Instrumental prog; Jam band; Jazz fusion
Latest album: Equalizer (2023)
10/7/18 (new entry)
Tauk, USA-New York
Instrumental prog; Jam band; Jazz fusion
French TV, USA-Kentucky
Avant prog; Canterbury; Jazz fusion
Latest: 15: A Ghostly State of Affairs (2023)
11: Ambassadors of Good Health and Clean Living (2016)
Ambassadors of Good Health and Clean Living is the 11th album from French TV, who hail from Louisville, Kentucky. Their patented brand of instrumental music typically straddles the fine line between Avant Prog and Canterbury styled fusion. On this effort, the needle definitely points to the former. Even though they are joined here by the fine Japanese band TEE, a band deeply rooted in the European progressive rock tradition, French TV's sound doesn't seem to be affected much by their presence. As is often the case with Avant Prog, the music is intricately composed and superbly executed. All the same, it lacks groove and soul, something I tend to champion more as I get older. Music like this seems charted for performance at a symphony hall. One wishes they'd let their hair down, and kick out the jams brothers and sisters. Oh well, still a fine effort despite the cold calculating disposition. However it does appear the band is on the slow decline to irrelevancy. This one was predictable in its unpredictable metric style.
---5/28/16
10: I Forgive You For All My Unhappiness (2010)
My opinion of this album is pretty similar to Panzerpappa's Astromalist. I can appreciate the structure of notes and arrangement of instrumentation. But I don't necessarily "get into it". I went too far with French TV's catalog, continuing to buy without giving it much thought. They start to run together after awhile. I think they peaked during the 2000s and I probably should have stood pat at that point. I've got two more from the 2010s, hopefully one of them resonates. According to RYM, Operation Mockingbird is their highest rated album (none rate that high really), so maybe that will be one I keep. Most assuredly some of their earlier work will stick around.
---9/19/23
9: This Is What We Do (2006)
Another new album from French TV. Another great album from French TV. There are few bands that can match French TV's consistent high quality over a long period of time. For 20+ years, French TV has produced and continues to produce complex, challenging progressive rock. Even more amazing, they actually get better with each release. Now they didn't set the bar real high in their early years, but they never put out a bad record either. But they seem to be getting better almost exponentially. I’m in awe of a band who can release nine albums in a 23 year time span, and never sound stale, retro or trendy. They never mail it in. And they are what one would want from a band that carries the heady term of progressive around. French TV are a mix of Avant Prog, Canterbury, big name UK symphonic, French and Scandinavian styles, even some of the more obscure over the top US progressives like Cathedral and Mirthrandir (and yes, they would have had access to these bands since their inception). But mostly they sound like French TV. In fact, as I hear This is What We do, I recall another elder statesman of creative rock music: Patrick Forgas and his Forgas Band Phenomena. Commercial success was never part of the blueprint for these gentleman. The material they compose is both complex and mature, yet still maintains the edge of youth. We have so few role models in rock music that carried the creative banner for decades, so we must look to jazz and icons like Miles Davis to see this kind of pushing forward as the years go by. This is among my favorite releases by French TV. I've never listened to all of their albums back to back, but it would probably be interesting to note the ascension.
---9/30/11
Pardon Our French! (2004)
I haven't heard it since the album first came out and I received my copy. But this is exactly the kind of avant prog I don't really appreciate. Of course it's still good, but with no grooves, sustaining melodies, nor good vibes, it all just comes out like an academic exercise. The medley track that repurposes some famous French prog is well done, but superficial. No more of this for me.
---12/24/18
The Violence of Amateurs (1999)
Another old French TV album that hasn't aged very well for me. This is their most popular album according to RYM, Prog Acrhives, and Gnosis. From a compositional perspective the band had really amped up the complexity from their earlier efforts. But I'm not so sure it's as enjoyable.
---5/12/24
After a Lengthy Silence (1987)
Fine sophomore album from French TV, a band that continued to grow leaps and bounds from album to album. After a Lengthy Silence is mostly an instrumental progressive rock, heavily influenced by jazz fusion, with a surprising space rock ending. The production is typical of the muddy late 1980s, and holds back the potential of the material. This aspect of the band would also improve as time went on.
---11/14/15
Other albums heard: French TV (1984); Virtue in Futility (1994); Intestinal Fortitude (1995); The Case Against Art (2001); Operation Mockingbird (2017)
9/30/11 (new entry)
Zanov, France
Progressive electronic
Latest release: Lost in the Future (2023). Just released!
Virtual Future (2014)
Welcome back Pierre Salkazanov (aka Zalkazanov)! If the digipak cover is any indication, it appears Zanov rediscovered his old analog keyboard toys and picked up right where he left off with In Course of Time. It's as if he walked into the basement, saw the massive equipment, and said "Hmmm... let's see if these things still work, shall we. Oh great - they do." This is old fashioned, all-fat-analog instrumental 70s sequencer based synthesizer heaven. Somewhere between Klaus Schulze's Timewind and Richard Pinhas' Iceland is the sound of Virtual Future. As if the Egg label is still with us, and we've been transported back 35 years. Even though there are a myriad of homegrown electronic artists today, it's refreshing to hear how the old masters used to do it. I can listen to this kind of elektronik musik all day.
Moebius 256 301 (1977)
I have some thoughts up on this blog already about Green Ray, Zanov's debut. His sophomore effort continues in that vein. The late 70s was filled with budding electronic musicians getting ahold of (very expensive at the time) analog synthesizers and making a go at being the next Tangerine Dream, Klaus Schulze, Vangelis, or Jean-Michel Jarre. Most became obscurities as soon as they were released, but Pierre Zalkazanov did manage to receive 2 releases on the venerable Polydor label (even though he kept his day job - presumably to afford the equipment!) and had a great reputation in France - probably the most innovative country during that era. The album starts off with 3 vignettes, similar to Richard Pinhas' Chronolyse, before launching into lengthy excursions. The energy level is high, and this is the dynamic electronic music many of us crave. Excellent on the whole.
Green Ray (1976)
This was originally a CDRWL item. Here are my notes from then, slightly updated: Sequencer based electronic musician, whose real name is Pierre Zalkazanov. Given the one man nature of the recordings, Klaus Schulze would be the obvious influence. Though musically there's just as much Tangerine Dream Stratosfear here than, say, Mirage or Blackdance. And surprisingly very little Heldon touches, given how influential Richard Pinhas was in his own country (at least when talking the underground). There were very few artists in this field during the late 1970s, while today there are hundreds, so Zanov deserves credit for being one of the pioneers. Though from a purely musical perspective, Green Ray isn't quite as well developed as his more recognized peers of the day. All the same, always nice to hear those fat analog synths battle it out on tape!
5/26/10; 11/5/14 (new entry); 1/21/22
Sun Dial, England
Neo psych
Latest album: Messages from The Mothership (2023)
Mind Control (2012)
Two seconds into this album, I love it, and ready to crown it a masterpiece. Why you may ask? Because it reminds me of the greatest "psych prog" band of them all: Group 1850. As you have seen me write before, "psych prog" is one of those terms thrown out for just about any band from the late 60s and early 70s that were maybe one, or the other - and often neither - in order to obtain top dollar for their LP wares they are selling. Group 1850 is the pure embodiment of the term, and Paradise Now (1969) is simply one of the greatest albums of all time. If Amsterdam Coffee House means something to you, then Group 1850 provides its soundtrack. With the opening notes of 'Mountain of Fire & Miracles', Sun Dial has tapped right into that psyche. It is absolutely a phenomenal piece of music, and even if the rest of the album was gangsta rap, I'd still recommend it. Fortunately no heavy gold chains, diamond earrings, sideways caps, swinging arms, and hand signals for Gary Ramon and company, as the album continues in its neo psych glory. 'Radiation' heads east toward Germany and enters the mysterious land of early 70s Kosmische, with wonderful flute laden mellotron and trance inducing drums. And they go east from there... way east. And then back for some motorik action with sitar on the title track. Oh, you get the idea. Just buy it for crying out loud. Special mention goes to the CD bonus track 'World Within You', yet another "psych prog" monster.
Zen for Sale (2003)
Sun Dial's debut Other Way Out could be considered one of the greatest psych releases from the late 1960s. Except for the small fact it was released in 1990. And then inexplicably the band dismissed the genre entirely for that annoying shoegaze/indie style that was so popular in the early 90s. I'm sure from a commercial/economic standpoint, it was a prudent thing to do. Or it better have been. But bandleader Gary Ramon was always a child of the 60s, and one had to figure eventually he'd return to his favorite style. 1995's Acid Yantra held out hope, but then the group dissipated and it seemed the dream was over. Until 2003 that is. Zen For Sale is finally the album we've all been waiting for from Mr. Ramon and company. It's a fine return to form, and the first 3 tracks are as good as anything on Other Way Out. From there it goes from merely good to great. Sun Dial, it seems, have perfected the late 1960s UK strain of psychedelic music. They tap into the best parts - the fuzz guitar, the phased and accented vocals, the charming and naive melodies - and the absolute essence of pure psychedelia. Excellent.
Acid Yantra (1995)
Sun Dial burst onto the scene in 1990 with Other Way Out, a fantastic extraction of the best of the 60s psychedelic rock albums. After trying their hand at more trendy 90s styled rock, they reemerged back to 1969 with Acid Yantra. Very much like their debut, Sun Dial has recreated the 1960s sound that you imagine in your mind, but truly never was as focused as these albums. While it misses the surprise factor the debut inherently earned, Acid Yantra is no less satisfying. Great tunes, fuzz guitars, mellotron, phasing, the whole psychedelic experience. Easy recommendation for fans of retro psych music. It seemed this would be the end of the line for Sun Dial, who spent the next few years playing around with their Prescription Drug series, and even some fake "70s" Krautrock albums. But they reappeared for a cameo in 2003, and once again were back in 2012.
2/18/17; 8/4/17; 10/11/18 (new entry); 6/16/21
New albums by artists with no online presence
Or at least that I could find, which may not be the same thing. I'll just keep this running dialog for groups that fit this definition.
The Trip - Now the Time has Come (2023). Another veteran band that I had no idea was still around. If I'm reading this right, it appears there are two The Trips running around. One led by the original drummer Pino Sinnone (this album is from them). And the other by his 1972 replacement Furio Chirico. I couldn't find anything online for the Sinnone bunch, but Furio's band is out there.
Wolfgang Bock - Mintaka (2023). The reissue of Cycles compelled Bock to break out of the cobwebs for a new release. He's been living in Spain for many years now. That's about all I could find.
Mysteries of the Revolution, England
Jazz rock; Canterbury styled
Latest album: Longing for the Dawn (2022). I thought these guys were long gone! Nope...
Mysteries of the Revolution (2007)
Their website says "MYSTERIES OF THE REVOLUTION features BB Davis of the legendary Red Orchidstra and virtuoso French virtuoso keyboardist Dan Biro. Influences range from Miles, Hancock, Zawinul, George Duke, Roland Kirk, Corea, Coltrane, Mahavishnu, Lifetime to Hendrix, Zappa, Led Zep, Doors, Steely Dan to neo-classicism and psychedelica all dished up in a sweaty, heady brew of heavily jazzified, passionate, funked up, blissed-out, head-on grooves with a whole dash a' finesse n' panache - yeah, really."
Yea, really. And no kidding. Damn. Here's a band that not only is current, but is already completely obscure. C'mon, this isn't fair! I think part of the problem here is it appears the band is being marketed to a jazz audience. And while that's not entirely wrong to do, I think the progressive rock buying public would perhaps be more interested in Mysteries of the Revolution.
Mysteries of the Revolution combine instrumental retro Hammond and flute driven rock with a modern jazz approach. On this latter point, despite the analog instrumentation, one can hear the crystal clear production and modern percussion ever so slightly calling out St. Germain for example. But by no means is this a techno jazz album. Just listen to The Crunch and you'll swear it's from a 1971 English proto-prog album. And they use a regular drum-kit. About the only group I can think of in this space is the Norwegian band Elephant9, but Mysteries of the Revolution are more varied and not quite as much in "Hammond overdrive" as Elephant9 are. Let's hope this isn't all we're going to hear from these guys, as they've shown tremendous potential here.
Highlights: 2. The Crunch (10:16); 3. Storius Sensorius (5:58); 7. Secret Fire (5:34)
Mysteries of the Revolution combine instrumental retro Hammond and flute driven rock with a modern jazz approach. On this latter point, despite the analog instrumentation, one can hear the crystal clear production and modern percussion ever so slightly calling out St. Germain for example. But by no means is this a techno jazz album. Just listen to The Crunch and you'll swear it's from a 1971 English proto-prog album. And they use a regular drum-kit. About the only group I can think of in this space is the Norwegian band Elephant9, but Mysteries of the Revolution are more varied and not quite as much in "Hammond overdrive" as Elephant9 are. Let's hope this isn't all we're going to hear from these guys, as they've shown tremendous potential here.
Highlights: 2. The Crunch (10:16); 3. Storius Sensorius (5:58); 7. Secret Fire (5:34)
4/26/11 (new entry)
Hällas, Sweden
Retro prog hard rock
Latest album: The Hallas Saga - Live at Cirkus (2023).
Isle of Wisdom (2022)
Hällas (Hallas if searching) are one of many Scandinavian bands playing in the retro progressive rock / hard rock space, doing their part to bring back the mid 1970s. Reminds me some of the debut by Australia's Tarot, but perhaps more progressive oriented. This is their 3rd full length release (4th if counting the EP), and apparently this album represents an improvement in production. Isle of Wisdom is my first exposure to the band, though I'll be sure to check out the others if afforded the chance.
---3/12/22
Excerpts from a Future Past (2017)
The debut from Hallas clearly draws from the North American proggy hard rock school of the mid 70s. Analog instrumentation rules the day, in particular the Hammond organ and vintage synthesizers. What I like most is the melodic songwriting within this structure, including during the solos. It's interesting to note just how many of these type of bands have emerged from Scandinavia over the last 30 years or so. One wonders the impetus of this phenomena. It's much more acute than here in North America itself. While we certainly have many enlightened folks reimagining the past, they're still a very small part of the overall global prog community. No complaints from me, I think the genre has plenty of room for more mining. It's a type of music that can go in any direction at any time. And those warm analog tones make it just that much more enjoyable to listen to.
---5/28/24
10/14/23 (new entry)
Earthless, USA-California
Heavy psych
Latest album: Night Parade of One Hundred Demons (2022)
Night Parade of One Hundred Demons (2022)
I was familiar with Earthless, from their Rhythms from a Cosmic Sky album, which I heard not long after release (2007). If there's a style of music that I need less of, it's the kind Earthless peddle - that of the long form space rock jam. But if you're going to do it, you might as well do it right, and Earthless most certainly does. There are 3 long jams here, with the first being broken up into 2 parts. The last track 'Death to the Red Sun' is something special, with the kind of rave-up one rarely hears from modern bands who seem content to go along with image and sound, but little else. 52 years on from Guru Guru's UFO, and bands are still plowing that field looking for yields. Earthless takes the core of that sound and stretches it out. I really appreciate the energy the band brings to this recording. So yes, highly recommended, though I really didn't need another example. But this will likely outlast many others that are similar.
3/12/22; 10/14/23 (new entry)
Hex A.D., Norway
Retro Hard Rock; Progressive rock
Latest album: Delightful Sharp Edges (2023)
Astro Tongue in the Electric Garden (2020)
I wasn't sold at first on the 3rd album by this Norwegian band. The first track sounds like Candlemass and 'Astro Tongue' has all the trappings of a typical Stoner album. While those two genres are welcome here, it's not something I'm on the lookout for. I have plenty already and will likely trim some off the collection. Ah, but not so fast. Things get much more interesting on the proggy 'The Day the Sky Exploded', where keyboards and meter and thematic changes add a whole new dimension to their sound. The other two tracks on side one are pre and postludes. Fortunately all of Side two maintains the momentum, and there's even some Iron Maiden like riffing. The album sits at the border of hard rock and metal, with more than a nod to progressive rock. The difference maker is keyboardist Mags Johansen who brings a raft full of vintage keys, most notably mellotron and Hammond. The band's image is also mixed - the album cover demonstrating psychedelic prog, whereas the fonts and titles are Stoner all the way. The hype sticker is misleading as well, where it states this album is for fans of: Rush (huh?); Rainbow (que?); Iron Maiden (yes, but only Side 2); Opeth (well maybe, I know little about this band beyond Blackwater Park). In addition to the fine cover, there's a 4 page insert with band photos, lyrics, and album credits.
3/5/22; 10/14/23 (new entry)
Sky Cries Mary, USA-Washington
Neo psych
Latest album: Everything Goes Somewhere (2023)
Wandering in the Vastness (2021)
I started to plow through this CD upon receipt from the good folks at Trail, but I just couldn't make heads or tales out of it and put it aside for a future evaluation. Two plus years later and that day has finally happened. For the predecessor I wrote: "Sky Cries Mary. Now there's a blast from the past. I haven't thought of this group since the mid 1990s, when they first burst onto the scene. Their 1994 album This Timeless Tuning was all the rage with my running set in those days. I was a bit dismissive at the time, recalling that they were just as immersed into 90s alt rock/indie as they were into neo psychedelia. And I've long struggled to find peace and harmony with the former genre." Secrets of a Red Planet won me over, but Wandering in the Vastness has not, for some of the reasons I mention in my opening prologue. Its very random in its approach, and there's not much in the way of songwriting. It sounds like a product of the 90s, and not the element I enjoy about the decade. There's a lot of music to absorb here and some of it has a nice psychedelic underground and space rock feel. But unfortunately there's not enough here for me to keep. My instincts on the first listen were correct. I just delayed it since Trail was so nice to send it over. I hate leaving anything but positive reviews on welcome submittals, but I just couldn't get into this title.
Secrets of a Red Planet (2020)
Sky Cries Mary. Now there's a blast from the past. I haven't thought of this group since the mid 1990s, when they first burst onto the scene. Their 1994 album This Timeless Tuning was all the rage with my running set in those days. I was a bit dismissive at the time, recalling that they were just as immersed into 90s alt rock/indie as they were into neo psychedelia. And I've long struggled to find peace and harmony with the former genre. But that was 25 years ago, and my life has changed dramatically since then. So I cannot say how I would receive the album today. To be honest I was a bit apprehensive to hear this album after obtaining a copy in the mail about a month ago. I thought Sky Cries Mary were an odd choice for Trail Records - who primarily specialize in Eastern European and Asian space rock - to pick up an old flannel-shirted Seattle based band. But some quick research shows it is I that is completely out of touch (no surprise there...), as Sky Cries Mary not only aren't some reclamation project, but rather a continuing operation. And for the last 11 years they have been part of the Trail Records stable (?!). Nice to see how well I've kept up.
Once the music started, my worst fears faded, and I found the music welcoming on impact. There are most certainly many references to the 90s - a decade, I should add, that I treasure - so that is not a pejorative in my world. The music is, without a doubt, space rock, and it's most certainly psychedelic, in the same way as groups from the 90s were - hence the genre neo psych. There are still some female (and male) vocals, but mostly this is instrumental music with a great emphasis on studio effects, like the great Krautrock masters would do. Guitars and a mass of keyboards lead the way. This is not a stroll through 1970s Vintage Park, but rather modern technology is put to great use. An excellent example of this is 'Trapeze Dancer', which brings in the (gasp) beats, and I found the intermingling of sounds to be quite (pleasantly) jarring in this setting. Part of that reason is the judicious use of them - as that's pretty much the only place that kind of rhythm is used. Otherwise it's good old fashioned drum work propelling the music forward.
While listening to Secrets of a Red Planet, other images from the 90s began to flash by. Including the group Beyond-O-Matic, another Trail Records pickup that we wrote about some 7 years ago. How many of you remember the Kranky label - bands like Jessamine, Magnog, Windy & Carl, and Doldrums? Or the Los Angeles based Farflung? There's traces of those sounds here, but this new effort is far more likable to my ears. Like Beyond-O-Matic, Sky Cries Mary didn't stay content with the past, and has improved considerably upon it. Or at least as my memory would have it. If any of this review resonates in a positive manner, then you represent the target audience. Overall, Secrets of a Red Planet is an excellent addition to the USA canon of space rock albums.
5/19/20; 10/14/23 (new entry); 11/13/23
Accordo dei Contrari, Italy
Retro prog; Jazz rock; Neo Italian prog
Latest: Ur (2021)
AdC (2014)
Accordo dei Contrari's third opus, simply titled AdC, is yet another fine heavy instrumental album. The musicianship is top notch, and the analog sounds are perfectly pitched. Their loud acid guitar and grungy organ tones are tough to beat. However, I feel the band took a bit of a step back on this one. The songwriting isn't overly compelling, and memorable melodies are almost non-existent. And there's little development within each track, and it seems the band is out to impress rather than engage. Fans of mid 1970s fusion will find the most here to enjoy. Perhaps we're spoiled in this day and age where an album as accomplished as AdC is - and it clearly is accomplished - isn't still enough to satisfy. I think for the band to raise it to the next level, they'll need to rip a page from the classic early 70s Italian progressive rock manual. Recommended - of course - but I think they can do better.
---8/21/14
Kublai (2011)
In some ways, Accordo dei Contrari are the polar opposite of the Sithonia album we spoke about on this blog. The instrumentation, execution, and overall crispness are absolutely top-notch. Thematic development and melodic longevity, well... perhaps not their strong suit. So in that way, I rate them the same, though I can assure you that Accordo dei Contrari are far more palatable on initial impact. I would have to plea before the court as to why Sithonia are excellent, whereas all I have to do here is press "play" and watch the listener's jaw drop at the musical prowess. That's not to say that Accordo dei Contrari are a cold, soulless band. Quite to the contrary (as their name suggests). The psychedelic exotic fusion of 'Arabesque' alone is enough to sell me on this album. As if Agitation Free went on a Mahavishnu Orchestra binge. Say that last sentence again, perhaps slowly. I'm all in. I think this is where the Area comparisons come in. They're meant as flattery, but not sure I see the correlation. Anyway, instrumental progressive rock / fusion - I could listen to this kind of stuff all day.
---7/25/11
Kinesis (2007)
Starting with a sound straight out of the early Mahavishnu Orchestra playbook, Accordo dei Contrari waste no time in establishing their heavy instrumental fusion sound. In fact, I was immediately reminded of DFA, another A-list progressive rock group from Italy. All the tracks feature counterpoint in an instrumental setting. They catch a groove, rock hard - change meters, and rock hard again. If I had a complaint, it's that the album as a whole has a certain sameness to it. While I adored the first few tracks, I found my mind wandering as the album continued. Perhaps had I started in the middle, I would feel stronger for the latter tracks. I need to do that actually. Point being, it's this monolithic nature that keeps the album from being a stone classic. A minor complaint, because no doubt this is a fantastic album overall. Recommended to all European instrumental rock fans. Or what we used to call "Euro Rock", still quite possibly my favorite sub-genre of the progressive rock spectrum.
---2008
7/25/11 (new entry)
IQ, England
NWOBPR; Retro prog
Latest release: IQ40 - Forty Years of Prog Nonsense (2022 - live). They have begun writing for a new album, which is usually five years apart. So 2024 is about right, as noted on my review of Resistance!
---UMR notes
Resistance (2019)
I've written extensively about IQ in the past, and Resistance fits their current pattern perfectly. Following on their 5 year new album release schedule, going back to 2000 (allowing that Seventh House to Dark Matter was 4 years, close enough), Resistance is yet another tour de force from the best operating band of the original New Wave of British Progressive Rock movement. And this time, we have a static lineup. 80% of the original band is sticking with it, and Neil Durant seems to be the answer at the keyboard set. As with their other recent albums, gone are all traces of attempts at pop stardom. With Resistance you get close to 2 hours of hardcore progressive rock. With most bands, anything more than 50 minutes seems like a slog, but with IQ the time moves swiftly. Those 5 years of interim between recordings are not to put waste. All the tracks are well crafted, and it's clear that multiple listens will reveal more each time. I've only listened to disc 1 twice and disc 2 once, but like all of their catalog, I know revisits will be rewarding. As I've said before, there's probably not too many people who are new to IQ - and maybe less to prog rock in general - but one could do far worse than starting right here with Resistance as a great place to begin your collection. The album is a great ambassador for the progressive rock style - all that is excellent about it, while leaving off the more derided aspects of the genre.
As I've also mentioned in the past, IQ is often at their best in foot-stompin'-hard-rockin' anthem mode. IQ knows this by now too, so no point in making anyone wait as opener 'A Missile' is just that. A hard rocking missile that is. Most of disc 1 is a spirited affair, mixing in complex charts with memorable tunes. Disc 2 is geared toward their epic progressive side, something they don't always focus on. I would argue Resistance is their most progressive outing yet, if I can use the word progressive in the sound-of-an-era sense verse true progression. 'The Great Spirit Way' has the type of changes and sound that we often associate with the Scandinavians like Wobbler or Anglagard.
IQ has spoiled us for 20 years straight now - and it's hard to choose what is their best work in this era (I'll always be partial to their original albums Tales from the Lush Attic and The Wake because of time and place) - but most certainly an argument can be made that Resistance is that album.
Thank you IQ for keeping the original early 80s progressive rock spirit alive. Perhaps we see you again in 2024?
The Road of Bones (2014)
And so now we arrive at IQ's most ambitious album to date: The Road of Bones. 30+ years after debuting on the scene, IQ have remarkably not only stayed true to progressive rock (not considering the middle 80s missteps), but are the rare breed to continue to actually progress, thus living up to the genre name. Perhaps most surprising is that the lineup for The Road of Bones is a major upheaval from their last Frequency album. Whereas that album was the least looking IQ lineup, with only founding members Michael Holmes and Peter Nicholls on board, on The Road of Bones these two are rejoined by the original rhythm section of Tim Esau on bass and Paul Cook on drums. It's been over 25 years since Esau was in the band, and yet he fit like a hand in glove. And not only that, but Mark Westworth's position as keyboard maestro lasted for one album, and here he is replaced by Sphere3's Neil Durant - who to my ears is probably the best choice yet for IQ, given his preference towards analog equipment. You won't miss Martin Orford (really). The album has been presented as a single, or a double, depending on one's budget I presume. It is important to note that this isn't a one album CD, with archival bonus material filling out the second disc - or some novelty item of IQ covering classic 70s rock. No... It's a double CD filled to the brim with classic IQ music. So if you do decide to get the one CD version, you'll end up with half the album. I don't recommend that to anyone. No matter your budget, wait a bit and save up the few extra dollars, and buy the CD in its full glory. You'll want it eventually anyway. I haven't spoken yet about the music, and not sure I need to. There are 100's of reviews out there already dissecting each note, theme, lyric, and purpose. This tells me IQ is bigger than ever, and the world is a better place for thinking that way. Sure, for purists not everything is "just so", and IQ utilizes too much metal, or electronic, modern production techniques, bla blabla bla bla. And yea, Nicholls sometimes has to sing a novel, and doesn't shut his yap. But the music is absolutely identifiable as only IQ. No one else sounds like them, and their music has a depth that allows for multiple listens, and new discoveries await at every turn. I found it hard to pick a favorite song, as each one was of a high quality. In some ways, objectively speaking, this is IQ's finest hour.... err 2 hours (so yes, they have one upped Frequency). For me, my life is inextricably linked to their first two LPs, and they likely will always be my favorites. If coming at this band for the first time (is that even possible?), then start here and absorb the album in full before launching into their deep catalog. For me, IQ can do no wrong. And I hope we hear from them again in the next 5 years (or sooner, eh guys?).
Frequency (2009)
Vocalists and bassists come and go, but IQ stalwarts Martin Orford and Paul Cook have now exited stage left, and in their stead are Frost* drummer Andy Edwards and Darwin's Radio (and Grey Lady Down prior) keys man Mark Westworth. This leaves only guitarist Michael Holmes to have weathered the entire storm to date. And so what does Frequency sound like? IQ. In fact, it sounds like IQ in 3-D. Their brand identity has been distinctly carved out now, and this is a band who knows what that identity is. Everything is bigger, louder, and more pronounced than before. So at this point, it's about the composition, and the execution thereof. IQ are always at their best when in foot stomping mode, and 'Ryker Skies' is this album's best representation of said sound. And 'The Province' picks up on IQ's ability to go deep into the progressive rock weeds with multiple time changes and mood changes. While the nostalgic exhilaration of Tales of the Lush Attic and The Wake inevitably take those albums higher for me personally, objectively it's hard to argue that Frequency is not their best album to date. Only in that it is their most focused, and overtly progressive rock themed album yet (well OK 'One Fatal Mistake' kind of blows, self-defining the title a bit then...). Not that the latter statement of "most progressive themed" is a virtue in of itself, but when executed by IQ... maybe it is.
Dark Matter (2004)
IQ were always a band of the 1980s with a compositional structure that points to the '70s. With Dark Matter they finally look backward in time and marry their instrumental side with their writing style. Martin Orford will never be accused of obsequious loyalty to the analog beasts of yore, but at least here he is willing to give the heavy wood pieces a bit more attention than prior. And even if they're not authentic 1971 ware, at least the effort was made to sound as such. As with The Seventh House, the days of penning pop hits are long in the rear view mirror. This is all-in progressive rock. Dark toned opener 'Sacred Sound' recalls the brilliant 'Widow's Peak' - but with an organ dirge in the middle. 'You Never Will' possesses some fine heavy bass and synthesizer. And 'Born Brilliant' brings back the old mid-80s IQ anthem-styled stomper. The much ballyhooed 24 minute+ 'Harvest of Souls' includes a dynamic and rocking Yes-like mid section similar to the glory days of Relayer. On initial impact, I was certain that Dark Matter was an improvement on The Seventh House, but while taking in all the IQ albums in succession, I'm more of a mind now that they are of similar quality. One represents the 80s IQ, while the other gives us a peek at a potential look back in time. Both are excellent and essential.
The Seventh House (2000)
And now we get to The Seventh House, which is of course, their 7th studio album. If Ever and Subterranea represent the two albums that IQ should have released for major label Mercury, then The Seventh House seems to be the album that would have come after The Wake - had they stayed in the underground that is. The tight and compact structures, combined with the anthems of The Wake and Tales From the Lush Attic, have returned on The Seventh House. Generally registered - or derided depending on one's perspective - as IQ's decent, but not great album, between their late 90s two CD epic Subterranea and their 70's throwback masterpiece Dark Matter - I personally find that The Seventh House is more a return to form to the IQ I love. While there's no 'Widow's Peak' hair raising moments, IQ have clearly shed their commercial desires here, with perhaps the exception of 'Shooting Angels', and even that track isn't too overt in its desire to attract mass audiences. I think it is on this album, more so than the last two works, where IQ realized that they are stars in their own world - but have no chance for world domination. If they did have that chance, then that ship sailed long ago. They made their try.... and failed. Sorry chaps. Now it's time to get serious about this progressive rock thing... yea, that's right, the style of music they originally made a go at some 15+ years prior. And very successfully. To my ears, it's amazing how much the 2000 release The Seventh House sounds like something from 1986... a year I could go a whole lifetime without acknowledging again, and yet they make me pine for it as if in a fit of nostalgia. I honestly mean this when I say: Only IQ could pull something like that off. With The Seventh House, IQ are back on track and ready to wow their old-found progressive rock audience.
Subterranea (1997)
The two-CD follow-up Subterranea has always been tough for me to penetrate ever since its release in 1997 and my immediate subsequent purchase. I know some folks don't want to hear this, but yea, it's definitely IQ's version of Genesis' The Lamb Lies Down On Broadway. As with that work, this album focuses on a concept album with specific focus on heavy lyrical content while the instrumentation and complex arrangements (if they are complex at all) take a back seat. Subterranea is one hour and 42 minutes in duration. I'd say that's about one hour too long. For an album that features 19 tracks, it's amazing not one of them really stands out in an extraordinary way. Subterranea is one of those albums that I really want to like, since it's obviously very popular with fans of the band - and I am too a fan of the band - and yet this one is lost on me. On this last listen, I was bound and determined I would get everything out of it as possible. I sat there, headphones on, dedicated to hearing the entire album in one sitting listening to every note, without distraction. But I just couldn't find any major redeeming qualities. There was no 'Enemy Smacks' or 'Widow's Peak' or 'Fading Senses' or any of the other great tracks from the first two albums and Ever. I have to say there is a lot of down time with Subterranea. Long stretches of vocals and boom-boom-bash drumming over a wall of keyboards and guitar choruses - like any respected pop band would do. They just couldn't let go of those commercial aspirations, even a decade later. If nothing else, if you start with Disc 2, you are likely to have a better experience. Yes, the 20 minute track 'The Narrow Margin' is really the best thing here, and even it doesn't really get cooking until the halfway mark. It's not a bad album mind you, not at all in fact, but it's definitely their weakest studio release beyond those two albums that I hope need not name. They were to improve from here though - dramatically so.
Ever (1993)
By 1993, progressive rock had found its roots again, and with new-on-the-scene bands like Anglagard and Anekdoten blowing everyone away with their modern take on 1972, a group like IQ didn't seem to have an audience anymore, especially after such a long silence and having released two commercially oriented, and arguably failed, albums. The logical choice would've been for them to join what was now known as the Neo Prog movement, which already had quite a large niche audience itself. Bands such as Marillion and Pendragon were enjoying a cult-like status and they had many emulators. Peter Nicholls was back at the microphone, with Jadis' John Jowitt now on bass, but could IQ regain their fans? Ever was the result. This is the album, of course in retrospect, they should have released for Polygram. Picking up right where The Wake leaves off, with the near 11 minute opening 'The Darkest Hour', IQ climbed back on that tightrope of balancing complex progressive rock with a more poppy approach. There are plenty of quirks and complicated meters to please the more discerning listener, while still delivering accessible melodies and structures for the more commercial oriented. The opener is followed by the two-part 'Fading Senses', which is as good a track as IQ had ever recorded up this point (other than 'Widow's Peak' of course). A multi-segmented piece with some stunning atmospheric keyboard work, impassioned vocals, and driving electric guitar. The 14 minute+ 'Further Away' brings back the epic opus, with all its sections/meter changes/dynamics/climaxes - and demonstrates that IQ are ready and willing to sign back up for all-in progressive rock. They hadn't quite given up their pop aspirations, as can be heard on 'Out of Nowhere' and 'Came Down' (good examples of commercial rock, however). With Ever, IQ were back in the saddle. And they never strayed again. In fact, they would turn the dial even more towards complex progressive rock, while moving further away from any thoughts of commercial stardom. Except perhaps one last look back.......... said Lot's wife.
The Wake (1985)
There was heavy anticipation for IQ's second album and they delivered in grand fashion. No sophomore slump can be found on The Wake. There can be no doubt that the heavier moments from their debut were better received by a live audience, and IQ began to move away from some of the subtle brilliance of Tales From the Lush Attic and more towards aggressive anthem rock structures. The title track itself is proof that IQ could pack a wallop, and still be interesting to progressive rock listeners, while the opener 'Outer Limits' is a great mix of progressive and accessible rock (listen to those synthesizer solos alone!). The analog keyboards from the past were starting to get minimized (except for the glorious mellotron) and traded in for modern, cutting edge synthesizers, and samplers. While in today's world, old vintage equipment is highly revered, the 1985 mindset was much more anxious to ditch the heavy, clumsy, and unpredictable hardware, for more sleek - easy to tote - and cleaner sounding instruments. Even for dyed-in-the-wool hardcore mellotron addicts, The Wake is not to be missed. Side 2's opener 'Widow's Peak' is IQ in all its glory. From powerful head banging anthems and atmospheric flute, to guitar loops meshed with anguished vocals - the track delivers on a number of fronts. The 6 and a half minute mark of 'Widow's Peak' delivers one of the most powerful musical statements in my entire collection! 'The Thousand Days' demonstrates their move to commercialism, while not abandoning their progressive integrity, and it all fits the era in which it was released so perfectly. Overall, The Wake was a bold move forward to a larger audience while not compromising their overall creativity. In conclusion it is indeed another classic. The band seemingly could do no wrong. IQ were on the tightrope of accessible progressive music, balancing everything perfectly here.
It was a rope, though, that they were to fall off - oh so very off - shortly thereafter.
Tales from the Lush Attic (1983)
Hard to imagine now, but at one time IQ was a boon for the progressive rock starved fan in the early 1980s. Believe it or not, 1983 was an exciting time for traditional progressive rock music. England was experiencing a renaissance in creativity after a few years' dearth of interesting new progressive rock. Heavily inspired by the classic progressive rock works of Genesis, bands like Marillion, Pendragon, Pallas, Twelfth Night, Haze, and.... yes IQ, were blazing a new trail for a younger generation looking for more challenging music than the radio and TV was affording at that time. Decidedly noncommercial for their day, these bands were raising the spirit of Gabriel-era Genesis from the virtual dead. Best of all, it was an updated sound with modern equipment, cleaner tones, and a more aggressive rock approach (no doubt influenced by the contemporary punk and metal movements) combined with the challenging compositional style of Genesis albums like Foxtrot and Trick of the Tail.
It was during this period that I personally became involved with the progressive rock scene. I still remember a review of Twelfth Night showing up in the metal magazine Kerrang claiming "Bring out the Mini-Moogs boys, the Progressives are back!" And they were, even if it was just for a short period - in its original form anyway. Of all of the bands from that era, IQ were quite possibly the most accomplished, at least from an exploratory progressive rock mindset.
Tales From the Lush Attic is IQ's debut (on LP, there was a demo cassette prior), released on a small private label and in very minute quantities. The album, however, had gained the attention of the heavy metal media (of all people) and quickly sold out to an audience yearning for something a little different and more challenging, thus leading to a much larger repress. IQ's well-deserved positive reputation had begun. Opening with the 21-minute 'The Last Human Gateway', IQ laid down the gauntlet that they were serious about this progressive rock thing, despite in appearance looking like a typical MTV synth-pop act. No group in their right mind did side long epics in 1983, lest they be panned by the lemming-like music press as the worst album since the ghastly Tales From Topographic Oceans. This track had all the right ingredients: Organ, mellotron, synthesizers, crazy rhythms, Hackett-esque guitar, and possibly best of all, a very talented and dramatic singer in Peter Nicholls. He even wore face paint for crying out loud! Continuing on, 'Awake and Nervous' is a more commercial sounding track in the rare case that any reviewer had actually made it through the opener and its short followup. This is followed by the hilariously titled 'My Baby Treats Me Right Cos I'm the Hard Lovin Man All Night Long' which is, appropriately enough for the setting, a classical solo piano piece. The closer, 'The Enemy Smacks' is IQ's finest moment here. A combination of aggressive hard rock with symphonic progressive which happens to contain their most complex metronomic moments as a bonus. Very powerful - and perhaps just the right punch to score with the younger fans it so coveted - and represented themselves. A brilliant debut.
Seven Stories Into Eight / Seven Stories into '98 (1982 / 1998)
When I did a full IQ retrospective a few years ago, I realized I had never heard their initial demo tape from 1982. It was then, for the first time it appears (not sure why?), I became aware of this CD. The fact that they re-recorded the material was even more exciting. So off I went to buy the CD... ugh. OOP and expensive. So I waited. And eventually I sourced a copy on ebay for a reasonable price, and here we are.
First off, I was determined to hear the tape first, followed by the re-recordings. The band of course pushed the new recording first, as they indicate often an apologetic approach to releasing the demo at all, but I think most fans wouldn't care about the flaws. And I do recommend a similar approach, otherwise it will take your ears quite a bit of time to adjust from professionals in a studio to amateurs in a bedroom.
The liner notes alone were worth the price of admission, and I learned some things about the band I never knew. For example, I didn't realize they had started out as an instrumental fusion band influenced by the likes of Return to Forever. And this shows prominently on the opening track 'Capital Letters'. It's not until the namesake 'Intelligent Quotient' do we first hear Peter Nicholls and their trademark neo prog sound they helped create. By the time we get to 'It All Stops Here', you can tell the band is firing on all cylinders and ready to hit the studio for their brilliant Tales From the Lush Attic debut.
After hearing the tape, I fully expected to be blown away by the new recordings. But honestly, I enjoyed them about the same, despite the obvious improvement in sound and execution. Perhaps it's because I grew up in the same cassette tape culture IQ operated in, and I appreciate the raw grit that comes with it. This CD is a must own if you're a fan of the early IQ sound, of which I most certainly am.
12/30/14 (new entry); 12/8/19
Minimum Vital, France
Progressive rock; Medieval prog
Latest album: Air Caravan (2019)
Been awhile since they released anything new, but they're still active. I have owned every album they've released except the last one.
---UMR notes
La Source - Huit Chants De Lumiere (1993)
Minimum Vital were, and still are, a highly original progressive rock group coming out of France. The basic formula is take a medieval or traditional French folk melody and add jazz plus rock influences over the top. Digital keys, programmed primarily to the brass sounds, along with ferocious guitar soloing, are the trademarks of Minimum Vital's sound.
By the time of La Source, Minimum Vital had begun to incorporate some pop influences as well, with female vocals out front, and the final result may be a surprise to hardcore fans - but it's a winning formula both musically and commercially.
3/8/10; 7/24/11 (new entry)
Vespero, Russia
Krautrock styled; Space rock
Latest album: De Ludo Globi (2023)
Carta Marina w/Angel Ontava (2018)
Carta Marina is the instrumental collaboration album of Angel Ontalva from Spain and the Russian group Vespero. An interesting pairing, but given that both represent some of the best progressive rock music of the last 15 years, I think this is going to be great album. At least on paper.
And it came to pass that yes - it is. Angel Ontalva is the guitar player, chief composer, and defacto leader of October Equus. Their early albums were something of a psychedelic avant prog combination, a unique juxtaposition of sound. And that psychedelic effect was primarily achieved via Ontalva's heavy fuzz tone, and somewhat unhinged playing, which was the dichotomy against the rest of the band's more structured approach. Enter Vespero, arguably the best space rock band operating in the world today. What separates our friends from Astrakhan from the rest of the pack, is that Vespero is not one just to jam out, and hopefully find a groove or two to explore. But rather the group enjoys composition with their improvisation, plus they add indigenous elements for a truly exotic blend. They are at once a space rock band, yet also progressive rock, and while still paying an occasional homage to Krautrock.
So there's your ingredient label, but how does it taste? Excellent in fact. There's a bit of that "two strong leaders vying for the top position" within these songs, and it's clear the impact of each artist's unique sound. At an hour long, there's an investment of time here, especially considering the first listen doesn't reveal nearly enough. It takes a few hours worth of hearing to let it soak through. There are no obvious highlights here, yet there's nothing worthy of skip button status either. While this isn't the peak album of either camp, the results together are still undeniably great. If either band are on your radar today, then you can't go wrong here.
---2/16/19
Fitful Slumber until 5 A.M. (2015)
Fitful Slumber until 5 A.M. is the 7th studio album (if we include the split one with Zone Six) from Astrakhan's Vespero. They continue their drive into more progressive oriented compositions, with plenty of fiery jams, and exactly the type of ethnic sounds one would expect from a band residing near the Caspian Sea. Flute, mandolin, and local wind instruments only add to the exotic vibe. Vespero have encapsulated the best of a 40+ year old branch of psychedelic progressive space rock: 1972 era Agitation Free meets 1992 Ole Lukkoye meets 2012 Quantum Fantay. Blend it up, and you have one seriously irresistible dish. A can't miss recipe, no matter how much extra spice they add to it. Hungry yet?
---1/29/16
Droga (2013)
Droga is the 6th studio album from Astrakhan's Vespero. Here the band seemingly understands what they do best, and exploits the heck out of it. This may be the perfect place to start your exploration of what is possibly the best space rock group of the last 10 years - and that's saying something given the competition. What you'll get here is Vespero's core competencies: The exotic sounds of Western Asia, crystalline female voices, ripping guitar solos, complex rhythm patterns, and various instrumentation to keep you guessing throughout. Every track is labyrinthine in its execution. It's the Korai Orom meets Hidria Spacefolk recipe that they've long since perfected with their own spices. And this time, they have a surprise up their sleeve: How about a big dollop of aggressive space rock similar to the first Nebelnest album? Oh my heart be still. This is Red Bull mixed with espresso.
---2/12/17
The Split Thing w/Zone Six (2012)
The next studio offering from Vespero is a split album with the German band Zone Six that is titled, appropriately enough, The Split Thing. Vespero contributes 3 new songs, totaling approximately 25 minutes. The sound is a continuation of By the Waters of Tomorrow and can be seen as a further move towards the 70s Krautrock scene. In particular, Can and Amon Duul II seem to have influenced the Russian band to a great extent. The steady rhythms hold everything in place, while the synthesizers float above and the shimmering psychedelic guitar provides the melody lines. There are distinct breaks in the music, giving it more of a progressive rock edge than its predecessor. Perhaps best of all is the addition of flute on the first two tracks, adding just the right spice to the overall dish. I found this a nice return to form for Vespero and is worthy of a 4.5 stars on its own. Personally I don't think Zone Six is a good fit as a complement to Vespero. They are of the modern variety of space rock - bordering stoner metal - where fuzz overload and static rhythms are the order of the day. At 24 minutes, their sole contribution begins to get long in the tooth after about 10 minutes. It's a fine track for the style, but perhaps misplaced with the much more kinetic, and exciting (IMO) Vespero.
---9/6/14
By the Waters of Tomorrow (2010)
Vespero continues on with their third album, titled By the Waters of Tomorrow. The band has shed most of their Southern Russian influences for a more straightforward Western European styled instrumental psychedelic rock sound (with 'Gao Zult' being the sole exception). Post rock and Krautrock seem to be the dominating genres here, with echo fuzz guitar, synthesizers, and a driving drum beat. The music on By the Waters of Tomorrow can be described as being relentless. This is a similar direction that Finnish bands Hidria Spacefolk and Taipuva Luotisuora took later in their career as well. Personally, I miss the localized exotic sound, but for what Vespero is trying to achieve here - they've done a more than admirable job.
---9/1/14
Surpassing All Kings (2009)
Vespero's sophomore effort, entitled Surpassing All Kings, sees Vespero tighten the ship a bit, and add more structure to their compositions. The exotic sounds of the debut are intact, but the energy level is higher and more kinetic. So overall it sounds like Korai Orom playing the music of Taipuva Luotisuora or Quantum Fantay, which is a highly unique combination. There are some killer ear-catching breaks here, such as the mid section of 'Salma Simiere (Cross and Crown)' which recalls Relayer era Yes, of all albums. Other highlights include the powerful psychedelic space rock numbers 'The Tower (XVI)' and 'Serata (i.n.s.i.e.m.e.)', each featuring multiple meter shifts, psychotic guitars, swirling keyboards, ethereal vocals, and complex sequences - almost Canterbury like in their execution. The latter track even has slight elements of Zeuhl, though it remains unclear if that's intentional or not. Melodies are actually thought out, and there's more to latch on here than the usual music-school charts. This is a splendid album, clearly positioning Vespero as one of the best space rock bands on the worldwide stage today.
---8/28/14
Rito (2007)
Vespero are a space rock band from Astrakhan, a city on the northern shore of the Caspian Sea in Southern Russia, near the border of Kazakhstan. So, in effect, miles from anything familiar. And yet there are few bands today - or perhaps none - that have captured the European spirit of space rock, Krautrock, and progressive rock like Vespero has. Their music is at once exotic, and yet familiar. Somewhere between Korai Orom, Ole Lukkoye, Hidria Spacefolk, 60's Pink Floyd, Can, Ash Ra Tempel, and a yet-to-be-identified group from Kazakhstan. And with that, Vespero begin their studio recording career with the splendid Rito. Psychedelic guitar, spacey synthesizers, pulsating bass, echoed vocals, and pounding tribal drums are what you can expect here. And Rito features their finest track ever (as I write this in 2017) with 'Inna's Burst in Tears', a stunning piece of Agitation Free influenced Middle Eastern space rock with Lisa Gerrard styled wordless female vocals. This song alone leaves one breathless, and is reason enough to explore the entire band's canon. And they do not disappoint. Ever.
---8/24/14
Other albums heard: Subkraut: U-Boats Willkommen Hier (2012); Lique Mekwas (2016)
8/10/17 (new entry)
Papir, Denmark
Space rock; Krautrock; Jam band
Latest album: 7 (2022)
---UMR notes
III (2013)
Papir's third album is like a bridge between Ash Ra Tempel's Join Inn and New Age of Earth. From the latter, the guitar playing perfectly emulates Manuel Gottsching's shimmering, yet tropically sunny, spatial sound. From the former, the band as a whole gets down to no-nonsense cosmic psychedelic jamming. Papir are a guitar trio with keyboard accompaniment, and no doubt are influenced by the original early 70s Krautrock movement. Even the motorik sounds of Can are apparent here. Certainly more an accurate portrayal of Papir than the "West Coast" jam band motif of The Grateful Dead and Quicksilver Music Service. I also appreciate the high melodic quotient applied here, something many jam bands today completely miss out on. I only wish Papir had been around 25 years ago, when bands such as this were non-existent, and most assuredly would have been a favorite of mine back then. Today, they get lost in the shuffle.
5/31/13 (new entry)
Malombra, Italy
Neo Italian prog
Latest album: T.R.E.S. (2023)
Interesting to see Malombra back in action. They were one of the early Italian 90s renaissance groups to have popped up. At one point I had their first two albums but sold them years ago long before I had any of these operating blogs. I wouldn't mind hearing them again, plus this new effort!
10/12/23 (new entry)
Alco Frisbass, France
Progressive rock; Jazz fusion
Latest album: La Mystere du Gue Pucelle (2021)
Alco Frisbass (2015)
At first I wasn't so sure this is something I needed to hold onto. Alco Frisbass' debut starts off with more than a whiff to the avant prog genre. There's ties to genre champion AltRock here, and the circus themes point to groups like Miriodor. But then the duo begin to add many soft touches. There's a soft jazzy undertone that I find very appealing. There's also some odd musical combinations here, and when one sees that Thierry Paysson is involved in the background, it begins to make sense. There's a touch of the Medieval and other later historical references (witness the cover). As the music continues on one could make the conclusion that this is Minimum Vital playing the instrumental music of Caravan. Certainly more Canterbury influenced than avant prog or Paysson's outfit. The keyboards are more vintage than modern hence offering up sepia tones versus brassy digital irritants. Clearly repeat listens will go a long way to securing memory space. Alco Frisbass strikes a fine balance of old and new, unusual for modern bands. My initial rating was correct, I just had doubted it. No more. Keeper.
10/12/23 (new entry); 11/7/23
Diagonal, England
Retro prog
Latest release: 4 (2021)
---UMR notes
The Second Mechanism (2012)
If the debut laid down the premise that Diagonal were to be the retro progressive rock band to be reckoned with, then The Second Mechanism fulfills that conclusion. Perhaps more studied than their first opus, with even more twists and turns to keep the modern short-attention-spanned listener completely enthralled - ironic given Diagonal's 1971 disposition. But such was the state of that era - and ours. Diagonal are a band that have gone from great to greater, and I can only imagine what they will come up with next. Let's hope the group continues to explore these paths that were not as tread upon as many people might initially presume. Diagonal are walking the little known side trails from the main highway. And there are many aural treasures to be found.
Diagonal (2008)
Diagonal are the first modern UK band, that I know of anyway, to truly capture the essence, atmosphere, and sound of the original progressive rock movement from 1970-1971 England. Many groups have come along and tried their hand at generating the sound of Yes, Genesis, ELP, Gentle Giant, Jethro Tull, Pink Floyd, Renaissance, King Crimson, and Van der Graaf Generator. And while all of those groups are worthy of imitation, they only represented a fraction of the original UK movement. Of course, they were the ones that made the big time, so it's more than understandable how they attracted more admirers than others. But Diagonal has clearly absorbed the record collections of the deep divers - in particular the Neon, Dawn, Transatlantic, Vertigo, and Deram labels and their stable of bands. With Diagonal you'll hear references to bands such as Cressida, Samurai, Raw Material, T2, Beggar's Opera, Gravy Train, Spring, Clear Blue Sky, Diabolus, East of Eden, and Indian Summer. But here's the most important part to understand: They have absorbed the influence, not copy it. And so you get an entirely new album within a familiar context. And because the band has clearly studied this era in depth, not to mention incorporating the period instrumentation (mellotron, Hammond organ, Fender Rhodes, fuzz bass/guitar, sax), they are able to create an extract of the genre. What that means for us modern buyers is an enhanced product - perhaps even exaggerated. For my tastes, Diagonal have created the perfect retro progressive rock album. An album to be held up as an example of how to do it right. If you're a student of the genre, then let Diagonal be your teacher.
1/20/11; 1/29/13 (new entry)
Cirith Ungol, USA-California
Epic metal
Latest album: Dark Parade (2023). To be released Oct 20. According a recent post, the band is calling it quits in 2024. Seems like a great "band as a brand" opportunity. We'll see, I suppose.
---UMR notes
Frost and Fire (1981)
Los Angeles area based Cirith Ungol were treading the same ground as Wichita's Manilla Road back in the late 70s and early 80s. America still didn't have an organized metal scene to speak of, and there were disparate groups throughout looking to find their niche. Cirith Ungol ended up being pioneers in what was later called Epic Metal. At the time, it seemed like an anachronistic throwback to the progressive rock era, but with a severe hard rock edge. While it certainly can be called metal, and I do, the music is based in late 70s hard rock recipes. But with an eye to more sophisticated arrangements and some room for jamming. Tim Baker screams with the best of them, and it's apparent Rush were also an influence back then. Obviously the big names of the day, Judas Priest and Black Sabbath, will also be recognizable here. Today, Frost and Fire has achieved cult status as one of the great early US metal albums. From the artwork to the overall sound, Cirith Ungol were many years ahead of the pack. Unfortunate they couldn't keep up the momentum like the almighty Road did.
6/14/22; 10/12/23 (new entry)
Galahad, England
Neo Prog; Progressive rock
Latest: The Long Goodbye (2023).
All these years later, and I've only heard the below Galahad album. Worth tracking though, as I'm certain to hear more.
In a Moment of Complete Madness (1989;1993)
My original scratch off notes stated nothing more than:
Script for a Jester's Permanent Moving Signal Waves. Yep, that's about right.
So let's dig a bit deeper here. Essentially this is two different releases. One is a reissue of their debut cassette known as In a Moment of Madness. The first five tracks here come from that tape. The music is spot on Grace Under Pressure era Rush. What it lacks is the spark and urgency that Rush brought to that recording. The music here is good, but nothing to grab one's attention. The last three songs were re-recorded for this CD and show a different side of the band. Clearly Marillion and their ilk have made an impression here. The last two songs are extended epics in the early Marillion / IQ style. Perhaps this was old hat by 1993, but I still find music like this charming.
---11/18/17
10/12/23 (new entry)
Glass Hammer, USA-Tennessee
Symphonic progressive
Latest album: Arise (2023)
---UMR notes
Shadowlands (2004)
Sigh. Glass Hammer. Southeast Tennessee's answer to classic Yes, with all the pitfalls of modern bands trying to do such. And yet I really like this album. The music is absolutely there. But the male/female vocal approach goes far out of its way to try to derail my enjoyment of it anyway. Note I said approach, not talent. While none of the singers will win any awards, they certainly aren't egregious. But the vocals presented here contain that annoying American style - especially from the South mixed with a bit of FM hit radio - a style that seems almost like religious revival folk music. The group chorus' I think are trying to bring back the ghost of Tales from Topographic Oceans, but instead it just sounds like I'm at some River Cleansing Ritual. But what's not a sin, in my book anyway, is emulating a style as distinctive as Yes'. As long as we're not doing note for note rips, I'm cool. And they don't really. There are 5 tracks here, and each are very much thought through, dense, complex, and melodic. And enjoyable, despite their best attempts to push me away. Dammit.
2/2/16; 10/8/18 (new entry)
Proud Peasant, USA-Texas
Symphonic progressive
Latest album: Communion (2023). To be released Oct 20.
---UMR notes
Flight (2014)
Proud Peasant are a symphonic progressive band from Austin, Texas, an area more known for country blues or cutting edge indie rock (it's for certain the hipster capital of Texas) - and as such the band find themselves at complete odds with their hometown brethren. There are 3 lengthy instrumental tracks (12:28, 19:34, 13:20) on Flight, and what sounds to be mostly charted music and well rehearsed. There's a large palette of instruments on display, beyond the usual rock quartet with 70s analog keyboards. Proud Peasant's trademark sound would have to be simply described as BIG. Not in the Godspeed You Black Emperor post rock manner, as this is music that is definitely rooted in the 70s. With that era's analog instrumentation though perhaps as played and produced in the 1990s. Comparisons do not come easily, but Rainbow Theatre at the time of Fantasy of Horses is one such album. Like that album, there is a classical bent to the compositions - but wholly their own and nowhere near a cheesy "rock the classics" kind of endeavor. Given that Proud Peasant are instrumental, you also won't have to battle the pseudo operatic vocals either (though there is some acapella actually (a bit like Pulsar's Halloween), which is mixed creatively with fuzz bass and Moog synthesizer). It's hard to imagine the band being influenced by such an obscure album from Australia, as I would suspect they would react with a collective "who?" - but it's always interesting to see how disparate bands from different eras can come up with similar music conclusions (though I should reiterate the obvious - they are still very different). Perhaps another comparison, though far more superficial, would be Camel's The Snow Goose, another classical styled work with beautiful flute. They saved the best track for last, 'The Precipice', which combines the sounds above with the Scandinavian School of retro prog, especially that of early Wobbler.
7/23/14 (new entry)
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