Present, Belgium

Zeuhl; Avant Prog; Chamber rock

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

Certitudes (1998)

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

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

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

---12/14/20

Live! (1996)

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

---6/13/16

Triskaidekaphobie (1980)

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

---7/15/16

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

7/15/16 (new entry)

Kubusschnitt ~ Europe

Berlin School Electronic

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Latest: The Core (2022)

UMR review page for Kubusschnitt

12/7/23 (new entry)

Tabula Smaragdina ~ Hungary

Progressive rock

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

A Szavakon Túl (2009)

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

11/26/23 (review)

11/26/23 (new entry)

Iluvatar ~ USA ~ Baltimore, Maryland

Neo prog; AOR prog

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Latest: From the Silence (2014). 

They still post from time to time though do not appear to be active otherwise.

Iluvatar (1993)

Iluvatar are a band from my second city of Baltimore. They released three albums in the 90s with one reformation album 15 years later. Unfortunately they came around long after I had any interest in what was/is known as neo prog - essentially the early 80s British take on the classic 70s sound (Marillion, Pendragon, IQ, et al). Today I have a great nostalgia for the movement - an updated arena rock face-punch to go with a bit of that sophistication we expect from progressive rock. Honestly this album is more the sound of the late 70s North American proggy AOR bands roaming the countryside, playing anywhere from small clubs to large stadiums. File alongside bands such as Sunblind Lion, Stencil Forest, Fragile (San Jose), Relayer, Avalon, etc... It can get a bit too FM radio/poppy in places, and sure, a little vintage instrumentation would have been nice. All hallmarks of the genre I suppose, through thick or thin. Were this a small private press from 1981, I can assure you this would be a sought after and expensive LP today. Glad to hear it now, as there's no way I would have enjoyed this when it was released.

11/25/23 (review)

11/25/23 (new entry)

The Movements ~ Sweden

Neo Psych; Space rock

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Latest: Like Elephants 2 (2014)

They were last seen playing live in 2019.

For Sardines Space is No Problem (2009)

The Movements are one of many bands that I put on a curiosity list real time but just ran out of time to listen to thoroughly. This kind of space rock has been - and continues to be - released at a very rapid rate since the late 1990s, and I long ago quit trying to keep up. Apparently the group's roots are with garage rock, and there are elements of that to be found here as well. On track 2) The Movements go barreling into Hawkwind hyperdrive mode, though it breaks into a cool electronic keyboard bit towards the end. The energy level remains high through to the next song. 4) is a folk tinged hazy psych piece with some nice work on percussive bells. No matter, the band can't sit still too long as they're ready to jam. Enjoyed the 60s vintage organ solo. The flute on 7) is a nice touch and provides the type of contrast The Movements need to make their space rock more impactful. The vocal section recalls 70s era Pink Floyd. This is my favorite track from the album. The music deals more in broad strokes than intricacies, and I think that's their garage background coming to the fore. Though Swedish, The Movements sound more like an English troupe from the late 60s transitioning into the 70s.

11/25/23 (review)

11/25/23 (new entry)

Aurora Lunare, Italy

Italian prog

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Latest release: Terzo Luogo (2023)

One of many bands I'm surprised to learn that are still around. I do have their 2013 album and rated it excellent, but do not have any notes to support that claim. I'll be sure to do that next time I hear it.

11/25/23 (new entry)

Unreal City, Italy ***Inactive***

Retro prog; Neo Italian prog

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Latest release: Frammenti Notturni (2017)

Frammenti Notturni (2017)

Unreal City's 3rd album certainly pushes all the right buttons for the Italian prog rock style. Many shifts in tone and pace, impassioned vocals in the local language, and complex compositions. All that said,  Frammenti Notturni seems a bit flat, and the instrumentals can be stilted. Not sure where to point the blame, as there's no real obvious flaws. Repeated listens in various settings haven't really swayed me one way or another, and yesterday's attempts resulted in a -1 rating. Hanging onto it for now, as there might be that a-ha moment to come (nope).

Il Paese del Tramonto (2015)

For Unreal City's debut I spoke about how the album was an excellent representation of the Italian progressive rock genre: "The style by itself allows for various interpretations of the same song over multiple listens. That's the beauty of it - there's so much to digest, each listen has its own rewards. And you will for certain get your money's worth with Unreal City, an album chock full of twists, turns, and great invention."

On their third and (so far) last album, Frammenti Notturni, I added: "Unreal City's 3rd album certainly pushes all the right buttons for the Italian prog rock style. Many shifts in tone and pace, impassioned vocals in the local language, and complex compositions. All that said, Frammenti Notturni seems a bit flat, and the instrumentals can be stilted. Not sure where to point the blame, as there's no real obvious flaws."

Which gets us to the middle child, an album I bought upon release but didn't pen any notes. As you can see from the two scribblings above, it's clear Unreal City are a participant of the Italian progressive rock virtual community. And Il Paese del Tramonto is no different. While it may have that prog-by-the-numbers feel, the album's abrupt transitions are very welcome, perhaps reassuring. I'm not sure why their third album never resonated. I tried on multiple attempts, but ultimately sold it. Fortunately that's not the case here. Maybe the band had reached their creative limit and it had become routine versus exciting. Unreal City have been silent for some time, and their last album is now six years in the rearview mirror. Perhaps this long break will reignite their creative juices. Regardless, Il Paese del Tramonto continues to earn its shelf space. My rating remains the same, now validated.

La Crudelta di Aprile (2013)

A couple of months back I was featuring the incredible renaissance we've experienced the last few years with the classic Italian progressive rock scene. Perhaps unbelievably, I was only about half way when I was forced to stop due to that everyday pesky life event we call a job.

As I'm sure you deduced by now, Unreal City is yet another new participant. Mirror Records presented us earlier in the year with Oxhuitza, a band that blended both old school Italo progressive rock (especially regarding the analog keyboards) with more modern sounds like metal guitar. For those who didn't care for the latter element, then Unreal City will most likely be more to your taste. There's a considerable amount of mellotron on here, though much of it sounds sampled to me (Planet Mellotron has given them the benefit of the doubt for now, querying the public for more info). In the end, it doesn't really matter much to me, as I love the sound - sampled or not. The guest violin adds a much welcomed ingredient. And the pipe organ recalls that old 1972 chestnut Il Paese dei Balocchi. Unreal City strike me as band that will be quickly dismissed by those saying it's "all been done before". Conversely, diehard fans will embrace it without too much questioning. I'm a diehard, and yes, I really like it for certain. I will admit nothing struck out in a head-turning way, like the very best Italian albums can, though I didn't hear anything cringe-worthy either. The style by itself allows for various interpretations of the same song over multiple listens. That's the beauty of it - there's so much to digest, each listen has its own rewards. And you will for certain get your money's worth with Unreal City, an album chock full of twists, turns, and great invention. I very much look forward to their next release!

9/2/13 (new entry); 1/14/22; 11/19/23

Cast, Mexico

Progressive rock; Neo Prog

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Latest release: Vigesimus (2021). 

The band is still actively playing live. They have 21 studio albums, so how much more do they have to offer? We'll see.

Nimbus (2004)

Nimbus is the 12th studio album from Mexico's Cast. At their beginning, Cast were heavily influenced by the neo prog marquee names such as Marillion, IQ, and Pendragon. They released an enormous amount of material in a short period of time, all characterized by the familiar NWOBPR sound, while singing in English. By the time of Nimbus, the band have become more confident with other styles of progressive rock, and are now utilizing their native language primarily. In addition to that, Cast has brought in more instrumentation, which allows for more tonal color, which was missing from their earlier releases. So even though this is their 12th album in a 10 year time frame, it's remarkably fresh and not stale at all. '911' recalls their earlier neo prog past, whereas 'Un Singlo de Invierno' dabbles in prog metal. But mostly this is classic European progressive rock, as might be found in Spain during the late 70s - a band like Crack for example. Make no mistake, Cast aren't retro in the slightest, and this is clearly a work of the 90s and 00's. As with most of the Cast albums I'm familiar with, the album is quite lengthy (the equivalent of two LPs), so it takes quite a bit of time to absorb all the material presented here. To be honest, I don't have much exposure to Cast past their Angels and Demons album, so I'm not sure where the band transformed their sound. Given the strength of Nimbus, I'm quite open to exploring more. 

7/16/18; 11/19/23 (new entry)

Mahogany Frog ~ Canada ~ Winnipeg, Manitoba

Canterbury style; Post rock; Space rock

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Latest: Faust (2022)

Mahogany Frog were last seen playing in early 2024.

UMR review page for Mahogany Frog

11/17/23 (new entry)

Fren, Poland

Retro prog; Post Rock

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Latest album: All the Pretty Days (2022)

Where Do You Want Ghosts to Reside (2020)

Right from the opening mellotron notes, it's clear this is going to be in the retro prog space, which is how it was described to me as well. What's strange about that is retro prog - as the term has become understood - is primarily a western European phenomena, based on their own country's 1970s progressive rock past. Especially England, Italy, and the Scandinavian countries. And the occasional Yank I suppose. But Eastern Europe's progressive rock scene of the 70s grew up differently. It had no choice, being forced to separate due to Communism. I enjoy both immensely, and it's nice to see a band from Poland make a try. When I think of Poland, bands such as Collage and Riverside come to mind, each being champions of neo prog and modern prog respectively.

Now having said all of the above, Fren aren't Wobbler, Astra, or Anglagard either. There is a distinctive post rock element to their sound - and the lengthy meaningless title of Where Do You Want Ghosts to Reside kind of gives that away. Big sweeping symphonic sound - somewhat modern sounding - as if Pink Floyd circa Animals wanted a try at emulating Jordsjo. I've always struggled with those lethargic fat beats that the genre seems to call for. So yea, Fren are a retro prog post rock band. Read that last sentence again. What a world we live in. Genre's aside, I was a bit fearful that the rhythm section wasn't going to participate, and essentially a computer could have taken over. But my fears were assuaged by the time of 'Gorąca Linia' and especially the jazzy 12 minute 'Pleonasm', quite possibly the highlight of the album. There's a slight resemblance here to fellow countrymen Gargantua. The entire band is quite accomplished, and I truly enjoy their (mostly) analog mid 70s sound. In the end, I'm rating this all instrumental album as "great", with the caveat that I'll need some convincing to move on with the band's next effort. 

5/16/21; 11/12/23 (new entry)

Phlox ~ Estonia

Canterbury styled prog; Jazz rock

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Latest: Keri (2017) 

The band is still playing live as of 4/3/25.

UMR review page for Phlox

5/7/13 (new entry)

Pallas, Scotland

Neo prog

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Latest release: The Messenger (2023)

Never penned any notes about this band, but The Sentinel was one of the very first neo prog albums for me to buy (still have the UK LP original - with the poster). The extended CD version is even better. I'll for certain get some notes down eventually.

11/10/23 (new entry)

Astrakan, England

Canterbury style; Jazz rock

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Latest album: Crab Weather (2023). Yet another band that I was unaware was still cooking!

Comets and Monsters (2012)

While the first album stayed completely in the underground, at least Astrakan's latest album Comets and Monsters is slightly more accessible, being readily available from online retailers. Musically the band stray further towards the jazz end of the Canterbury spectrum. Adding female vocalist and keyboardist Celia Lu has defined their new direction. She sings in a higher pitched fashion - perhaps even pseudo operatic at times - similar to Dagmar Krause. But with a Chinese accent. It's a bit bizarre to say the least. I personally wish they'd exploit their rock abilities, but it seems Astrakan are more intent to stay within the jazz idiom. Henry Cow circa In Praise of Learning is a major influence on Comets and Monsters, but without the annoying tuneless improvisations, thus endearing the band more to my tastes.

Astrakan (2008)

Astrakan starts afire with 'In & Out', which possesses a distinct Canterbury sound but completely run amok. The shredding wah-wah guitar left me breathless. Too bad there isn't much more of that psychedelic sound present throughout. Have no fear though, the melodic jazz rock that the Canterbury sound is noted for remains intact. The jazz influence becomes more prominent in the middle of the disc. Sax and organ all get plenty of time to shine. I particularly enjoy their extended use of the latter. It's important to note that Astrakan focus more on composition and atmosphere rather than noisy soloing, thus endearing itself to me. Highlights include tracks 1, 2, 5, and 7.

4/10/11 (new entry); 1/29/13

Iconoclasta, Mexico

Progressive rock

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Latest album: Alter Ego (2023). Had no idea these guys were still around either! Though it appears the group is mostly a Ricardo Moreno solo act at this point.

Suite Mexicana + Soliloquio (1987)

Iconoclasta were probably Mexico's #1 progressive rock export in the 1980s and a big part of the style's revival in that country. The EP was released three months ahead of the LP proper, and features traditional instruments and melodies among the usual rock instrumentation. I would like to call out guitarist Ricardo Ortegon, who puts in an exceptional performance on both these albums. '7:19' adds flute with fine results. There's also the requisite "side long" track that allows the instrumentalists to shine with longer solo sections, including guest saxophone. Iconoclastic has a distinct 80s compressed sound, that is all their own.

6/21/10; 11/3/23 (new entry)

Tauk, USA-New York

Instrumental prog; Jam band; Jazz fusion

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Latest album: Equalizer (2023)

I've only heard Sir Nebula (2016) to date, but I was mighty impressed with the group's mix of jam band, instrumental progressive rock, and jazz fusion. I need to pen some notes for UMR, but this is a band I'm keeping an eye on.

10/7/18 (new entry)

Zanov, France

Progressive electronic

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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

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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

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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)

4/26/11 (new entry)

Earthless, USA-California

Heavy psych

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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)