. So yes it's true, the production quality is lacking, and the performance is amateurish. The band weren't ready for prime time, and yet that's where its charm lies. In addition, Haze weren't your typical Genesis/Yes fixated neo prog outfit, but rather they represented a variety of English bands - anywhere from Iron Maiden to Duran Duran to Van der Graaf Generator. No, they weren't metal or synth pop in the slightest, but the songwriting was reflective. The other major influence that emerges obvious is that of Rush, which gives the band the surge of energy they most certainly needed.

The CD decided to reverse the sides of the LP, so the first track you hear is 'Mirage'. This composition goes back to 1979, 4 years before anything else on the album, and demonstrates that Haze started out far more progressive minded than they ended up. The other standout track is the now-closer 'The Load' which is where VDGG becomes the lead influence. In between are subtle prog tracks, a ballad, a bit of hard rock, and just general no-budget-but-cool sounding 1984 rock.

The liner notes inform us that the song, and record label, Gabadon comes from a translated form of the license plate of a Land Rover the band usurped from a friend to help with touring.

With history now in place, Haze were an early dropout in the neo prog sweepstakes. They were quick to move away from progressive rock, and made their stab at more commercial offerings. A typical failed strategy. The band has reemerged since but I have yet to hear anything thing new by them as I write this.

---8/9/16

Other works heard: The Cellar Tapes (1983); Cellar Replay (1985); The Ember (1985); In the End 1978-1988 (1993)

6/18/24 (new entry)

['ramp] / Ramp ~ Germany

Doombient; Berlin School Electronic

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Latest: Havoc (2024)

UMR review page for Ramp

4/9/11 (new entry)

Sezione Frenante, Italy

Neo Italian prog

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Latest: Pace e Guerra (2024) single

Metafora di un Viaggio (2014) 

Sezione Frenante are one of a handful of groups who performed live in the 70s before disbanding without any recorded output, only to reform in modern times and release one album or more. The returns are mixed on these bands, some having adapted better than others. Sezione Frenante sits in the middle of these type of groups. On the one hand they do have those impressive breaks that makes the genre so special. And it's prog rock all the way, no silly attempts at pop stardom. On the other, there's this nagging feeling they relied too heavily on modern instrumentation and production techniques. One starts to wonder "what could have been?" in their initial incarnation. As I immerse myself deeper into the contents, I hear a strain of neo prog that I hadn't noticed before. Which isn't necessarily a bad thing in my world. Fortunately they maintain the Italian language (and sung very well by newcomer Francesco Nardo) keeping it out of the Genesis clone discussion. Gosh, if I already didn't own shelves full of this kind of prog from Italy already, I'd keep this. But downsizing is in full force, and this one never resonated with me at any level except academically.

---12/15/24

10/12/23 (new entry)

Le Orme, Italy

Italian progressive rock

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Latest album: Il Leone e la Bandiera (2024)

Verita Nascote (1976)

After the disappointing commercial effort Smogmagica, Verita Nascoste is a nice return to form for Le Orme. Having acquired a full time guitarist for the previous effort, Le Orme had a new sound to experiment with. Not that Le Orme do much with it. On the contrary, the guitar seems to only add color and little else. By now, Le Orme are completely a song-based rock band, though more complex than their American contemporaries. This quality is displayed clearly on Verita Nascoste, where Le Orme's unique style makes for an overall enjoyable listening experience. 'In Ottobre' is an excellent example of how Le Orme could incorporate their progressive era sound into a tight commercial style rock framework. Throughout, Aldo Tagliapietra's voice is as wonderful as ever. There's even some nice violins on the pensive title track. While not as essential as their classic progressive rock albums, Verita Nascoste is a very pleasant listen, and a fine addition to the Le Orme catalog.

---3/11/01

Felona e Sorona (1973)

Le Orme's fifth release (and 3rd progressive album), Felona e Sorona, is generally considered their masterwork. The album is progressive rock by the numbers: 1) A heady concept with fantasy lyrics; 2) One long composition broken into nine subsections; 3) Keyboards galore featuring Mini-Moog, Mellotron and the familiar organ. The "formula" track as found on Collage has now been turned into an album length exercise. Going about it in this way, Le Orme came up with a fail-proof album that stills satisfies today. While it would be easy to pass off Felona e Sorona as a typical pretentious progressive rock album typical of the day, few deliver the goods as well as Le Orme. As with any ambitious project such as this, there is plenty for the listener to sink their teeth into. Many dynamic changes between the singer-songwriter tendencies of Aldo Tagliapietra and the bombastic keyboards of Tony Pagliuca. However what possibly keeps Felona E Sorona from the top echelon is the lack of allowing creativity and experimentation into the mix, so it appears most of the album seems restricted by an unspoken protocol. Exceptions to this are the eerie 'Attesa Inerte' and the ambitious closer 'Ritorno al Nulla', both reminiscent of the Uomo di Pezza balance of soft composition, jazzy grooves, and heavy rock. Overall, another classic Le Orme album and a must own for fans of Italian progressive rock.

---3/11/01

Uomo di Pezza (1972)

Uomo di Pezza, Le Orme's fourth album and second progressive rock era release, opens appropriately enough with an organ prelude quickly joined by a complex and heavy rhythm section. Silence begets a piano melody and then Aldo Tagliapetra's beautiful voice enters. The model found on Collage has been rediscovered and exploited.

So with that, Uomo di Pezza is ostensibly going to be a more sophisticated affair. As well, concerning instrumentation, Le Orme becomes more diverse. Here they add more acoustic guitar to the mix and the organ isn't as prominent as the newly acquired Mini-Moog. Gone are the jams and the reckless abandon found on Collage, to be replaced by more angular and thought-out creative music. 'La Porta Chiusa' is the perfect example of the new and improved Le Orme. A thundering bass and drum layer is offset by a Moog dial turn (as in turning the radio from soft to loud). Aldo then begins to sing softly, but somewhat eerily, only to find counterpoint with a thunderous organ, Moog, bass, and drum maelstrom. For pure songwriting, 'Figure di Cartone' and 'Aspettando L'Alba' are brilliant examples of melancholic beauty, especially the latter (which would've been the perfect soundtrack to an arty Italian film). Aldo's emotional voice is perfect for this kind of style and unfortunately they were unable to capture this magic on their later, more commercial, efforts. The album closes with the raucous instrumental 'Alienazione', perhaps the only acknowledgement of their previous history with heavy psych rock, via their opus Collage.

What separates Uomo di Pezza from the other albums in their canon is the perfect balance between the raw heaviness found on the predecessor - with the more uppity aspirations of pretension to be heard on their next opus. A true classic and, for me, Le Orme's finest work.

---3/11/01

Collage (1971)

In the late 1960's, Le Orme were one of the few Italian bands to attempt an American styled psychedelic music, and the results varied from high quality original compositions to trite mimicry. By 1971, Le Orme had changed directions to the new music movement sweeping Italy: Progressive rock. Collage, Le Orme's first progressive album and third overall, is a stripped-down affair with only organ, piano, bass, and drums. The exception is the opening title track which could be considered the bridge between their psych and prog composition styles. This track has a kitchen-sink mentality and features an orchestra, pseudo-baroque motifs, and some trendy of the era moves. The next piece however, 'Era Inverno', is the beginning of the classic Le Orme sound. Aldo Tagliapietra's instantly recognizable alto voice opens the song and then is followed by Tony Pagliuca's fabulous organ and the energetic drumming of Michi dei Rossi. Of all the songs found on Collage, this one would be the model for the future. The amazing 'Cemento Armato' follows. Le Orme has never been known for being a jam band, but this eight-minute organ trio number is one of the greatest of its kind. Blistering organ work and the rhythm section of Aldo and Michi are as hot here as anywhere to be found in their entire canon. Another highlight can be found on 'Evasione Totale', an experimental organ jazz rock piece with heavy echoed keyboards and groovy rhythms. Overall, Collage is Le Orme's most energetic, raw, and experimental album. As such, this album tends to be overlooked by those awed by their more polished follow-up efforts. Fans of heavy organ rock, as more commonly found in Germany, will likely adore Collage.

---3/11/01

Other albums heard: Ad Gloriam (1969); L'Aurora Delle Orme (1970); Contrappunti (1974); In Concerto (1974); Smogmagica (1975); Storia o Leggenda (1977); Elementi (2001)

2/14/19 (new entry)

Malady ~ Finland

Retro prog

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Latest: Ainavihantaa (2021)

Nothing too much happening in 2025, although their lead singer and guitarist Baabek has release a soul jazz funk title called Bathroom Sex.

UMR review page for Malady

1/8/16 (new entry)

Aquaserge, France

Avant prog; Canterbury styled; Space rock

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

Ce Très Cher Serge, Spécial Origines (2010)

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

---7/04/11

Other albums heard: A L'Amitie (2014)

7/04/11 (new entry)

Patchwork Cacophony / Ben Bell, England

Progressive rock; Prog AOR 

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

Patchwork Cacophony (2014)

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

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

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

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

---1/26/15

1/26/15 (new entry)

Seven Impale, Norway

Progressive rock

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Latest release: Summit (2023)

Contrapasso (2016)

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

---3/24/24

City of the Sun (2014)

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

---5/5/22

6/16/23 (new entry)

Tarot ~ Australia

Hard rock

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Latest: Glimpse of the Dawn (2024)

UMR review page for Tarot

4/27/15 (new entry)

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)