TEE, Japan

Progressive rock

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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)

Flowers Must Die, Sweden

Space rock

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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)

Dungen, Sweden

Neo psych 

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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

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Latest: Ada (2024)

Misophonia (2016) 

Misophonia is Electric Orange's 11th proper studio album. They were one of the first Krautrock revivalists from the Fatherland, and have more or less stayed on script throughout their 25+ years career. I started with the band at the beginning, and have dutifully picked up all their albums to date. And the all instrumental Misophonia definitely has the right sounds, with rumbling drums, and grungy Hammond organ to the fore. So it comes as a surprise to me that I really don't enjoy this album very much. It's certainly good enough, but for Electric Orange, it's a sub par effort. I picked up the CD upon release, and heard it last year for the first time - and have stuck with it now for over a year. But the needle isn't moving.

So what gives? Well... I've struggled to put my finger on it, but for one thing there is no songwriting. Now with Krautrock that certainly isn't de rigueur, but most at least intersperse a few melodies among the chaos. Electric Orange did not do that either. But if there aren't any songs, then one would look for a climatic payoff of some sort - a build up to an intense jam for example. Nope, not here. Then there's the lack of tonal diversity. A flute, saxophone, or more electric guitar would have helped immensely. The latter is there primarily to set the tone, but doesn't play a major role in the album. In effect, Misophonia is one of those albums that has all the right ingredients, but doesn't taste right. To be honest, it's a bit dull. If I were to characterize the album - it would be something of a new genre - Ambient Krautrock. Not electronic in the slightest - definitely a rock based album. But it's very static. I do think that's what the band was striving for. To create the mood of the original early 70s Krautrock movement. To that end, they succeeded then. But that's all they did. Overall, I expected more.

---4/29/18

Netto (2011)

In 1993, Electric Orange almost single-handedly restored the cosmic Krautrock genre back to greatness (with the exception of some truly obscure outfits like Attempt to Restore, Nova Express, and Der Kampf Gegen den Schlaf). They took a detour shortly thereafter into the realms of electronica, realized the error of their ways, and returned back to form in 2001 with Abgelaufen!. Since that time, Electric Orange have gone from amateur to professional status, added more band members, and have released a number of quality albums with consistency. I've gone back and forth on this title, but in the end, it's too static for my tastes. A lot of rumblin' and bumblin' but it never seems to take off or go anywhere. It's a fine effort for developing a particular kind of atmosphere, yet I couldn't identity what that is.

---2/13/12

Krautrock from Hell (2010)

As the title suggests, this work is meant to be a purest Krautrock effort. Most of it is very good, but without any highs for the first six tracks, and kind of drifts by without notice. They would benefit by adding more dynamic and metric shifts, similar to how Titan executed this on Raining. No matter, the Hammond organ takes center stage, and is a delight to hear in this kind of setting. The album closes on a high with 'Wurmloch', which is also the only atmospheric piece. This composition truly captures the 1970 German experimental underground. Lots of organ, flute, and pounding drums. All that's missing is the freakout psychedelic guitar. Something akin to Tangerine Dream's Electronic Meditation and Annexus Quam's Osmose. Can't think of too many modern groups who have accomplished this aura so perfectly.

---2/20/24

Morbus (2007)

So here I sit with Morbus, an album that immediately brought to mind the earlier Platte, except it’s even more heavy, intense, and relentless. And I don’t mean that in the I-can’t-take-it-anymore-noise-fests of Acid Mothers Temple, but rather this is far more measured, where they capture a groove and expand upon it, rather than destroy it to the last note. When the group started, they were more or less an extension of Dirk Jan Muller’s one man show. Now it’s a fully fledged 5 piece group, armed with the latest in technology and a pile of vintage gear (especially in the keyboard department). I like the addition of the German narration, the wordless female vocals, and even the occasional lyrical song in English. Electric Orange are getting better as each year passes.

---11/13/07

Abgelaufen! (2001)

I've often referred to this album, their 4th (proper), as their "return to form" work. After a couple of diversions into the world of electronica, Electric Orange go back to their Krautrock roots. At times I feel this is more show than content, but that might be a bit of a cynical outlook. Their stock in trade is atmosphere, and they do truly capture the kosmiche kouriere in us all. Rhythms galore, wah wah guitar, heavy Hammond, mellotron overlays, and phased voices all play a role in this. There's even some Klaus Schulze styled electronic rock here. Orange Peel meets Can? Sure, why not.

---5/19/24

Orange Commutation (1996)

Essentially a Krautrock techno album. Taking their debut album as a blueprint, Electric Orange dives into electronica and adds beats and other modern devices to make for a wholly unique release. I'm favorable to albums that mix real analog instrumentation with computerized digital enhancements. It's the former that is rarely heard in music such as this.

---1/31/24

Other albums heard: Electric Orange (1993); Tonbandreste (1994); Platte (2003); Fleischwerk (2005); Electric Orange & Sula Bassana (2006); Volume 10 (2014)

9/21/17 (new entry)

Amoeba Split, Spain

Canterbury style; Jazz rock

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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)