Under the Radar Music

UMR review page for Hooffoot

Bandcamp

Latest: Phantom Limb (2025)

9/29/15 (new entry)

March 18, 2025

Gösta Berlings Saga ~ Sweden

Post rock; Avant prog; Progressive rock; Retro prog

UMR review page for Gösta Berlings Saga

Latest: Forever Now (2025). To be released June 6.

6/24/11 (new entry)

Echolyn ~ USA ~ Philadelphia, Pennsylvania

Progressive rock

Latest: Timesilentradio ii + Timesilentradio vii (2025). Released (separately) on Mar 7.

12/31/23 (new entry)

Glass Hammer ~ USA ~ Tennessee

Progressive rock

UMR review page for Glass Hammer

Latest: Rogue (2025) Will be released Apr 11.

10/8/18 (new entry)

March 12, 2025

Hokr ~ Czech Republic

Retro prog; Progressive rock

Website (they have a Facebook page but it hasn't been updated since 2013)

Latest: Meandrea (2025)

UMR review page for Hokr

4/28/11 (new entry)

February 18, 2025

Nuova Era ~ Italy

Neo Italian prog

UMR review page for Nuova Era

Latest: 20.000 Leghe Sotto i Mari (2025). To be released Feb 28

5/4/12 (new entry)

February 11, 2025

Solstice ~ England

Progressive rock

UMR review page for Solstice

Latest release: Clann (2025) To be released 4/4.

12/15/13 (new entry)

IQ ~ England

NWOBPR; Retro prog

Latest: Dominion (2025) 3/25

UMR review page for IQ

12/30/14 (new entry)

January 28, 2025

Happy Family ~ Japan

Progressive rock; Zeuhl; Avant prog

Latest: 4037 (2025). To be released Mar 19. First new work in 11 years! It's an EP apparently.

Minimal Gods (2014)

It would be 17 years until we finally heard from Happy Family again. Their third album Minimal Gods sees Happy Family moving in new directions while maintaining their brand identity as it were. If you came to this album looking for a somewhat similar sound to their first two albums then... I have good news, you will not be disappointed. But as indicated, Happy Family have begun to tread new waters. Most notably, an obvious modern math rock component has entered into their overall sound. Normally that's a term that is anathema to me, but in the capable hands of Happy Family, they are able to transcend the genre norms of clinical and cold precision, for something more alive and a sound that bursts from the speakers. Some would argue they always had a math rock type sound, and that may be true to some extent, though I personally heard more Present and even Canterbury if considering Happy Family's first album. What's most interesting to me is that Minimal Gods doesn't sound anything like the first two albums, and yet the music is entirely - and non mistakenly - Happy Family. There's a certain genius in being able to do that without alienating your fan base. Let's hope we don't have to await another generation to hear a 4th album.

---11/18/14

Toscco (1997)

Happy Family's second album is a bit more "avant prog by the numbers" than the debut which was more of a consolidation of personal influences (Zeuhl, Symphonic rock, Canterbury, Chamber) and then sped up 10x. The intensity is still apparent, though there's more of an attempt to integrate cutesy type melodies - a hallmark of the genre - as if to overcompensate for the unrelenting tension the band brings forth. There's really no standout tracks, though the two lengthier numbers seem to play to Happy Family's strength of producing massive - and fast moving - slabs of sound. Toscco is an excellent sophomore effort, and many see it as an improvement, though I felt it was more of a step back to a safe zone, and thus less influential and reckless than the debut.

---11/18/14

Happy Family (1995)

Perhaps no band arrived with such an in-your-face sound as Happy Family did in 1995. Their fabled live shows were popular amongst the tape trading crowd of the early 1990s. So there was quite a bit of buzz on what their first CD would sound like. The band insisted their albums come out on the preeminent Avant Prog label Cuneiform, and were willing to wait until that label had room on their release schedule. By 1995, anticipation was high, and Happy Family not only delivered, but exceeded, most everyone's expectation.

Consider the first track 'Rock & Young'. Hard to imagine anyone delivering such a strong overpowering opening punch as Happy Family did here. If this track doesn't move your heart rate up a few beats, you're probably dead already, and no one told you (did Aunt Sally forget your birthday for the first time? well, there you go...). And it gets more intense from there. With fuzz bass, fiery sustain electric guitar, staccato piano, buzzing synthesizers, spastic rhythms, and an incredible imagination, Happy Family has to be in the discussion as one of the best albums of the 1990s. The label's comparison of a mix between Magma, King Crimson, Weidorje, Area, and Univers Zero are just flat out spot on. Happy Family took what Belgium's Present were doing in the 1980s, and accelerated it by 100 mph. Strap your seat belt on - hit play - and roar through 50 minutes of incredible intensity and complexity. Get rid of your treadmill, you'll burn 1000 calories just listening to this album. Need.... Gatorade.

---11/18/14

11/18/14 (new entry)

Flor de Loto ~ Peru

Progressive rock; Prog Metal; World Fusion

Latest: Cosmos (2025). Just released.

Imperio de Cristal (2011)

I suppose it was inevitable, but Flor de Loto seems to have gone "whole hog" for prog metal on their 4th and latest album. While it would be unfair to classify this as Dream Theater with pan pipes, there is no denying the band's conscious move to the metal world. There's also many more vocals than prior, which detracts from their former focus as a creative instrumental band. Tracks like 'El Jardin Secreto' show that Flor de Loto haven't forgotten their past, and are more than capable to put together an instrumental psychedelic piece in the grand tradition of the masters like Los Jaivas, with gobs of wah wah fuzz guitar and flute. Still, it seems the band have painted themselves into a corner, and the concept is becoming monotonous. If reviews of any future albums state that Flor de Loto is moving even closer to the center, then I'll probably stop here at Imperio de Cristal. Too bad the band hasn't explored further their psychedelic ambitions that they hinted at on their first two albums. They were definitely unique among bands. Not anymore it appears.

---11/19/12

Mundos Bizarros (2009)

After two albums of pretty much perfecting their brand of instrumental heavy psychedelic rock meets Los Jaivas sound, it was obvious to Flor de Loto that they probably needed to alter their sound a bit, or they would begin down the road to irrelevancy. And that's just what they did. The collection of songs on Mundos Bizarros explore new directions in two different ways. One, they expand the compositions with more complexity and anted up the progressive quotient quite a bit. On the other, there are far more vocals here, adding some song craft that was missing prior. Not to say they've completely abandoned the sound of their first two opuses. In fact, when they do reach into their musical past, Flor de Loto are able to seamlessly mesh it within the context of their new direction, giving it a new fresh perspective. As well, the guitars are slightly heavier this go round, indicating a move to the prog metal camp on occasion. It will be interesting to see where Flor de Loto goes from here.

---11/18/12

Madre Tierra (2007)

Largely an extension of the debut, with perhaps a bit more extending of both of their distinctive styles, making the pole that much longer. On the one hand, the "Western" part of their sound is heavier with more jamming guitar and psychedelic solos. And then their Peruvian indigenous side is given more space for the variety of pan flutes and traditional melodies to be played out. Not surprisingly, Flor de Loto are at their best when melding the two for what becomes a pure fusion - a term that is often misused in the modern day lexicon. Overall Madre Tierra shows enough growth to distinguish itself from the debut. Hence, another recommended title.

---11/18/12

Flor de Loto (2005)

The Mylodon label has been responsible for turning up some great bands from Chile, and it’s nice to see them reach over to their northern neighbors in Peru, where we find the excellent band Flor de Loto. Peru had quite the psych scene in the late 60s and early 70s, and they possessed one of the world’s most exciting music movements of the day. But political conflicts were particularly hard on Peru, and the country degenerated into chaos throughout most of the 70s and 80s. Stability seems to have returned, and now we’re getting a new crop of music acts. Flor de Loto are very much a modern band, but one with two feet in the past. One foot goes to the heady days of the early 1970s that produced the progressive rock scene. The other "feet" goes way back to the indigenous tribes, and their musical traditions and folklore. So along with the usual rock instrumentation of guitar, bass and drums, they have a dedicated winds performer who plays on a variety of flutes, both classical and traditional. Somewhere between the aggressive Japanese band Naikaku and the classic Chilean group Los Jaivas is where you’ll spot the sound of Flor de Loto. Their formula is one that can go in many different directions and still be exciting.

---11/17/12

11/17/12 (new entry)

Banco del Mutuo Succorso ~ Italy

Italian progressive rock

Latest release: Storie Invisibili (2025). To be released Feb 28.

Transiberiana (2019)

Banco del Mutuo Succorso would be a good example of my concept of "bands as brands". With charismatic opera styled singer Francesco di Giacomo and long time guitarist Rodolfo Maltese no longer with us, there's no chance for a true reunion. In addition, the original rhythm section is nowhere to be found. And finally, brother Gianni Nocenzi hasn't been with the band for some 35 years. That leaves only keyboardist Vittorio Nocenzi carrying the torch. In tow are 5 new members, each talented in their own right. So if Banco were to remain an functioning entity, it could very well do so even if V. Nocenzi can no longer participate, or even want to.

This prelude is poignant with Banco del Mutuo Succorso because Transiberiana lays out a blueprint for the future, not a retread of the past. When looking at the history of the band, they were part of the original Italian prog movement, and their records in this style spanned only 6 to 7 years. Which for a typical Italian prog band is a lifetime of records, but from a chronological standpoint, it's a very small period of time. Then "Banco" became a pop band throughout the 80s. They returned to participate in the 90s progressive rock renaissance, but mainly as a live act mostly recreating the past. As for new music, nothing special ever surfaced. Their highest rated albums are simply new recordings of past compositions.

Until now. Transiberiana has all the earmarks of the past, including the depth of composition, the talent of the musicians, and those oh-so-critical turn-on-a-dime musical breaks. This is the music of 1973 Banco del Mutuo Succorso moved up 46 years. It sounds every bit like an album from 2019, and the new members bring many contemporary influences to the table. It's up to Nocenzi to school the others on what it's like to be a part of the legacy that is Banco del Mutuo Succorso. And he's done a great job at that, and one gets the sense the band could continue in this vein for many years - evolving the brand as it were. Is this the best Banco album? No. It would be nigh impossible to beat their trio of original albums, perhaps the greatest 3 album run in history. And Come in un'Ultima Cena is another tough one to top. But their best album in the last 42 years? Yes, most assuredly it is!

---7/16/20

Garofano Rosso (1976)

The odd album out in the Banco del Mutuo Soccorso canon, though they were to repeat it again on Di Terra. That is, this is Banco without vocals! Francesco di Giacomo is such an integral part of the band, it doesn't seem possible to hear the music without him. And he's still a member, being credited here with "documentazione". The music (a soundtrack to an Italian TV series) is still patently Banco DMS, though they're changing with the times and adding more jazzy elements to their sound. The Nocenzi brothers continue to lead the band with their organs, pianos, and synthesizers ripping away. You'll hear some familiar themes from past albums as well. The music isn't as edgy or as epic as their earlier efforts, but taken on its own account, Garofano Rosso is a fine listen.

---12/26/21

Come in un'Ultima Cena (1976)

Banco del Mutuo Succorso started their career with what many consider the greatest 3 album run in all of Italy, and one could argue for progressive rock in general, competing mightily against the likes of Genesis and Yes. Then silence. 1974 blew by, and 1975 saw only the requisite might-break-in-the-States-probably-not English language album, that featured unique arrangements, but a bit watered down from the massive beasts they opened with. By 1976, Banco confusingly released an all instrumental soundtrack album, that has little to do with their namesake. And finally we get to Come in un'Ultima Cena, their true followup to Io Sono Nato Libero. Since still signed with Manticore, the band were obligated to do a co-release in English (As in a Last Supper). Nevertheless, that version didn't see an English language country release (until 2010!), having been dumped into Germany as an afterthought. And so this was the last hurrah for the classic Banco del Mutuo Succorso as we knew them. They had one more fantastic instrumental album left in them (Di Terra) and off the pop cliff they went, only to return during the prog revival years. But they were broken.

This premise leads to the album itself. It's important to understand the background from which Banco entered into this recording. And let's not forget the 1976 landscape in general, where progressive rock in Italy were in their last throes of survival. And that provides the story here. This is Banco neutered and ready for a domiciled life. No more hunting in the wilds for their food. Once that premise has been accepted, then the album can now enter your stereo for a proper listen. It's the name Banco del Mutuo Succorso that usually holds this album back. But a careful listen on its own, demonstrates the same intense progressive rock composition style. Di Giacomo is also in fine form here, perhaps a bit more strained than prior. But the edge of the instrumentation is gone, along with the youthful exuberance. It's progressive rock by professionals. Which means, it's an excellent album throughout. And yet, you know they can do better. My rating reflects more an objective viewpoint in this case, rather than my usual subjectivity. I owe them that.

---3/4/17

Io Sono Nato Libero (1973)

After two remarkable albums to start their career, could Banco del Mutuo Succorso maintain the momentum for a 3rd? The answer is a resounding YES. The sextet possessed so much talent, in both instrumentation and composition, it seemed that their imagination was endless. But the heroes of the band remain the Nocenzi brothers, who bring an arsenal of vintage keyboards, along with the latest in synthesizer technology. They play off each other as only two brothers could - each knowing what the other is thinking before they think it themselves. If I had to pick just one song from Banco's canon, it would be Io Sono Nato Libero's opener 'Canto Nomade per un Prigioniero Politico' which packs a wallop, and goes in dozens of different directions. Giacomo's powerful operatic voice sends the message home, that yes, we are born free! To take this even further, when someone asks me to play one representative of Italian prog, this is the track I pull out. The album doesn't stop there, as Banco mixes melody, complex instrumental sections, intense passion, and immense creativity. For my tastes, Io Sono Nato Libero is the best Banco has to offer, and considering the stiff competition, that's quite an achievement.

---8/25/21

Banco del Mutuo Succorso (1972)

The debut album by one of the pillars of the Italian progressive rock movement. As good as advertised, Banco DMS brings out all the elements that made them so stellar: Dual keyboards, heavy guitars, complex rhythms, and the operatic male vocals sung in glorious Italian. Highlights include long time favorites such as 'R.I.P', 'Metamorfosi', and the lengthy 'Il Giardino del Mago'. For my tastes, this comes in second place to the almighty Io Sono Nato Libero. Table stakes for any progressive rock collection.

---1/10/24

Other albums heard: Darwin (1972); Banco (1975); ...di Terra (1978); Canto di Primavera (1979); Capolinea (1980)

7/16/20 (new entry)

December 27, 2024

TEE, Japan

Progressive rock

Latest: Total Edge Effect (2022)

Still active and playing live. They state a new album will happen "in a few years".

Tales of Eternal Entities (2016)

The fluidly named TEE this time stands for Tales of Eternal Entities, and this is the Japanese band's 3rd album. I had feared that TEE's involvement with French TV's latest album may have given the group a new found rigidity. Fortunately that is not the case, and TEE return with their distinctly mid to late 70s warm European progressive rock sound. Flute, guitar, and analog sounding synth lines dominate the melodies, while the rhythm section mixes things up often to keep the music from becoming static. As in the past, you'll hear traces of Asia Minor, Solaris, Gotic, and perhaps more pointedly than ever, the godfather of such a sound: Camel. TEE could also be seen as an instrumental parallel band to Spain's L'Herba d'Hameli. 'Epimetheus' is a brilliant opener, and it appeared this album may well in fact be their best work to date. 'Mother Earth' is another standout track. There is nothing less than what I would consider an "excellent" track here. I would offer that Tales of Eternal Entities is a hair off the pace from the prior Trans-European Expression, but all of their albums are outstanding and not to be missed. One of the best albums from 2016 so far for my tastes.

---8/19/16

Trans-Europe Expression (2012)

So it appears TEE is going to be an acronym that remains fluid. For their debut album, they were known as The Earth Explorer. And now it is Trans-Europe Expression. Perhaps The Egg Enema won't be far behind...

Let me take you back 20 years to 1992. At that time, much was made of Änglagård bringing progressive rock back to its original splendor. Their appearance at the first Progressive Rock Festival in 1993 only solidified the legend. And I wholeheartedly agree with all the enthusiasm laid at the feet of this great Swedish band.

However, for myself and a few others, there was another album that had as much impact, but is not as well remembered. Two years prior to Änglagård, a band from Hungary released their second album: The mighty 2 LP opus 1990 by Solaris. It was a jaw dropper, a truly complex progressive rock album, with outstanding keyboards, guitars and flute. Perhaps it's only downfall for the revisionists is its lack of 1970s vintage analog equipment. And while I too would have enjoyed that, it has zero impact on my enjoyment of that amazing album.

Trans-Europe Expression is the second coming of Solaris' 1990!

This is a magnificent work, with some of the most melodic flute and guitar driven progressive rock I've heard in over 20 years. I find music like this irresistible. Love the European hill town photograph artwork as well.

Other albums heard: The Earth Explorer (2009); Total Edge Effect (2022)

---3/13/12

3/13/12 (new entry)

December 25, 2024

Flowers Must Die, Sweden

Space rock

Latest: OCH/FMS Split (2023)

Still active, I'm sure they'd be great to see live.

Flowers Must Die 3 (2013)

I was first drawn to this Swedish collective by their most fortunate choice of the group name Flowers Must Die. However, despite this moniker, Flowers Must Die will not likely make you recall Ash Ra Tempel, and especially not the Schwingungen album. Mainly because there isn't some madman screaming "Flowers Must Die - Die! Die! Die! Die! Die!". And there isn't much Krautrock here unless you count a steady rhythm, which recalls an entirely different branch of the genre.

The first two albums came and went before I even had a chance to hear. So we start with the third album, which was described to me as Psychedelic Doom Jazz. I don't hear much doom or jazz to be honest. Flowers Must Die are good old fashioned space rock. Probably the closest comparison would be to My Brother the Wind on their debut, or some of the less edited Oresund Space Collective albums. Their 3rd album is a double LP, and as such, there are long jams driven by electric guitar, that are explored to the last drop. Sometimes, especially on Side 1, the songs drag on long past their shelf life. The addition of guest violin is probably their strongest move, which gives it a whiff of ancient Swedish folk and thus recalls some of the Swedish pioneers such as Algarnas Tradgard and Flasket Brinner. Hawkwind is another obvious influence here. I should be clear, I think Flowers Must Die is a very good group, and I do enjoy this album quite a bit. But I would like to see more compositional quality. A few twists and turns to keep me guessing. I'm sure their music translates better in a live setting.

---2/14/13

2/14/13 (new entry)

December 15, 2024

Dungen, Sweden

Neo psych

Latest: Otis (2024). EP of what RYM calls Jungle and Darkside. Essentially variations of Drum and Bass, so it doesn't appear to be a typical Dungen release, though I'm sure it's still going to be interesting. There's a full explanation on Dungen's FB page of the background.

En är för Mycket och Tusen Aldrig Nog (2022)

In hearing their latest album, I thought Dungen might be headed in a folk rock direction, but ultimately they reel themselves back to their Swedish psychedelic pop core. I wasn't really in the market for another Dungen album, but a local record store had it, so why not give it a shot. While this isn't their best work - not even close really - it's still excellent. Which just demonstrates how high up the mountain Dungen can get at times. Hard to know when to stop with this group. They continue to age tremendously well.

---12/22/23

Häxan (2016)

Dungen's CV for over a decade will read as a modern take on the 1971 Silence Records stable mixed with Mikael Ramel's Till Dej. The fact that the band defiantly sings in their native Swedish, and still manages to have a large cult following even here in America is something quite extraordinary. But what if the band decided to remove the songs and lyrics? Häxan is the answer to that question. Gustav Ejstes and company have provided their musical interpretation of a 1920's era animated German film. And the German reference can be taken even further, as this is spot on Krautrock from the Kosmische Kourier era. It has that warm analog feeling with the biting psychedelic fuzz edge juxtaposed against the wavering flute throughout. There are beautiful melodies and soundscapes, but little that would typically qualify as a traditional "song". So journey south with Dungen from Stockholm to Berlin and enjoy Häxan. I can listen to music like this endlessly.

---2/24/18

Allas Sak (2015)

After a 5 year break, we receive Dungen's 7th studio album, though if we're to use their numbering system, I suspect they would say it's their 6th (witness album called 4). No matter as Dungen continue with their brand of Swedish psychedelic progressive... pop. The latter perhaps a bit more pronounced this time, especially on the opening trio of tracks. I still can't get over just how popular Dungen are (including a guest appearance on prime time USA late night TV). Me and about 20 other people from Sweden have a full collection of this kind of Swedish psych from 1970-1974, sung in the native tongue. Not a single album anyone would ever have heard of today. Speaking of which, it took me 10 years to figure this out, but now I know precisely where Gustav Ejstes got his main ideas from. If you're a big fan of Dungen, then you should make an effort to hear this album Till dej, one I assure you Gustav has framed on his wall at home.

As mentioned, there is quite a bit more pop this time around than prior, though there is plenty for the more adventurous listener to dig their teeth into. 'Franks Kaktus' is an absolutely stunning instrumental and among Dungen's finest compositions to date. 'En gång om året' is the mournful downer Scandinavian psych that is Dungen's signature sound. 'Åkt dit' gives us the requisite mellotron drenched sound we so crave. 'En dag på sjön' reminds us just how popular Santana's fusion era was in Sweden in the early 70s (think the live Lotus album here). 'Sova''s attempt at a psychedelic ending is admirable, though ultimately boring, and the fast forward button was looked at. More than once.

---11/3/15

Dungen 4 (2008)

I went into hearing this album with some trepidation. I've been fond of Dungen almost from their beginning and held them as one of the best of the neo psych groups of the last 20+ years. A couple of months ago, their second album Stadsvandringar showed up as a random pick. And even though I had it as their lowest rated album, most assuredly a revisit would bring it up a notch. That didn't happen. In fact the opposite and I sold it. My fear at that point is that I had inflated the group in my mind. That they really weren't that special. Just another garden variety psych band that perhaps I was elevating due to a lack of similar bands during an era when more were needed.

Now Dungen 4 comes up. Here we go... And right away all my fears subsided. This is a completely different sound. One that I'm going to struggle to define. I listened to it 5 times in a row (!) and it resulted in a +1 rating. Keep in mind it was already rated very high. It reached the top echelon of 5 stars / Gnosis 13+. The music is highly melodic, the instrumentals are very psychedelic, the sound is analog perfect. Gustav Ejstes and Reine Fiske have multiple peak moments throughout. The songwriting is almost that of the mid to late 60s orchestrated pop era - a little bit tying in with the Japanese Shibuya-kei movement. The music texture is heavily influenced by the Swedish masters of the past like Parson Sound and Algarnas Tradgard, except it sounds nothing at all like them. This isn't avant garde in the least. There are not many albums that I need 5 listens to work out in my head and continue to enjoy each one better than the last. But Dungen 4 is one of them. Now I cannot wait to hear the other Dungen albums in my collection (most of them), as it's possible they too may enjoy a +1. Even those I've already written thoroughly about.

---9/29/22

Stadsvandringar (2002)

Dungen is a band that has aged incredibly well for me. Each revisit is a revelation. Stunning mix of neo psychedelia, murky Swedish folk, and late 60s Brill Building pop. Some of their albums have scaled the Gnosis 13 self actualization level. But this second album has always left me flat. Almost inexplicable.

---4/10/23

Other albums heard: Dungen (1999-2001); Ta Det Lungt (2004); Tio Bitar (2007); Skit i Allt (2010)

11/3/15 (new entry)

Electric Orange ~ Germany

Krautrock

UMR review page for Electric Orange

Latest: Ada (2024)

9/21/17 (new entry)

Amoeba Split, Spain

Canterbury style; Jazz rock

Latest: Todos los Animales son Iguales (2024). Best I can tell it's only available on LP and only 100 exist. No CD or Digital. Seems like a lot of work for 100 people (if that)? Oh well, I'm sure it will eventually turn up.

Second Split (2016)

Amoeba Split are a band from Galicia, in the far northwest of Spain, who play a decidedly UK form of progressive rock: That of the Canterbury movement. Second Split is appropriately enough the band's sophomore effort. It's been 6 years since their debut, and they're now missing one key component - the female voice of Maria Toro. And with that, the late Canterbury sounds of National Health have fled the scene. No matter, as the all instrumental Amoeba Split have stayed the course, and have arguably released an even better album, demonstrating their experience over style. Opener 'Clockwise' is a clear homage to Soft Machine's Third, at that perfect point in 1970 where psychedelic, progressive rock, and jazz meet. Further in the album, 'Backwards all the Time' is once again a tribute to Soft Machine, this time emulating their 1971 sound, and thus tilts more towards the jazz side of the equation. 'Those Fading Hours' blends Canterbury with David Cross like violin, that gives an odd King Crimson vibe, which is unique and very satisfying. 'About Life, Memories and Yesteryears' once again marries Canterbury sounds with something unusual - this time symphonic progressive rock. Perhaps even a trace of Genesis can be heard. But the best for me was 'Sundial Tick' where the band finally demonstrates a bit of their native heritage, though further east towards Catalonia. And hear they blend their trademark sound with that of the classic Gotic album, and is truly splendid. Overall, a fantastic second album, and hopefully we hear from the band more frequently than every six years.

---8/12/16

Dance of the Goodbyes (2010)

Amoeba Split are one of two current Spanish bands (that I'm aware of anyway) playing in the Canterbury styled jazz rock space. The other is the more known Planeta Imaginario. Of the two, I'd say Amoeba Split are the more purest when referring to the classic bands of Soft Machine and National Health. The instrumentation is right out of the 70's: Hammond organ,piano, Mellotron, Mini-Moog, flute, sax, guitar, bass and drums. The major differentiator here is the female vocals, which are admittedly a bit shrill. Her slightly accented delivery is a bit odd, but I have a feeling that will add to the charm on repeated listens. She's really not that far from some of the early 70's shrieks of Sandrose and Joy Unlimited. But it is unusual in this setting, where we're used to the soft affected tones of The Northettes. Amoeba Split score well on both of the style's major attributes - melody and complexity. A no-brainer pickup for fans of the 1970's UK Canterbury scene.

---4/24/11

4/24/11 (new entry)

November 29, 2024

Solaris, Hungary

Progressive rock

Latest: Martian Chronicles III (I or A.I.) (2024)

Nostradamus (1999)

For my tastes, Solaris' 1990 is one of the greatest post 70s progressive rock albums there is. There was a magic about it that captured my imagination greatly when first released, and it preceded even Anglagard in that this whole prog rock revival thing might be worth staying around for. Of course the debut Marsbeli Kronikak is table stakes for any 80s progressive rock collection. Then I saw Solaris live in Los Angeles and was mightily impressed.

It is with this background that I came into Nostradamus with. And while the great prognosticator had been played out already, who better than Solaris to elevate it to the highest level of art? For me, this was one of the most anticipated albums I can ever recall.

Hmm. It just didn't happen. I recall vividly my first impression. I was nonplussed. Not disappointed mind you, just not wowed as I expected to be. Of course it's often time nigh impossible to meet such a lofty, perhaps unrealistic, goal. My Gnosis grade in real time was a 10 (a 3.5 here). And into the collection it was filed after a couple of earnest attempts of "feeling it". And now, I finally have brought it back out from the vaults for a revisit. Here's where I'm going to tell you my tastes have changed, and I have a whole new appreciation for it right? Nope. It remains a 3.5.

The odd thing about Nostradamus is it sounds very much like Solaris. I wouldn't chalk it up to the sudden tragic death of guitarist Istvan Cziglan. Even more bizarre is that the opening 3 'Book of Prophecies' tracks are the weakest, which comes completely unexpected. There's a hollowness to the overall sound here. It's big and bright, and very much a product of the 90s. But it isn't exactly like 1990 was an analog dream. In fact quite the opposite. If it not for the brilliant flute work of Attila Kollar, the album wouldn't be as good as it even is. But his brilliant phasing, melodic disposition, and overall tone is hard to beat. At this point, he seems to be Solaris. And it comes as no surprise he later ventured on his own for two more albums that surpassed Nostradamus in quality.

I want to be clear here: This is not a bad album by any stretch. But the Solaris name is highly revered in the ashratom world. And this one came up short. Perhaps I should have predicted it. The protagonist would have. Or would have he?

---5/7/17

Marsbéli Krónikák (1984)

If you ask a hardcore progressive rock fan what the worst decade of music was, "The 80s" is the automated response. And while I'll stand by that same position, a deep dive into the decade gives us another perspective. 1980 was in reality an extension of the 70s artistically speaking. 1981 to 1983 held plenty of wonderful privately released progressive rock gems primarily from France, Scandinavia, USA, and Germany. Not to mention the promise the original New Wave of British Progressive Rock once projected. And then from 1987 onward, we experienced the renaissance that continues to this day. But the real barren years did exist in the middle - 1984 to 1986 was a graveyard for traditional progressive rock. Fans of fringe areas - like avant prog - will counter that it may have been the golden age as bands like Univers Zero and Present were at their peak. And of course other genres, like heavy metal and various forms of electronic, were also experiencing new high water marks. But if you wanted 70's styled symphonic prog, well it was going to be tough sledding for sure.

I bring this point up in a Solaris review, because Marsbeli Kronikak is the gem in the rough - the very best symphonic prog album in that three year time frame. Isolated in still Communist Hungary may have played a role in that - not to mention a relatively more lenient regime in regards to the arts than other Iron Curtain countries at the time.

Recently I had reviewed Tako's second album, and talked about symphonic fusion - a genre that isn't recognized today, but was frequently referred to 25 years ago and beyond. And that's exactly where you'll find the music of Solaris. The primary difference here is the copious use of sequencer based electronics that lay the bedrock for the symphonic progressive music on top. Attila Kollar's flute is magnificent as ever,and he often drives the instantly-recognizable Solaris style melodies. Istvan Cziglan's hard edged guitar, and Robert Erdesz's fine synthesizer work round out the leads.

For us prog fans back in the mid 80's who were desperate for quality 70s styled progressive rock, Solaris was a godsend. In retrospect some 35 years later - they still are.

---5/28/18

Other albums heard: Solaris 1990; Back to the Roots (2000 archival); NOAB (2005 archival); Martian Chronicles II (2014)

11/29/24 (new entry)

November 24, 2024

Pocket Size (Stockholm), Sweden

Retro prog; Space rock

Latest: Att Göra Kompisar (2022)

Pocket Size is still performing live as of this past summer.

Immortality: Cleaning the Mirror Volume 2 (2018)

Pocket Size is a band that I got in on the ground floor with and dutifully documented their first two albums enthusiastically. My initial reaction to this album wasn't as positive as the other two, and I didn't take any notes. So now some five plus years later, let's dive in. The album was recorded live in 2016 in front of what sounds like three people. As with their other albums, this isn't a solo endeavor but rather a full band effort. And early 70s instrumental prog mixed some space rock jamming is what you can expect here. There's a touch of the jazz rock style as well. I think this may have been one too many cleaning the mirrors for me. Not getting the same vibe as I did out of the other two. Also not very Swedish, more generic in terms of region. A fine album, but I have enough of this kind of style from the 70s.

---11/24/24

Vemood: Cleaning the Mirror Volume 1 (2016)

Pocket Size have perfectly captured the essence of being alive in 1973 Sweden. Cigarette and marijuana compete for your olfactory senses, but your eyes water no matter the substance. You, of course, recite the Manifesto of the Communist Party verbatim, but only because you think you might get laid if you do. Otherwise King and Country works too, whatever. Progg, hell yea! Or not... who cares? Images of perfectly formed naked breasts shine ever so perfectly as you gaze blindly from your flat. Vemood is your soundtrack to your dream night in Stockholm. Long track Hammond organ jams that battle with saxophone, flute, and loud electric guitar. And even a melody to whistle to while waltzing down Drottninggatan. Ahhh.

---6/30/17

Exposed Undercurrents (2014)

Contemporary 2014 Sweden is loaded - and I mean loaded - with rock bands emulating the sounds of the early 1970s. Most are of the US/UK hard rock variety, or they go for that "turn the amps to 11" stoner pseudo-metal sound. There are fewer bands that are making a try for the true progressive rock era sound of the early 70s era. I don't mean the all-in-proggy-prog Anglagard type either, but rather the more common sound of the day coming from Sweden like November, Saga, Flasket Brinner, and Trettioariga Kriget. There's a real psychedelic element to Pocket Size's sound as well, and that can only be considered a plus to the UTR's world.

The band themselves seem to possess a confused identity. In effect, the group is the vision of guitarist Peter Pedersen. Depending on which site you are reading (including their own), you're likely to see the band listed as Pocket Size, Pocket Size Sthlm, or Pocket Size Stockholm. No matter, as what's most important is that Pedersen brings in no less than 9 participants for his creative work. So this isn't a solo work with a monolithic viewpoint - or worse - a sterile digital sound. Not even close. What you get here is exactly what you would expect from a studio effort circa 1972, complete with all the requisite analog instruments and a certain je ne sais quoi attitude. Hammond organ, saxophone, electric guitar with a multitude of effects, spacey vocals (much of it in glorious Swedish), theremin, vibraphone, and flute give one an idea of what to expect. Put that together with a planned structure and a few melodies, a handful of complicated breaks, and some solo sections. This was the way music was presented years ago, when the last thought on Earth was obtaining a radio hit or falling in line with whatever scene a band was perceived to be associated with. A knowledge of jazz, classical, blues, and early rock and roll was all that was needed - and a strange desire to actually progress from there. Give me more of this.

---11/21/14

11/21/14 (new entry)

Halloween ~ France

Progressive rock

UMR review page for Halloween

Latest: Psy-Ko (2024)

Another band from the great late 80s and early 90s period that has unexpectedly reformed. It's been close to 25 years since we last heard from them.

11/24/24 (new entry)

October 13, 2024

La Fabbrica dell'Assoluto, Italy

Neo Italian prog; Retro prog