Great Progressive Rock Albums Since 1990

Aardvark – Tuntematon Sotilas (2006 Finland). As I have state in the past, if it’s from Finland then it must be good. Mellow of Italy has stretched their tentacles into this land of creativity before (Groovector, Haikara, Giant Hogweed Orchestra). Aardvark are the true modern group since they live in all parts of the globe, and yet manage to record a cohesive band effort through the magic of the Internet (and once again, raise a glass high to The Rascal Reporters, who pioneered this idea in the cassette tape / snail mail era). Aardvark were presented to me as an amalgam of all things 70s Finnish rock, calling out Kaamos, Nova and Nimbus as reference. And since I’m an obscure reference guy, I was already enthused. Now, to be honest, I was hoping only one of these references would truly check out. Kaamos were pretty middle of the road and Nova (of “Atlantis” fame) could be quite boring in reality. But Nimbus – ah yes, now we’re talking. Organ rock baby. Nothing fancy, just good ole hard rock with plenty of juicy think organ and loud lead guitar. And damn if Aardvark didn’t just do that – and zoom in on the ghost of Nimbus. Or Sweden’s Rag I Ryggen (sure, we’ll throw in Blakulla since I’m name drop city here). Not sure if this is a one time event, as the group doesn’t seem to have any active internet presence, but let’s hope they get the itch to send megabytes to each other again.

Ahvak - s/t (2004 Israel). I think it will take me a long time to truly appreciate this album. It does have the overly cerebral RIO slant of many of these bands which kept me from fawning over it immediately. However Ahvak are clearly students of the "prog" genre and each track has elements of sophisticated rock. Since it features Dave Kerman of the 5uu's, it's no surprise that some of their work is an influence as is the Belgian band Present. While those two bands are stalwarts of the modern avant progressive scene, it may then seem surprising some of the other influences I hear like the French band Dun (the flute playing and compositions) and even Italian prog (especially early Banco + a dash of the almighty Jumbo). Interesting this latter association, since when I hear a new release out of the "avant" school, I don't have that Italian antenna up. Once that was perceived, the more obvious it became. And the much ballyhooed "computer enhancements" are basically modern takes on messing around with the tapes - just like the good old days in Dieter Dierks studio! I see this type of experimentation as a plus and allows for more possibilities with the music. This band is onto something big.

Alters – Mild (2007 Poland). Alters are a new group from Warsaw, who were described to me as a cross between Magma, Nebelnest and Shylock. Which is utterly ridiculous. Un-met high expectations aside, the band themselves were more accurate and listed the usual prog suspects (Yes, KC, Genesis, Floyd), Miles Davis, Stockhausen, etc… But I was pleased to see they give the most credit to Polish legends SBB, a band they do indeed model after. In listening to this, it’s obvious Pink Floyd circa “Dark Side of the Moon” also plays a major role in their sound, especially in the few vocal tracks. One can also hear, especially within the experimental bits, another 1970s Polish stalwart in Niemen. Solo instruments of choice are electric guitar (not overly distorted, but not clean tones either), synthesizers (with plenty of 70s era samples) and viola. Amongst the newer progressive groups in Poland, Alters is closer in spirit (though not sound) to the more cutting edge groups like Indukti and Gargantua verse the more straightforward Satellite and Riverside. Bravo.

Arc – Arcturus (2005 England). Mark Shreeve (Redshift) is the undisputed master of the big Moog, and his sequences are the best in the business. Once the sequences are rolling, it’s a matter of throwing on the melody lines and atmospheres (including mellotron of course). Not much to rant on about here – if you like 1974-1977 Tangerine Dream, just buy this – you will like it.

Arc – Blaze (2003 England). With Shreeve and Boddy on board, and this time a real drummer, I expected this to be quite the romp. Certainly there is that, but also more experimental parts as well. I love all 3 Arc albums, but none have hit the 12 level that I keep expecting. Maybe they're already there… I just haven't realized it yet.

Arc – Octane (1998 England). Debut album from Boddy / Shreeve collaboration. It appears the live release "Radio Sputnik", that I reviewed recently, has many of the same tracks (except one), but the recording is slightly better here. This is a can't miss item for those who like the classic Berlin scene ala AirSculpture, RMI and Redshift (a band which Shreeve heads up as well). Heavy on the analog keyboards.

Arc – Radio Sputnik (2000 England). Arc are an Ian Boddy and Mark Shreeve collaboration. Concert is from 1998, but was monkeyed around in the studio a couple of years later. Music is squarely in the electronic Berlin School tradition. No surprise there given that Shreeve heads up what I consider the finest Berlin styled group of them all in Redshift. First half is more atmospheric with pulsing style sequences, and the latter half is heavily towards the Redshift sound. `ArcAngel' is one of his finest pieces ever, with incredible rapid fire sequencing and choral mellotron going all over the place. It's all improvised, so there are many shifts and changes throughout – not static monotone sequences. The recording is good, though I always expect the best from modern groups in this genre, and it's not that. Especially early on, the bass is overloaded. I also feel this way about some of the live CDs by Radio Massacre International and AirSculpture as well. Oh anyway, it's still great – solid 11 material.

Colour Haze – Ewige Blumenkraft (2001 Germany). "Ewige Blumenkraft" is the album that seemed to gain Colour Haze some notoriety with the stoner rock crowd, and was the first time they’d come up on my radar screen. They hadn’t hit their psychedelic stride yet here and have more in common with the brute fuzz force that the genre is known for. It’s generally just sonic overload with yelled vocals, though the guitarist is finally starting to let loose on the longer tracks. They’d continue to improve.

Colour Haze - CO2 (2000 Germany) My second venture into the world of Colour Haze is “CO2”, which is technically their 4th record. However, this is the album that took Colour Haze to the public masses, being the first to go from limited CD-R run (excepting the much earlier “Chopping Machine”) to regular CD courtesy of Monster Zero records. With that little bit of chronology out of the way, how does this compare to what Colour Haze are doing today (today equaling “Tempel”)? Initial impressions are pretty much what I expected, more stoner metal and less overtly psychedelic of the old school Krautrock variety (Guru Guru, Silberbart, etc…). No question Kyuss circa “Sky Valley” is the primary influence at this stage. And I consider that a good thing. Most of the tracks are extended, with slightly ethereal vocals and plenty of sludge thunder (you can hear the buzzing of the amps before each track). And, best of all, the loose guitar jams which are both bluesy and somewhat psychedelic. Top song goes to the title track - naturally it’s the longest (11+ minutes) with the most delicious guitar soloing. A good one.

Colour Haze - Tempel (2006 Germany) Even though I first heard the name Colour Haze over 5 years ago, it’s not until their 8th and latest release, that I finally had a chance to hear this much praised German trio. Probably natural that I would start with the nicely titled “Tempel”, spelled out in glorious German. Without hesitation, I can say the band was not over-hyped to me in anyway, and deliver the goods in satisfying faction. And I’m told this is not their best work, and if that’s the case, I may quickly be one of their top fans soon. Colour Haze are the first group I’ve heard that seamlessly marries the classic Krautrock of early Guru Guru and Ash Ra Tempel with the modern stoner bands of Kyuss and High On Fire. At its core, they’re a modern metal band, with the sludgy over-amplified psychedelic tone, and low key indie vocal style (and they’re sparse at that). Where Colour Haze create separation is in the way the songs develop, more organic than the usual play for dynamic shock value. The drumming is more old-school too, with plenty of tribal pounding and jazz fills, verse the standard double bass blasts and straight forward beats. Then there’s the guitar. It’s the soloing that truly recalls the greats from the day – where you want to break out the air guitar and play right along with the band. This is especially true on the instrumental title track, where the group locks into one of the more memorable grooves I’ve heard in a long while. Last two tracks “Ozean” and “Stratofarm” take the mellow zone out approach – highly effective - until the last few minutes where Colour Haze provides a true climax from the built up tension. Nice to see a stoner band live up to the psychedelic part of its intended meaning.

Combination Head – s/t (2006 England). A simple flash line blared out from a respected catalog: “Best UK instrumental prog in 30 years”. “Recalls the best of mid 70’s Camel”. Big shoes to fill right there and I wasn’t expecting “new brand on the block” Combination Head to be a prefect fit. Ahh, but they are comfortable shoes and look nice too. Maybe this is the real deal and not a Canal Street knockoff? (excuse the New York City reference). These guys get it right – and once again the mix of old and new – digital and analog – keyboards are the distinguishing factor. Great guitar work as well. So…. maybe this is the best UK instrumental progressive rock record in years (at least one without a space rock leaning)? Don’t rush me, I’m still thinking about it...

Deformica - H (2006 Argentina). Interesting debut from new group from Argentina. Clearly the post rock bug has bitten them and one can hear influences anywhere from Tortoise through to Don Caballero. To my ears, that would imply they are a bit boring, but Deformica take the music much further, with many changes of mood, texture, metrics and dynamics. On this point, one can hear mid 70s King Crimson and their current following channeled by groups like Yang, Exsimio and Djam Karet. Deformica are not afraid to experiment and it's interesting to note the band will throw in a loose improvisation at the very end of most tracks, thus ensuring the listener isn't going to be in for the long haul on something that may not interest them. I've never heard a band systematically improvise on the last minute of each track like this. It's a winning idea. The keyboard tones tend to be digital emulations of electric piano and are far too timid for what this band needs. The dual guitars generally play in unison or in counterpoint rhythm mode, but occassionally break into a nice solo, though it's not their forte. The rhythm section is solid, and the bass player demonstrates some massive potential, that isn't completely realized. A very impressive debut, though I would like to see them blow the lid off once in awhile, in a place where you'd find Nebelnest maybe.

Deluge Grander – August in the Urals (2006 USA). Dan Britton of Cerebus Effect has hatched a new unit for his ever creative mind, Deluge Grander. Cerebus Effect was crazy enough, but this goes to the next level. Greg Walker enthused in his catalog: “One of the best American albums ever! Banco meets Anglagard meets Crimson with lots of tron and long tracks.” Well, that should setup everyone for a disappointment. Or does it? “August in the Urals” is so far in the old fashioned progressive camp, that it will appeal to one kind of fan – the old fashioned progressive rocker. This is very much in the over the top 1970s American school of complex proggy prog ala Cathedral, Mirthrandir, Pentwater and Yezda Urfa. It was bound to happen sooner or later, a band would be completely and totally influenced by obscure worldwide progressive rock. Not jazz, psych, blues, beat, classical, or anything else. Not Yes, Genesis and ELP but rather Locanda Delle Fate, Pulsar, Dun and Anglagard. Much like Wobbler, if you turn your nose up at it, then it’s probably time to admit you just don’t like progressive rock anymore. Or at least anything new that sounds old. It’ll be condemned as so darn uncool by the hipsters, that it’s likely to be considered interesting by a passing stranger. As for me, well this is the style of prog rock I like most, so almost anything like it will get a gushing review. Hardly an unbiased, fair and balanced outlook I realize. Not that it’s perfect by any means, the vocals being one of the areas that could use some improvement (maybe they could get Di Giacomo to guest?). And it’s a little short of memorable melodies and good grooves. But no complaints from me, there’s so little of this kind of music anymore, I’ll take whatever is given me. Appropriately enough, the cover is a grandiose Thomas Cole painting, the same one used by doom metallers Candlemass on “Ancient Dreams”. Who’d a thunk Baltimore would end up being the center of the universe for European prog?

La Desooorden - Ciudad De Papel (2007 Chile). La Desooorden are very much a modern progressive band, that utilize current production techniques as well as some dark, atonal metal guitar. So elements of Tool and Porcupine Tree can be discerned on a quick glance. That alone would not make an A-list group, but underneath this superficial view, we find a group exploring all aspects of exciting music. You find Latin percussion, jazzy bits, folk melodies, early 70s Italian prog rock and a host of other and exciting ideas. A very deep group, that reveals something different with each listen.

Djam Karet - No Commercial Potential (1985 USA). Djam Karet - …And Still Getting the Ladies (2004 USA). The following review is more of an overview of the band Djam Karet, but the two albums listed were the inspiration…… One of the longest running progressive rock bands, Djam Karet has been at the forefront of the instrumental space rock movement for well over 20 years. Their debut, “No Commercial Potential”, was a true anomaly when released in 1985. The concept of long guitar driven rock instrumentals was extinct, and the title is as accurate as any in history. They began to bring more compositional structure into their material throughout the remainder of the 80s, as well as adding an electronic music element to their sound. I first encountered Djam Karet with “Reflections of the Firepool” in 1989, an album that is as fresh today as when it was released almost 20 years ago. In 1991, they took a chance with the radical approach of releasing two albums, each one focusing on their two very different styles: Acid jam rock and spacey electronic music. The albums received much (undeserved) criticism in the day, and it seemed the fans preferred the integration over the separation. Time has healed wounds, and it seems the hard edged “Burning the Hard City” has fared better with their current fan base. From here, the group sort of floundered, without a clear direction of where they were heading. The experimental electronic oriented “Collaborator” (1994) is the odd album out in their discography. The lackluster response to this album combined with a last minute cancellation at the first ProgFest, seemed to push Djam Karet out to pasture. Until, that is, their signing to Cuneiform Records and the release of “The Devouring” in 1997. For many, this was their best album up to that point, and some will go as far as saying it’s their greatest album period. In any event, the album seemed to be the logical step of where Djam Karet was headed with “Reflections From the Firepool”. The positive response to “The Devouring” ushered in a new tidal wave of releases, that continue to this day. They even revived the one-take, no-overdub “No Commercial Potential” concept with “…And Still Getting the Ladies” and “Still No Commercial Potential”. Djam Karet seem to never run out of quality ideas, and let’s hope they go on for another twenty years!

Drahk Von Trip – Heart & Consequence (2005 Sweden). New Swedish group who play a mix of space rock and aggressive neo psych. Large scale 6 piece group with female vocals and plenty of different instruments (violin, flute, “vintage synthesizers”, multiple percussion, and some highly unusual wind instruments like the yidaki, a specific type of didgeridoo). Some of the guitar work is quite inspiring. Though they have elements of many bands from White Willow to Hawkwind to Azalia Snail to Ozric Tentacles, DVT do not remind me of any one group. 10 lengthy and somewhat complex tracks allow for much growth for future listens. Swedish label Transubstans, within the last year, have established themselves as the best new “go to” label in some time, perhaps since Soleil Zeuhl anyway.

Dream Machine – Trilogia (2005 England). Dream Machine are an offshoot from Ozric Tentacles, with Jumpin’ Jon (flute, here known as Champignon) and Seaweed on keyboards being the most recognizable names of the alumni (Joie Hinton, who isn’t on the album, is now a member). It’s been years since we could actually hear John’s flute on an Ozric album, so that’s an immediately welcome plus for Dream Machine. The style of the music is more bluesy acid jam Cosmic Jokers / Galactic Supermarket than intense Hillage-era Gong, so “Trilogia” has more of a laid back quality than Ozric would typically display. No Ed Wynne guitar heroics to rely on, so the music tends to float about rather than the constant tension/release one would expect from OT. Though there’s a little dub for those that might have withdrawals. For me, Dream Machine are the best Ozric side project yet to come along, bar none. Even for folks that tired of the Ozric sound years ago, may want to take a stab at this. Keep them coming guys. Instant A-list band.

Dream Theater - Six Degrees of Inner Turbulence (2002 USA). Six Degrees of Turbulence is appropriately enough Dream Theater’s sixth studio album, and as of this writing a couple of albums later, represents their most ambitious work to date. No group polarizes the progressive rock community the way Dream Theater does. And due to their relative popularity and easy access to their body of work, it seems EVERYONE has an opinion. Similar to how Miles Davis dragged the traditional jazz crowd to incorporate rock, Dream Theater has been at the vanguard (over 15 years and counting) of fusing traditional prog/pomp (Yes, ELP, Rush, Kansas) with heavy metal and other more recent forms of popular music. And Miles was fond of the double album idea, to utilize as much space as possible to make his musical point. So it makes sense that Dream Theater would also go for the gusto, and embark on a lengthy, close to 100 minutes, two CD set. Before anyone pulls a gun and starts to shoot, since I dared mentioned the iconic Miles Davis in a Dream Theater review, let me just say that’s where the similarities abruptly end. While Miles was always pushing the envelope of sound and creativity, Dream Theater definitely aren’t “living on the edge”. And rest assured they have their eyes fixed on the Billboard charts. So they are commercially and financially far more savvy, but artistically Dream Theater always manage to underachieve. Let me clarify further. An underachieving Dream Theater is still a very (very) good album, but I feel this band is one of the few modern bands that could pull off a Gnosis 15. And they haven’t even gotten close. As if to prove the point, listen to the 14 minute album opener ‘The Glass Prism’. Everything that is great about Dream Theater can be found here. A highly creative composition, crazy metrics, good melodies, monstrously KICK ASS heavy, and a sense of adventure. And when it comes to technical chops, even most musicians will, and do, take a bow to the mighty DT. These guys can flat out play, in a jaw dropping manner, that even impresses people not into music at all. I can only imagine what a whole album of this kind of insane music would produce. It might just be too much to handle. And everything that is wrong with Dream Theater are brought forth in the next two tracks ‘Blind Faith’ and ‘Misunderstood’. The whiny style of crooning from singer James LaBrie immediately brings to mind everything some of us were escaping from the beginning: 1980s corporate rock. Given that both tracks clear the 10 minute mark, naturally one can expect the usual exciting music breaks. If these weren’t so much better than average, then no DT album would be worth owning. ‘The Great Debate’ follows, yet another near 14 minute opus, and is another creative piece that is partly satisfying and greatly frustrating, as in “why not all the time like this?” Because no chart chances sonny boy. And really, when would you have a chance to put up your Bic lighter anyway? Closing Disc 1 is the pathetic and cloying ‘Disappear’. Just skip it, unless you miss bands like Europe and Night Ranger. As I said about polarizing, there are plenty of reviews that will state how “deep” the track is. I think I saw recently on a ‘Where are They Now?” episode that Loverboy was saying the same thing about their own work. So we now flow into Disc 2, the 42 minute title track, broken into eight parts. Tired yet? Might be a good time to go get another drink… If you were to believe the fanboys, SDoIT is their 'Close to the Edge', or 'Supper’s Ready'. Don’t buy it. Like many bands today with lengthy concepts, Dream Theater in reality have composed 8 more (OK 7 and a reprise) distinctive tracks, that had they been listed separate, I would never have linked them together as a suite. So, in the end, you get the same thing you get with all Dream Theater tracks: Jaw dropping compositions and playing, radio friendly ballads, Yes like Moog driven songs, well… just read what I said about the first disc. I bought this album immediately upon release, and four and a half years later, my opinion has changed little. In conclusion, despite what it may seem from my comments above, SDoIT is a very fine album and one of the better Dream Theater works. It would be negligent to write them off as a pure money driven pop band. Their professionalism is unquestioned, and talent almost unmatched. We’re fortunate that they are at least trying (and succeeding) to be creative, and not content to produce bonehead commercial rock. An amazing band. Who still manages to underachieve.

Dungen – Stadsvandringar (2002 Sweden)
Dungen – Ta Det Lugnt (2004 Sweden). Dungen has to be the craziest band yet that the hipster’s have embraced. In a nutshell, Dungen are recreating the wonderful, exploratory early 70s Swedish scene ala Flasket Brinner, Kebnekaise and (a more grounded) Algarnas Tradgard. The vocals are in glorious Swedish, the melodies are memorable with more than a nod to Nordic folk music, and the entire fuzzy sound is right out of 1973. And they played late night on Conan. The whole thing is so ludicrous, I can’t tell if maybe I’m just going insane. No complaints though, I would love to actually enjoy music that the majority of others like too. And Dungen is as adventurous and quirky as any progressive/experimental rock band (especially on their debut, which isn’t listed here). I just hope they don’t try too hard for acceptance.

Eccentric Orbit – Attack of the Martians (2004 USA). A couple of weeks ago I reviewed a new album by the Israeli group Trespass. The review basically states that if you like keyboard trio proggy prog circa 1972, then you must own “Morning Lights”. Well, same deal here. Maybe less Trace and more Motoi Sakuraba, but still this delivers the goods all day and night. With some added instrumentation, these guys could create that extra dimension similar to how Pochakaite Malko did on “Laya”. Special recognition to bassist Bill Noland, who likes to rip some fuzz bass from time to time. Fuzz bass + mellotron = me like. Opener and closer were the highlights, as the aggressiveness plays well for EO. Album drew almost straight 10s from the Gnosis rat pack, and guessing it’s more a reflection of the “nothing new” assessment. But I tend to be generous to “cheeseburgers”. Big league stuff from the next iteration of Pye Fyte, itself a much neglected late 90s winner.

Eclat – Le Cri de la Terre (2002 France). Eclat are one of my more neglected “A-list” groups. Not sure why it’s taken me 5 years to finally buy and hear this album, but it’s never too late I guess. “Volume 3” is the album, for me at least, that put them in the A-List category, since they had released somewhat mediocre material prior. So it’s a tenuous relationship, one that I’m happy to say will continue beyond “Le Cri de la Terre”. It seems the band has moved away from their Minimum Vital-ish roots, Which is to say there is less of the Medieval here. But in its place is a more aggressive kick-ass style guitar rock, with some nice keyboards (not recommended for digital phobes though). In fact, the short electronic pieces are definite minuses. Guitarist Alain Chiarazzo can play with the best of them, his style is very much in the French school, and the Paysson comparison continues. Eclat are still gigging, so I suspect we’ll see some new material soon.

Electric Orange - Morbus (2007 Germany). It wasn't that long ago that I heard the expanded CD edition of "Platte", but unfortunately I didn't have an opportunity to pen anything down on it. So here I sit with "Morbus", an album that immediately brought to mind "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 project. 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.

Electric Orange – Orange Commutation (1996 Germany). 3 years prior to this, Electric Orange released one fantastic Krautrock album. It had all the right elements, voices filtered through the Leslie, Hammond, mellotron, fuzz guitar. "Orange Commutation" is basically an electronica version of that album, with some unused bits, an unreleased track and other "mixes". As I've said prior, techno is not a bad word around here so long as there are also "real" instruments used by real musicians, and not just some knob twiddler with his do- it-yourself kit at home.

Exsimio – Carbono 14 (2005 Chile). Exsimio play in that style of guitar-centered, tightly played, instrumental rock that one can find in bands such as Philharmonie, Yang or even some of Djam Karet’s work. Another more obscure reference would be Brazil’s Algaravia from the mid-1990s. And, by extension, the Court of King Fripp is what’s really behind this band’s mindset. Elements from “Red” to “Discipline” can be picked up. Interesting to note that the tracks with Spanish narration give it an odd Italian feel, like Latte e Miele or Pholas Dactylus. This is Exsimio’s second album, 6 years on from their debut. I haven’t heard that one, so not sure how much the band has improved, but I’ve been told this is the better album. “Carbono 14” is on Chile’s own Mylodon, another consistent go to label that have many new and exciting acts.

First Band From Outer Space – We’re Only In It For the Spacerock (2005 Sweden). I was introduced to FBFOS through their second album and actually managed to pen a more formal review on Gnosis. This album marks their debut. Yet another quality Swedish band on the ever impressive Transubstans label. This one is a little bit more in the stoner bag than the followup, with more heavy chord action and yelled vocals verse psychedelic atmospheres and freaky guitar solos (though there’s plenty of that too). Sort of a cross between old Hawkwind and Colour Haze. They improved on their next album (adding flute helped immensely), but this is still not one to overlook.

First Band From Outer Space - Impressionable Sounds of the Subsonic (2006 Sweden). No prizes for guessing this Swedish group’s niche in the music world. FBFOS’ second offering sets them clearly in the Hawkwind mode of spacerock. Normally I think it’s lazy for a reviewer to refer to a band operating in this field as Hawkwind (or Gong) influenced, as really you could say that about most of the groups. But in FBFOS’ case, it’s pretty accurate for much of the album. Not at all to imply they are plagiaristic without an original thought in their collective heads. No, Hawkwind laid out a very flexible grid with their open sound and alien textures. And FBFOS have created their own unique room within this large house. The opener ‘Novaja Zemelja’ represents the time honored tradition of creating an exotic atmosphere (newborn babies crying no less) with ethereal flutes and Eastern textures, only to be bludgeoned by blazing guitars, searing synths and fast tempos. I never get tired of that! And here, like all of the tracks, they have a bass heavy sound – one that drives the rockier sections to new heights. Also, special mention goes to flautist “MoonbeamJosue” who adds a special dimension and is highlighted far more than, say, Jumpin’ John from Ozric Tentacles. “Utan att Veta” is one of a few showcase tracks for Josue, and demonstrates how outstanding the light instrument contrasts in the overall heavy setting. Would like to point out that I prefer the native Swedish as used here to the more common English. I guess all those years of listening to Trettioariga Kriget and Algarnas Tradgard have trained my ears for the beautiful singy-song language. There’s more of a straightforward modernist rock approach to some tracks like ‘Mean Spacemachine’ and the title track, where FBFOS recall LA’s Farflung or the UK group Strobe. Though the latter features more movements with flute, organ and Pink Floyd like sounds. ‘To Be Seen As The Underdog’ is the kind of polarizing acoustic track that Hawkwind would insert amidst the mayhem, akin to ‘We Took the Wrong Step Years Ago’ from “In Search of Space”. From my perspective, the last three tracks are the highlight of an already good album and propels ISotS to excellent status. 13 minute ‘Gröna Händer’ starts this segment with copious flute, wah wah guitar, driving rhythms, otherworldly voices, electronica (and, ja, Swedish vocals!). The 9 minute tribal ‘Todo Pasara’ follows and is yet another flute featured track with organ and great guitar soloing. The atmospheric and trippy ‘Sagarmatha 8848’ closes. At the very end of this piece we get some Hawaiian lounge music to whittle away the final moments in peace. FBFOS are another great band on Record Heaven’s Transubstans label!

Flor de Loto – s/t (2005 Peru).
Flor de Loto – Madre Tierra (2007 Peru). The Mylodon label has been responsible for turning up some great bands from Chile, and it’s nice to see them reach over to their northern neighbors in Peru, where we find the excellent band Flor de Loto. Peru had quite the psych scene in the late 60s and early 70s, and they possessed one of the world’s most exciting music scenes of the day. But political conflicts were particularly hard on Peru, and the country degenerated into chaos throughout most of the 70s and 80s. Stability seems to have returned, and now we’re getting a new crop of music acts. Flor de Loto are very much a modern band, but one with two feet in the past. One foot goes to the heady days of the early 1970s that produced the progressive rock scene. The other foot goes way back to the indigenous tribes, and their musical traditions and folklore. So along with the usual rock instrumentation of guitar, bass and drums, they have a dedicated winds performer who plays on a variety of flutes, both classical and traditional. Somewhere between the aggressive Japanese band Naikaku and the classic Chilean’s Los Jaivas is where you’ll spot the sound of Flor de Loto. And on “Madre Tierra”, there are some mad outbursts of fuzz guitar that even point the French band Nebelnest. Their formula is one that can go in many different directions and still be exciting. Already looking forward to the 3rd album!

Forgas Band Phenomena – Soleil 12 (2005 France). For me, one of the most anticipated new albums for 2005. Definitely not a let down, as Forgas and Co. really put together a nice set of instrumental compositions. The opening title track is the best, almost deploying a horn rock sound. This is followed by a 34 minute that tends to drag a bit. I think that's the main problem with the album, as it doesn't sustain the enthusiasm for its length (another 28 minutes follows). It's never boring, just missing a little something. Like running the football on every play – until they finally score a touchdown. Give me a little razzle dazzle! My guess is the "one take – live concert" concept hurt it a bit. From my perspective, "Soleil 12" falls behind the debut, but is better than the sophomore album.

Free System Projekt & Dweller at the Threshold – Passenger 4 (2004 Netherlands-USA).
Free System Projekt – Protoavis (2004 Netherlands).
Free System Projekt – Gent (2007 Netherlands). Of all the current bands playing in the retro Berlin Sequencer school of music, Dutch ensemble Free System Projekt may be the closest in imitating the original pioneers. Especially the Tangerine Dream variant circa 1976 to 1977. “Passenger 4” is their collaboration with the US band Dweller at the Threshold, another Berlin School proponent. DatT are bit more generic in their sound, and they provide the first track, which whizzed by without notice. FSP kicked in the second track, and my head immediately went up as the choir mellotrons and sequencers began to roar. That’s more like it! The remaining 4 tracks are a collaboration of all three members of FSP and Dave Fulton of DatT. With those odds, it should come as no surprise that FSP is the dominating force behind this effort, and that can only be viewed as a good thing. Well, enough said I think, you already know if this album is right for you. “Protoavis” is, no surprise, very similar to all the FSP works I’ve heard. There’s just a tad more ambient this go round to set the mood, and allow some build up of emotion for when ultimately the sequencers arrive, often at a frenetic pace. Another winner. “Gent” is FSP’s latest, a 73 minute recording taken from a 2005 concert in the namesake city (Gent is the Dutch spelling of Ghent). This one is slightly darker in tone, pointing towards a 1975 era Tangerine Dream, closer to “Rubycon”. For some, Free System Projekt are no doubt likely to irk purists, and state they are nothing more than plagiarists. But I don’t feel that way strangely enough. The style of music that TD laid down 30 years ago is open natured, one that can be explored in a variety of different ways. I’ve now heard all of FSP’s official releases since 2000 (including collaborations), and all seven of them have scored an 11. I’m struggling to rate these as classic due to the familiarity with other albums, yet they’re just too good to rate any lower. Not sure I’d be that way with a Genesis or Yes copy band, but I can live with it when talking Tangerine Dream. If they release a new album, I’m certain to pounce on it. And I’m still searching for their 90s works.

Free System Projekt w/AirSculpture – Okefenokee Dreams 2001 (2001 Netherlands-England). Second recording of Tangerine Dream fanatics who gather annually at the Georgia swamp to celebrate the aforementioned group, whose "Stratosfear" composition gives them the excuse for the exercise. Made up of some of the leading lights of today's Berlin School practitioners – primarily Holland's Free System Projekt and England's AirSculpture - "Okefenokee Dreams 2001" flows with sequencers, mellotrons, fuzz guitar, echoed voices and all sorts of other great sounds (mainly organ patches) and ideas which make the genre exciting. Just to take that last comment further, this is a microcosm of why the Berlin School can be timeless – with 5 different members providing input, this gathering proves there are many more doors to open before they all sound alike. As long as I don't listen to this stuff everyday, I will continue to be floored by each new recording. I'll start with an 11 – but could easily go up.

French TV – This is What We Do (2006 USA). Another new album from French TV. Another great album from French TV. Does the community at large take Mike Sary’s band for granted? I’m thinking yes. Sometimes I think that because they’re “always around”, folks may ignore them more than the “new kid on the block”. 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 progressive, 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. Even Magma had to take a long break to regain the focus (and they were just starting to sink into irrelevance in the early 1980s when Vander put a stop to it). No one will know the day French TV stops, but after about 10 years, someone will ask “Whatever happened to French TV?”. Maybe the reunion tour will draw more fans? I hope it doesn’t get to that. Just keep doing what you’re doing. An A-List band for two plus decades.

French TV – Pardon Our French (2004 USA). 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. And at this late age, one has to wonder if Mike Sary is the next Colonel Sanders (watch a Biography of Harlan Sanders sometime to marvel at what a human being can do after age 65 – the point at which Harlan got started with Kentucky Fried Chicken.) What made me think of that? Oh right, French TV are from Kentucky. Every track is spellbinding. And the French medley of Ange/Pulsar/Carpe Diem/Shylock/Atoll/Etron Fou is pure genius. Overall this is ridiculously good, like almost better than 12 good. The album that pushes them into the stratosphere. Yes, it's great – classic. No doubt.

Fro! – The Paisley Album (2002 USA). Amazing new guitarist, African American Harold Davis Jr., who summons the ghosts of 1972 past. Tight melodic sax charts are offset by some mean wah wah and fuzz guitar. The rhythm section is hot, with a strong slant towards the Latin groove. One of the most promising debuts from a guitarist led group I’ve heard in a long time.

Garden Wall – Chimica (1997 Italy). While GW always had a heavy streak, "Chimica" is the album where they really jumped into the metal camp. But this is no metal band with progressive tendencies. On this album at least, they don't have the sound nor techniques down to survive as a metal band. But as a progressive band operating with a metal sound, this is really something. 34 minute opening track goes through many different sections while still maintaining the sense of a whole composition. For fans of their earlier style, "Chimica" is seen as an album going in the wrong direction, but since there are plenty of keyboards and acoustic sections, it was passable. For folks like myself who love this kind of creativity while still rocking out, Garden Wall were continuing to progress into new exciting realms. It would be five years until their next album "Forget the Colours", and not only did they continue to polarize, they blew a hole in the universe.

Garden Wall – Towards the Silence (2004 Italy). Not sure where the band would go after "Forget the Colours". After a slightly ordinary beginning (for GW at least), the band launched into yet another indescribable opus prog, metal, avant-garde, God-knows-what classic album. Progressor says this about them: "No doubt, Garden Wall is the most underrated prog-band of the present day. As a matter of fact, these very Italians are, in my opinion, the most innovative and original contemporary progressive band.". He also says they are the metal equivalent of the RIO movement, which I thought was perceptive. "Towards the Silence" is definitely not as aggressive as the prior album, and that's a good thing, or it could've been a mess (some say it was anyway). Even a couple of (gasp) mellow tracks. Really great to hear such innovative composed music with so much muscle.

Go here to see my review of Forget the Colours (2002 Italy))

Gargamel – Watch For the Umbles (2005 Norway). It’s been about awhile since I last slobbered on about a Transubstans label act. Norway’s Gargamel are yet another new symphonic band for the label, though this album has remained in the drawers since 2002. Whereas fellow countrymen Wobbler took the Genesis/Crimson package through the Anglagard axis, Gargamel opted for the darker VDGG through the Landberk filter. The Hammill-esque vocals take on that European slant, perhaps in the manner of Italy’s Garden Wall, but without the histrionics (nor the metal tendencies). Also love the cover – a dreary, gray 1970’s era inner-city apartment building, accented with a snow piled streetlight. In a genre filled with fantasy covers, this can be a startling view indeed. Their follow-up this year will be one of my most anticipated albums to watch for.

Gosta Berlings Saga – Tid Ar Ljud (2006 Sweden). Hey, it seems forever since I last went on about a new Transubstans label band! What? At least a day has passed hasn’t it? And while I’m thrilled about bands like First Band From Outer Space, Drahk Von Trip, Oresund Space Collective and Gargamel, I’m REALLY jacked up about Gosta Berlings Saga. This is one of the most organic Swedish prog albums I’ve heard, well, since Grovjobb burst onto the scene. This isn’t flashy, million notes a second in 13/8 time acrobatics. No, this is for those that remember music was meant to be made to feel good, with a quality melody (that is distinctly Scandinavian, but not to the corny point ala bands on Northside for example). Kebnekaise “II” would be a good barometer. Wonderful fuzz guitar and a not-in-a-hurry approach has me thinking these guys have a major future. I just hope they aren’t going to be too obscure.

Henry Fool - s/t (2001 England). Proving once again that the Cyclops label cannot be ignored just as a garden variety "neo" label. I've read reviews on this, and it sounded interesting - but wasn't sure what to expect. Having now heard it - I don't think I could describe it either. Well, a Porcupine Tree comparison is unavoidable. Especially in the vocal tracks. That is to say, the more melancholic P Tree with lots of mellotron. The instrumental parts range from lounge jazz to pure psychedelic bliss and all points between. Radical in its own way - though not necessarily ground breaking. It's not until track 4 that vocals are even heard. 16 tracks in all. This is the same spirit that classic prog had in the 70's - making music to make music. No end purpose in sight. Exciting concept really.

Hidria Spacefolk - HDRSF (2001 Finland). Finland’s Hidria Spacefolk broke onto the scene in 2001 with “HDRSF-1”, which featured recordings from as early as 1999. And until 2006, when the band finally released the material as a regular CD, they were only available as a free online download. And what a debut it is! Hidria Spacefolk are one of the very few bands to take the Ozric Tentacles space rock via Hillage formula, and actually take it further by adding more instrumentation, putting together more complex compositions and rocking harder than Ed Wynne and crew (that’s no small feat right there). While Hidria wasn’t even close to reaching their peak at this stage, there were plenty of signs they could put together a masterpiece (and their subsequent two albums have done just that). Most notably ‘Sindran Rastafan’ is the type of space rock rave-up that leaves one amazed, exhausted and overwhelmed (not to mention sweaty). Hidria mixes wah wah style funk, hard rock guitar, cosmic and very fuzzy synthesizers, Middle Eastern melodies, Indian flute and didgeridoo, sometimes all in the same song! Variety is their strong suit, and they mix high energy jams with meditative quiet sections with ease. The band likes to change things around in a rapid manner, so the music never gets stale and always remains exciting. This debut demonstrated to the world that Hidria Spacefolk were to be one of the best space rock bands of the modern era.

IQ - Tales From the Lush Attic (1983 England)
IQ - The Wake (1985 England)
IQ - Ever (1993 England). Hard to imagine now, but at one time iQ was a boon for the prog-starved fan in the early 1980s. 1983 was an exciting time for progressive rock music. England was experiencing a renaissance in creativity after a dearth in exciting new music killed off by disco, punk, and synth-pop. Heavily inspired by the early works of Genesis, bands like Marillion, Pendragon, Pallas, Twelfth Night, Haze, and iQ were blazing a new trail. Decidedly noncommercial for the day, these bands were raising the spirit of Gabriel-era Genesis from the dead. Best of all, it was an updated sound with modern equipment, cleaner tones, and a more aggressive rock approach (influenced by the punk movement no doubt) combined with the challenging compositional style of albums like Foxtrot and Trick of the Tail. It was during this period that I personally became involved with the progressive rock scene. I 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. Tales From the Lush Attic was iQ's debut released on a very small private label and released in 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, thus leading to a much larger repress. iQ's reputation had begun. Opening with the 21-minute "The Last Human Gateway", iQ laid down the gauntlet. 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, digital synths, crazy rhythms, Hackett-esque guitar, and possibly best of all, a very talented and dramatic singer in Peter Nicholls. He even wore face paint. My God, how très gauche 1970s! What no self-respecting record exec would ever admit is that there is an audience for this style and there always will be, just like there is for glam metal and country. C'est la vie. Continuing on, "Awake and Nervous" is a more commercial sounding track in case any reviewer had made it through the opener. 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, a classical solo piano piece. The closer, "The Enemy Smacks" is iQ's finest moment. A combination of hard rock and symphonic prog which happens to contain their most complex metronomic moments. Very powerful, and just the right punch to score with younger fans. There was heavy anticipation for iQ's second album and they delivered in grand fashion. No sophomore slump on The Wake. No doubt their heavier moments from the debut were better received by a live audience and iQ began to move away from some of the subtle brilliance of Tales ... to more anthemic rock structures. The title track itself is proof that iQ could pack a wallop and still be interesting. The analog keyboards were almost completely tossed for modern, cutting edge synthesizers and samplers. While in today's world old vintage equipment is highly revered, the 1984 mindset was anxious to ditch the heavy, clumsy 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. "Widow's Peak" is iQ in all its glory. From powerful head banging anthems to guitar loops meshed with anguished vocals, the track delivers on a number of fronts. The album was a move forward to a larger audience while not compromising the creativity. iQ were on the tightrope of accessible progressive music, balancing perfectly here; but a rope that they were to fall off shortly thereafter. With fellow English progressive band Marillion enjoying major label success on EMI, other labels were interested in signing the next "big thing." Polygram took a chance on iQ. This was to be the progressive community's big move into the mainstream. Their underground, uncompromising leaders iQ were to be the vanguard for a new sound! There would be a renaissance like ELP, Genesis, Yes, and Pink Floyd of yesteryear! "Wide open in the end zone, the throw is there, and ... ?" They dropped the ball. Nonzamo was a garden variety, typical mid-80's, mid-tempo, radio-friendly rock affair. What a huge disappointment. But the truth is, all the "prog" bands of the early 80's had moved in this direction. Arena rock bands such as Europe and Night Ranger were drawing enormous crowds and selling albums at a sizzling pace. Marillion, Pendragon, and IQ were only 10 or 15 too many complicated meters from joining this money tree as well. Why not? "Our fans will be there and our songwriting will be better". It's hard to blame a band for thinking this way, especially with a major marketing machine behind you. And so iQ went down this sordid path only to be abandoned by their hard core faithful. Trouble is they didn't pick up the fickle, don't-care-what-I-listen-to-as-long-as-it's-loud record buyer. Bottom line is this kind of music just isn't iQ's strength and it probably didn't help that original vocalist/leader Peter Nicholls had bolted not long before recording. iQ even received another chance to mend their ways. Are You Sitting Comfortably? was perhaps even worse. They were bound and determined to be a commercial smash! And, in the end, this sad chapter ends with egg on their faces. By 1993 progressive rock really had found its roots again, and with bands like Anglagard and Anekdoten blowing everyone away with their modern take on 1972, a band like iQ didn't seem to have an audience, especially after such a long silence. The logical choice would've been for them to join what was now known as "Neo Prog," which had quite a large niche audience. Bands such as Marillion and Pendragon were enjoying a cult-like status and they had many emulators. Peter Nicholls was back, but could iQ regain their fans? Ever was the result. This is the album they should've done for Polygram! Picking up right where The Wake leaves off, iQ climbed back on the tightrope. There are plenty of quirks and complicated moves to please the more discerning listener while still delivering accessible melodies for the more commercial oriented. In fact, the two-part "Fading Senses" is as good a track as iQ has ever recorded. A many segmented piece with some stunning atmospheric keyboard work and driving guitar.

IQ – Subterranea (1997 England)
IQ – The Seventh House (2000 England)
IQ – Dark Matter (2004 England) Upon release, I viewed "Subterranea" as their "Lamb Lies Down on Broadway". Not sure that was too far off the mark, though I found it better on reflection. "The Seventh House" is the first IQ album for me to buy since 1997, and at this point, I'm not so sure I missed that much. My initial response was "The Wake Pt. 2". Has that same anthemic vibe. Though this one has more of an obvious arena rock feel, whereas "The Wake" would go into true blue progressive rock territory. 2 straight listens, and all very easy to digest, though not too many moments had me looking up. Keeper? Sure, it's still quality IQ, nothing like those horrid commercial ventures of the mid to late 80s. On the other hand, "Dark Matter" seems like the album I've been waiting IQ to make since "Tales From the Lush Attic". It's dark atmospheres recall "The Wake", but the progressive songwriting is more towards their very early years. Their annoying penchant for commercial rock is all but gone here.

Karmic Society - Journey (2007 Germany). Karmic Society are a new, primarily instrumental German band who have a sound somewhere between the early 1970s German/British heavy prog rock sound (2066 and Then, Odin) combined with some 60s jam band elements (Grateful Dead, QMS) and even some Kraut space rock ala Ohr era Guru Guru. Nice to see the high quality reissue label World in Sound beginning to produce some fine new talent in addition to their excellent reissue inventory. “Journey” opens with a fascinating cover of an obscure mid 1960s synthesizer composition, though with a full sounding rock band (organ, guitar, bass and drums). From here they launch into their 4 original compositions, which are easily the highlights of the album. Hammond organ and electric lead guitar are the solo instruments of choice, and to my ears at least, they sound like the best of the retro hard prog rock groups like Black Bonzo, Blood of the Sun and the Wicked Minds. One aspect of Karmic Society’s sound that I find highly appealing is their strong melodic sense, something that is lost on many newer bands. The final 3rd of the disc comprise of all covers. “Yoo Doo Right”, the old Malcolm Mooney era Can chestnut gets a much needed upgrade, and I find Karmic Society’s version considerably better and more focused (and frankly less annoying). Quicksilver’s “Witches Moon” is up next, and KS are up to the task with a riveting version. They close with the Dead’s “Dark Star”, which if nothing else takes a lot of guts. There are literally thousands of live versions of this opus, mainy of them masterpieces in their own right. They’re stomping on sacred ground here, and perhaps it would be better not to try an attempt, even if they do indeed produce a fine version. In conclusion, Karmic Society are much better with their own material which fits them like a well tailored suit, and I hope in the future that’s the focus for them. They have “classic” written all over them. Even as it is, “Journey” is simply VERY GOOD and is not to be missed!

Kenso – Utsuroi Yuku Mono (2006 Japan). Kenso’s career has taken them to many different styles and genres over the years. Starting out pretty much as a standard Genesis symphonic act, they began to introduce fusion around the time of “Kenso II”, thus earning their rightful place as one of the standard bearers of “symphonic fusion”. But, in reality, the band quickly ventured from there more into garden variety fusion following “II” to the point where they were indistinguishable from any known American band by the late 1980s. “Yume No Oka” readdressed the symphonic idea to great success, though it would be 8 years for a studio follow-up. “Esoptron” introduces us to a more hard rock oriented Kenso, which they tempered with a more progressive flavoring on “Fabulis Mirabilibus De Bombycosi Scriptis”. Some would argue that this period may have produced some of their best live material (the hard rock energy adding a much needed boost to the live setting). I bring up the abbreviated history, because “Utsuroi Yuku Mono” is by far the closest album to their most beloved studio “Kenso II”. They’re fully back in symphonic fusion mode here, except with a much better production, taking advantage of 25 years of studio experience. I need much more time with this, but could very well be the best studio album they’ve ever done.

Korai Orom - s/t (1995 Hungary). Let's face it - the festival/space rock/Stonehenge style that blew us all away a few years ago with Ozric Tentacles leading the charge, has grown.. well, a bit stale. Ozricitis is a term that refers to a group who rehashes the same material album after album. Sad really as those early Ozric albums are still killer. Anyhoo, Korai Orom has managed to breathe new life in this genre. Much more subtle in their approach, they aren't that far removed from a "chill out" band at your local Rave-a-thon. Piano, trumpet, didgeridoo, tribal drums. Ah, but instead of just building atmosphere and letting you fall asleep they ATTACK and put a logical conclusion to these sounds - thus giving them a purpose. The guitar playing is HOT - and that's what separates this from the heap of wannabees.

Korai Orom - s/t (Hungary 1996). Tired of trying to convince your friends that Italian progressive rock from 1972 is great? Feel instantly hip with this slab of ultra-coolness. Picking up where they left off on Korai Orom circa '95, these guys are masters at mixing chill out sounds with Ozric space jams. A little heavier than their debut, some of this reminds me of the great Omnia Opera. Magnifico! Be now. Buy this.

Lady Lake – Supercleandreammachine (2005 Netherlands). It wasn’t too long ago I spoke of the 1980 archival release by Lady Lake. What spurred that on, I’m sure, was the reformation and new album release of “Supercleandreammachine” (named after a radio program in The Netherlands). Lady Lake’s comeback album is how all such reunions should be. No nods to modern music such as techno or heavy metal. No attempts at trying to win over a radio friendly audience. No overt plagiaristic 1970s sound. Nope, Lady Lake pretty much picked up where they left off on “No Pictures” and recorded a new album in a similar style. Sure, it sounds like it was done in 2005 rather than the late 70s, just as it should be. Lady Lake play a type of music that is difficult to get right, since it’s almost entirely built on melodic structure. No sophisticated arrangements, fancy time signatures or long jams. So if the music quite simply isn’t appealing from a melodic perspective, it’s going to be a yawn fest. As most are in this genre truthfully. But Lady Lake is that special band that transcends the scene and the group hasn’t lost their touch one bit. Maybe not the classic “No Pictures” is, but an excellent reunion, one of the best I’ve heard. A-List group all the way.

Level Pi – Entrance (2006 Germany). A rare modern album on the Garden of Delights label, Level Pi is the work of one Uwe Cremer, who plays all the instruments here. What Uwe has done, quite simply, is take the ethos of Manuel Gottsching / Ashra and dragged it kicking and screaming into the 21st Century. The guitar playing is exquisite throughout. 8 long tracks of cosmic guitar and electronics. Nice variety too – some more rock oriented, other ambient, a little Berlin School sequencing, and again others have an industrial edge. Cosmic Hoffman and even some of Electric Orange’s more earnest Krautrock efforts would be other reference points. Very, very good.

La Maschera di Cera – LuxAde (2006 Italy). Hard working bassist Fabio Zuffanti has many bands (Finisterre, Hostsonaten, Aries, Zaal, etc…), and each one represents a certain sound that he likes to explore more in detail (his initial band Finisterre is the one that is truly eclectic). La Maschera di Cera is his vehicle dedicated to the early 1970s Italian progressive rock scene, with only vintage gear being deployed. Along with the usual keyboard (Hammond, Mellotron, Moog), fuzz bass and guitar sounds, there’s quite a bit of flute, an instrument that was predominantly featured in 70s Italian music. In the end, the group achieves what it sets out to do, though I’d say LMdC are not quite as complex of some of the finest bands of the 70s (Jumbo, Semiramis, Banco, RRR, etc..). “LuxAde”, the 3rd and latest album, is probably the best of their output - and comes highly recommended.

La Maschera di Cera – s/t (2002 Italy). Probably the most overtly retro of the current wave of Italian progressive rock groups. La Maschera di Cera are from the Zuffanti factory of groups and have been quite successful for the two I’ve heard (missing only the new one). I know the drumming has been called out as a weakness, but fortunately it isn’t bothering me, as I find the focus more on sound texture and atmosphere verse technical gymnastics (either one are a trait of the classic 70s Italian scene). Probably if I had a beef, it would be the flute is too buried in the mix and doesn’t sound “crisp”. Close your eyes, and it still doesn’t sound like the 1970s. Nothing wrong with that, just need to set the right expectation. Vocalist turns in a fine performance (naturally, and thankfully, sung in Italian). Fuzz bass, mellotron and organ will always score points in my book. No classic, but LMdC still received an A-list status with this debut.

Melodic Energy Commission - Time... Is a Slippery Concept (2005 Canada). With these guys, time is a slippery concept. In 1979, MEC sounded like 1971. In 1980 they sounded like 1971. And 25 years later they sound like…no door prizes… 1971! When I say 1971, I don't mean production styles and era instrumentation, but rather a certain adventurous composition style, completely non-linear and skewed, beyond the scope of rational imagination. Add to that about a baker's dozen different instruments and a distinctive psychedelic sound, and you have one of the great modern space rock albums. Instant classic 12 with plenty of room to grow. File Don Xaliman next to John L. as true modern geniuses who will be discovered long after they're dead.

Metrognom – Twangyluck (2006 Norway). I always like it when progressive rock bands call out obscure references, as it generally shows a band that has done at least some musical research. Just as in the early 1970s when the best bands possessed good knowledge of classical, jazz, rock and blues, today’s groups should be able to single out more than Yes, Genesis, Marillion, Radiohead and Porcupine Tree. So Metrognom come out with the Cosmic Jokers, Grobschnitt, Novalis, Goblin, Pulsar and fellow countrymen Akasha and Host, along with the usual Gentle Giant, Camel and King Crimson. Not that Metrognom really sound like any of those bands, nor should they. They’re influences. Something they can draw upon, like a good scientist would do with past research. On “Twangyluck”, Metrognom compose and perform four long instrumental pieces (13,13,14,21), driven primarily by aggressive guitar (though not metal) and active drumming. Sax and keyboards (Hammond, Moog, Mellotron and some modern synths) provide the color and occasional solo. I like their use of the wind synthesizer, an instrument that still is under-utilized in the current progressive rock genre. Some of the sax playing, when in unison with the guitar, recall the early 70s UK bands like Raw Material or Hannibal, something you rarely hear these days. If I had a complaint, it’s that the keyboards are a bit buried in the mix at times, lessoning their potential impact. Metrognom are yet another exciting band from Scandinavia, which along with Chile, are clearly leading the way for progressive rock in this first decade of the millennium.

Mindflowers - Improgressive (2002 Hungary). I was told this was in the Mahavishnu, RTF vein of heavy fusion (it's not). Had I been told it was more like an Inside Out / Magna Carta instrumental jam ala Dream Theater and their cronies, I would've probably avoided.... and that would've been a mistake! This is a very fine instrumental heavy fusion disc (in the modern sense with some metal influences), but being European (Hungarian), the pacing, melodic structure and atmosphere is entirely different to an American in-your-face bravado shred-fest (though there's a place in my collection for that too!). This one sticks with you and the opening track is a killer.

Mushroom – Glazed Popems (2004 USA). “Glazed Popems” is a 2 CD set, each representing a different side of the band. The ‘London’ side captures the spirit of 1970, with long drifting space rock cuts, reminiscent of Pink Floyd in their “Ummagumma” state of mind – with a nod to the earliest Ohr based Krautrock scene. When Mushroom first started out, they were typical of the retro Krautrock chic crowd – that is to say, everything began and ended with Neu! Mushroom have really developed since those easier times. They no more are just a simple copy group, rather one that has completely immersed themselves into the zeitgeist of the original movement. Mellotron, flutes, electric piano, woodwinds, strummed guitar, hand percussion. Non rushed, not of our time. You almost would expect them to ask for Ethyl at the gas station. An extraordinary work, if not always satisfying. The second disc is titled ‘Oakland’ and is consistent with their recent pursuits into the freaky funk fusion ala “Foxy Lady”. So it’s more 1974 than 1970, but still a play for an another era. Even though Mushroom perform a style of music from the past, they don’t really recall any one band or album. It’s as if they took a time machine to the past, and created their own piece of history. Mushroom are one of my favorite current bands, and their releases are uniformly strong. Nice period photos of hot naked chicks might persuade downloaders to own their own copy.

Mushroom - Hydrogen Jukebox (1998 USA). Here they do what they know best - lay down hypnotic grooves and layer it with acid guitar, flute and mellotron/organ. Very organic and smooth feeling. Very hip, yet backwards looking psychedelic. Other than one sort of tongue-in-cheek 60's "Hullabaloo" track, the rest could be classic 70's Kraut undergound with a 90's too-cool retrospective view.

Mylla - Vanya (2007 Sweden). Mylla are the house band for Subliminal Sounds and sort of represents an “All-Star” cast featuring, amongst others, label wunderkind Gustaf Ejstes (Dungen). Recorded on a remote forest island in the Arctic, Mylla’s sound is, appropriately enough, isolated from modern times. Organ, ac. and el. guitar, flute, and the songwriting and production all recall a 1969 to 1971 vibe. The compositions are all quite lyrical and the overall sound is VERY Swedish. So a love of the language in song is pretty much mandatory for one to have any chance of appreciating this album. Anyone from Träd, Gräs och Stenar to November would be a good guidepost here on the vocal front. Musically, it’s interesting to spot pre “Aqualung” Jethro Tull coming to the fore. I’m averse to comparing any rock band with an abundance of flute to Tull, but sometimes it’s unavoidable, especially if the songwriting style is similar. And even though I said earlier how Swedish this album is, the closest album I can compare it to is Finland’s Tabula Rasa circa their debut. Other than a couple of 60s sing-around-the-campfire feel-good ditties, this one is easy to recommend. While the album as a whole isn’t overly convincing, I have a feeling future efforts will be awesome, if such an event occurs. The right pieces are in place.

Navigator – Northern Consequences (2000 England). One of the best Euro sequencer/guitar based electronic albums I've heard in some time. I was tempted to go a 13 here, but it didn't maintain the intensity the last 3rd or so. Some serious rave-ups, more like the early 70's bands, than what we typically associate with EM. More sprightly than the followup "Oceanic Empire".

Omnia Opera - Red Shift (1995/1997 England). Omnia Opera were one of the original members of the large scale movement known as the UK Festival Rock Scene (Andy Jones, a member of Omnia Opera, has commented below that they really weren’t a part of the scene), which was the 1980s equivalent of the 1960s hippy movement in the US. Participating bands played primarily for free and subsisted on tape sales and communal living. By far the most known band from this genre is the Ozric Tentacles, but there were many others that were just as worthy and most were sadly forgotten by the mid 1990s. Raise your hand if you remember Soma, Strobe, Mandragora, The Great Imperial YoYo, Paperhouse and … Omnia Opera (amongst many, many others). What separated Omnia Opera from the pack is they were one of the very few, if not the only one, to actually be heavier than the Ozrics. Omnia Opera were an aggressive bunch with thrashing guitars in the Hawkwind style, mixed with the ripping solos that Ed Wynne and crew are also noted for. While their debut received generally positive reviews, “Red Shift” was generally panned. In retrospect, their sophomore followup is no less worthy of recognition. Where some of the dissatisfaction came from, I’m sure, is the inclusion of techno elements, which many felt was the direction that killed the festival movement itself. Delerium Records seemed to almost insist every band on their roster at least incorporate some bits of electronica into their albums (Omnia Opera has exonerated the label, stating they had nothing to do with Omnia Opera’s choice of utilizing techno). Now I see the rejection of “Red Shift” as more of an audience’s turning-the-back on the new electronica styles being force fed to them, verse an actual objective viewpoint of the album itself. I suggest everyone who has a fondness for this style to give it one more listen.

One Shot – Ewaz Vader (2006 France). Like the Academy Awards when it comes time to nominate the Oscars, Gnosis also has a bias towards certain types of art. And in this context One Shot is definitely “Academy friendly.” Gnosis likes either a) the avant progressive school, mixed with a little chamber or original RIO movement (Cuneiform label adds points), or b) we like vicious and complex instrumental fusion. If you can put a Zeuhl spin on it, or even better, possess a Zeuhl heritage, then you win the “best of the year” award. So it’s easy to see why “Ewaz Vader” is running away with the 2006 title. It’s a can’t miss release with the throbbing bass action expected of Zeuhl music, pulverizing drums and dual guitar / keyboard soloists. The first few bars had me thinking this might go into the stratosphere ratings wise. But, like the name implies, One Shot is not the type of band to lock into a groove and edit later for more impact. So there’s a tendency to run a little long in different places. One Shot are no doubt an A-list group and they’re likely to be appreciated by everyone, thus their place at the top. But for individual self-actualization, I’m not sure they have the right stuff for the next layer.

Oresund Space Collective - s/t (2005 Denmark-Sweden). I can’t seem to get enough of the Transubstans label, who are discovering new quality groups at an alarming rate. Oresund Space Collective are yet another Scandinavian space rock crew, who revel in the art of the groove and the jam, and eschew any kind of arty pretension. Large ensembles are the way to go when performing this kind of exploratory music, and OSC deliver all kinds of personnel and instrumentation. A true international bunch, in that their very name is the bridge between Denmark and Sweden (plus an American who has the good sense to live amongst the peaceful). This band has already coughed up a followup double CD + a 3rd is on the way. I can hardly wait.

Ozric Tentacles - Spirals in Hyperspace (2004 England). About every couple of years, we'll get the hype that the new Ozric is "different", or "back to their old style" or "more kick ass than the rest". Of course, it's more of the same, but, yea, it IS different. Aural Innovations actually pegged Spirals right when they claimed it was really an Ed Wynne solo album. Ironic that Ozric's first release for shred supergroup label Magna Carta would have drum machines as the prominent rhythmic structure (on all but 3 tracks). The first 2 songs had me sitting up straight as they did kick more than the usual ass - and Ed was in fine form throughout. As for the rest, pretty much hit and miss.. some memorable and others generic-Ozric electronic. I see this as the followup to "Curious Corn" rather than any return to their more energetic jamming side. And while drum machines aren't always my thing, for Ozric, it doesn't make that much difference as they always scored the most points with the melody and solo instruments. Like they say about Fela Kuti, Ozric only knows one kind of album, but they are damn good at what they do. Personally, I think the band is going the wrong way. For Ozric to make any progress, they're going to need more members and a change (or addition) of instrumentation (sax, organ, trumpet, whatever....)

Panzerpappa - Farlig Vandring (2004 Norway). This is the kind of music that fits right into my "wheelhouse". Winds/guitar driven (with mellotron samples), Canterbury influenced instrumental melodic prog with all the usual influences from Moving Gelatine Plates to Missus Beastly to Soft Machine. Of course, it's great and a must have - but hasn't completely bowled me over yet on 3 listens. But I know this kind of music tends to get rated higher over time once it gets in my cabeza.... The parts of the previous album I heard , "Cave Mystery", was a bit more lively than this release... great band

Pentwater – Ab-Dul (2007 USA). Already a charter member of the biased Pentwater fanboy club, I just had to get the new album, even though these guys haven’t released anything in 30 years. With most reunions, I duck for cover, figuring the band had long forgotten why anyone wanted to hear them in the first place, ergo the irrational desire for a quick FM hit. As if all the 14 year old girls will start swooning for 55 year old geezers singing about lost loves, or worse, some sort of fairy queen eaten by a jester elf… But this is Pentwater, and these guys were an intellectual bunch even amongst the intellectual, so it’s no surprise they came up with another winner. It’s not perfect, and there were a couple of tracks that seemed to imply that maybe Neil Diamond had it right all along. But they catch themselves, and throw something in 13/8 with a mellotron on top and the world is alright again. I seem to be Pentwater’s biggest fan within our Gnosis ranks, and I’m not sure why. Very few groups can pull off melody and complexity like Pentwater. The Flower Kings could learn a trick or two here (maybe the best trick FK could learn from Pentwater is to not release two hours of music every 6 months…). Recommended.

Phlox - Rebimine + Voltimine. (2007 Estonia). Phlox are a new Estonian band that play in the VERY heavy fusion category (no metal though). Hard driving, fast, complicated and downright exhilarating. A 6 piece group with guitar, sax, Moog, and electric piano being the primary solo components. The opening track alone ‘Rahn’ is likely to leave you with jaw dropped and completely out of breath. We hear flute on this track, and it’s unfortunate that it’s the only use on the album, because the contrast with the heavy guitars and blazing rhythms is awe inspiring. That’s not to say the rest of the album isn’t as impressive, because there’s so much here to like. The only fault I can find is their tendency to take the sax and electric piano jams TOO far and lose us in the weeds (especially on the last 2 live improvisations, which should’ve just been left off altogether). Fortunately that’s a few and far between occurrence. Somewhere between Naikaku, Panzerballet and National Health is where you’ll find the sound of Phlox. HOT!!!

Pseudo Buddha - 3 Months in Fat City! (2002 USA). Best $1.99 I've spent in a looong time... I had been impressed by PB's contribution to the "Fluorescent Tunnelvision" space rock anthology. This is the first full length I've heard, and I clearly need more of this! A lot of bands today exist to create loose, jamming, psychedelic music. This is the first one I've heard that actually delivers on that promise (keep in mind I haven't heard a lot). Well, other than the superb "Circus of Disharmony" by The Exploding Meet that is... 4 long tracks were culled from even longer jams and spliced together for a truly mindblowing cosmic freakout. Not a lot of wasted notes, which is truly remarkable. Maybe it's in the editing, and I'm all for a good editing! Imagine Agitation Free on "Second" jamming with AD II on "Yeti". Many instruments are deployed - including exotic stringed, winds and analog electronics. The band are from San Antonio and "Fat City" is a section and sometimes nickname of New Orleans. Both are distinctly NOT psychedelic destinations, so even the more surprising.

Radio Massacre International – Republic (1996 England). It’s been awhile since I’ve listened to any RMI, and even longer on the earlier ones that got me hooked initially. I think “Republic” is the first one I bought in 2001 and started me on a tear of picking up retro Tangerine Dream style bands from the UK (Red Shift, AirSculpture, Arc, Under the Dome, Arcane, etc…). Tangerine Dream laid out an interesting framework from “Phaedra” to “Encore”, one that wasn’t copied by anyone, including themselves, for over 20 years. There were some mild attempts, usually by solo artists (which is near impossible to do – you need the synergy of at least 2 people to accomplish some interchange of ideas). Then finally some of the groups I mentioned above started getting serious about it. Another key ingredient is the use of analog synthesizers (Moogs, VCS, Elka, Mellotron). What I like is RMI and the others don’t exclusively go retro and will use modern technology to their advantage – but they didn’t abandon the past either. Then there’s the development of each piece. No cruise control sequences for these guys – they’re always twiddling knobs and adding/reducing sounds as they go. Just sit back and watch the world go by – here’s your soundtrack.

Radio Massacre International – Emissaries (2005 England). What an outstanding release this is! RMI had hit a bit of a rut in my opinion, starting with "Planets in the Wires". All their (proper) albums are good, but they were missing some oomph recently. Anyway, this has some amazing sequencer, mellotron action. Some real drums and pulverizing guitar add to a great album.

Redshift – VI: Faultline (2002 England). For my money, no one does the Berlin school sound better than Redshift. At least if 1974-1977 Tangerine Dream is your definition of said scene. In fact, all of the Redshift albums sound like they're the imaginary missing link between "Rubycon" and "Stratosfear". A full 4 piece here, with the Modular Moog as the centerpiece, providing some of the FATTEST sounds and rhythms ever committed to tape. With 2 other guys blistering away at sequencers and solos, not to mention Jenkins wailing away on the guitars, we have a purely breathtaking album. Totally improvised and recorded at the Hampshire Jam 2002 festival.

Redshift – VII: Oblivion (2004 England). Now down to a trio, minus the guitarist, this album is more about atmosphere than complex sequences and sharp dynamics. I think the absence of guitar hurts the intensity. For those that wish that Redshift would branch out more, this might be a good entry point. Still no mistaking their influences or identity though. Probably my least favorite by them on first impact though I could see this growing, just as "V: Halo" did.

Scarlet Thread – Valheista Kaunein (2006 Finland). Another one of those great Scandinavian bands with an organic, rural feel - and completely psychedelic. Scarlett Thread are a Finnish 5 piece with dual electric guitar and violin as the main solo instruments. I loved the first album and spoke of them back in 2004 on OMD. Here’s their latest,”Valheista Kaunein”, which features two guest players on flute, adding one more fantastic dimension. File next to the Swedish groups Grovjobb and Gosta Berlings Saga.

Scarlet Thread - Psykedeelisia Loutsenlauluja (2003 Finland). Laid back instrumental psych. Completely organic, tripped out with violin, guitar leads. Very Scandinavian - more from the Swedish school, rather than Finland where these lads are from. The only other group working in this capacity these days is Grovjobb. Less Kebenkaise "folk in the woods" sounds and more "marinara" (i.e. plain as the sea). Speaking of Finland, a very interesting article in Sunday's Minneapolis Star-Tribune about how important music is to the country's education and overall psyche. Basically the Finnish view music in the same way as writing, reading and math - it's a core skill in a child's development. Seven years of music schooling is mandatory. Might explain the prolific number of musicians from a relatively small population!

Seamus - Zealotry Sterblichen Schizophrenia (2002 France). One of the more unusual pieces to surface of late. Seamus are a new French group (though recordings date to 2002) influenced by the Teutonic side of the Zeuhl school. They have a sort of punk angst about them that recall the obscure Mexican 90’s group Vector Escoplo. For the few who know VE, I sense a wince, but fear not, as Seamus are not near as annoying as that bunch. Runaway Totem would be another obvious reference but not as slavish as that Italian collective. Seamus have carved a unique fresco in the Zeuhl landscape. I think Magma would be proud, if not a bit spooked that the family tree could spawn this. Try this one out if you lean in these directions.

Sebkha-Chott - Nagah Mahdi (2006 France). New French collective that revels in the art of deception. Or art of confusion. The band are as mysterious as the music they create. Without a doubt, Sebkha-Chott spent many hours with their Mike Patton and Mr. Bungle CDs tucked comfortably in their respective stereos. Secret Chiefs 3 and Estradasphere could also be called out as guideposts. These guideposts are the equivalent of finding small, out of the way places, in twisted medieval cities. So just what are we talking about here? A 48 track album, that really works as one long rollercoaster ride of sounds, styles and instrumentation. However, that is not to say it’s just a random gathering of non-linear music. Actually it flows quite well, with heavy metal clearly operating as the glue that holds it all together. Imagine a bullet train racing through the cities, while slower commuter trains drop folks to their suburban homes. Chug-a-chug metal, followed by French folk, then they thrash away, off to the disco, death metal time, Middle Eastern dance pop, power metal, how about a little jazz? Nothing stays too long in one place, but rest assure as soon as the listener becomes complacent, they’ll bludgeon you with another dose of metal to keep you awake. Also Sebkha-Chott brings some of their native country’s popular sounds to the fore to add yet one more unique dimension. Only towards the end of the disc does the album start to drag a bit, as the idea factory seems to be closed up for the next session. Music like this is an adventure. It’s as progressive as it can get, yet it’s not prog rock in any traditional sense. The Italians dabbled in these areas in the early 1970s, but not quite as diverse. I would argue that cohesiveness worked in the Italians favor. Too much of a good thing is a good thing, but can be destructive. Recommended for those who like to go all the way on the extra spicy salsas and blue agave tequilas, and then know when to say when. Prepare to get whiplash and line up your chiropractor. You’re going places with this one.

Senogul - s/t (2007 Spain). Mylodon of Chile has reached across the Atlantic and nabbed this wonderful Spanish combo. Senogul espouse the late 1960s concept of exploring every style they can think of - but all within the context of what is normally known as Progressive rock. Focus-like instrumentals are offset by herky-jerky style Italian prog juxtaposed against some jazzy funky horn rock with a little Ibio styled Asturian ethnic rock. And so it goes for the duration of this 70 minute disc, a very exciting listen.

The Spacious Mind - Gentle Path Highway (2007 Sweden). The Spacious Mind are never one to sit on their laurels, and perhaps they felt they achieved all they could with "Rotvalta", one of the finest modern space rock albums ever. So with "Gentle Path Highway", one can hear TSM introduce two new styles into the mix: Post rock and stoner rock. The opening track 'Rider of the Woodlands' has a distint post rock feel, never in a hurry, rarely changing but constantly moving forward. There's even a bit of that noise factor that they once experimented with on "Organic Mind Solution". The title track is more in line with recent TSM material and then they launch into the massive 16 minute "Honja". On a blindfold test, I could've been persuaded this was a new recording by those Dutch weednauts 35007, or even Electric Wizard, if they lived in some remote Swedish forest. It's all a bit too slow, and non-meditational, for my tastes I'm afraid. Final 14 minute 'Civilization Blues' is The Spacious Mind at their best, nailing that furry freak vibe of early Pink Floyd and the Cosmic Joker set.

The Spacious Mind - Live Volume One: Do Your Thing But Don’t Touch Ours (1999 Sweden). Amen to that title! Despite the 1999 date of this live recording, only one track ‘Interplanetarian Lovemachine Pt. III’, was culled from that year’s “Mind of a Brother”. Two songs, ‘Upon which Areas May the Circles Be Drawn?’ and ‘Euphoria Euphoria’ are from the LP-only “Garden of a Well Fed Head”, so in effect they make their CD debut here. Also included is ‘The One That Really Won the War’ from “Organic Mind Solution” album plus a unique piece appropriately titled ‘Jam’. Typically live albums do little for me, primarily since they feature a straight run through of material that’s already been released, as if to prove they can actually play the music. But, no surprise to me, The Spacious Mind step up to the plate once again and delivers a fully improvised album that uses the original charts as only a base from which to explore new trippy sounds. What impresses me most about The Spacious Mind is their ability to create the slow trance groove, without being monotonous (a MUCH too common occurrence with newer bands), nor in a rush to show their considerable musical chops. They’re also wise in their choice of instrumentation, with plenty of perfectly amplified acid soaked guitar, organ, bass and extra percussion. These guys have the post 1969 Pink Floyd-via-Berlin-tripout-vibe nailed! One gets the impression that if they played the same set of tunes the next night, it would all be different. Now that’s cool.

The Spacious Mind - Rotvälta (2005 Sweden). Every few years or so, those Swedish cosmic travelers known as The Spacious Mind will grace us with another dollop of wonderful psychedelic trips. Here they even eschew the song titles, as what’s the point really? There are 6 tracks totaling close to 55 minutes, and it’s all instrumental ear candy anyway. Interesting to note that The Spacious Mind score better here on the mellow and meditative trips, recalling the Ohr years of Tangerine Dream, especially “Alpha Centauri”, or maybe Dom’s “Edge of Time”. Rare a modern band accurately recreates that vibe, but the extensive use of droning organ, echoed electric piano, hand percussion and acoustic guitar go a long way to explaining this. Of the two electric guitar centered rave-ups, the initial one on the back half of “track 2” tends to meander a bit, similar to some of the messier moments from “Organic Mind Solution”. But the “track 5” acid rock jam is a bulls-eye and when The Spacious Mind are on, there are few better in this field. The Spacious Mind are one of the very few bands today that seem to understand the roots of the past, while successfully moving forward with new and exciting ideas. This is the real cosmic rock music.

Taipuva Luotisuora - II (2006 Finland) After being completely blown away by their debut, I rushed out to buy the followup which had just been released at the time I’d discovered the debut. Some noticeable changes have taken place in the short year since. The guitars are slightly heavier, not quite metal, but a distinct modern hard rock crunch is present. There are now vocals, which could be a great addition for a band like Taipuva, but I felt they’re executed all wrong for the exotic music at hand. First the lyrics are in English, rather than the more interesting and non Indo-European Finnish. Worse, they’re delivered with the whiny American indie style that seems will never go away (sigh). Perhaps a more mysterious approach to the vocals (female, echoed, whispered) would be far more interesting for the music that Taipuva play. The instrumentation seems stripped down a bit (though the liner notes still call out the kantele, violin, Hohner Melodica and woodwinds). Also, not near enough of the Hidria Spacefolk, Korai Orom sound as prior – though as a plus I do hear some of the much missed Dutch group Kong. And finally, the modern electronica sounds of the debut are even more in use here, most notably on ‘Uotila’ and ‘Unaja Infinite Laser’. Now this latter point actually demonstrates some progress for the band. Like a good movie director would employ, the special effects are used to enhance, not overwhelm the proceedings. I don’t want to overplay the negative here with the vocals, as “Viking Zulu” does possess a good voice, and there are only 4 tracks where they are utilized, out of 9 total. In some ways, all the tracks (including those with vocals) are more complex than even the first album, which is outstanding to see. Still, the “Taipuva Luotisuora tribe” that the music created for my imagination is missing here. So probably this album is the one that is favored by the majority, but I found it more typical of the underground scene. I miss the exotic nature of the debut. Not wanting to send the wrong message here – this is still a fantastic album, just a bit disappointed that it seems to be a step towards the middle. See Greatest Albums page for "I".

Tanger – Ciudad (2006 Argentina). You can pretty much summarize all three works by Tanger as thus: Melody lines are driven by flute, the solos are handled by a psychedelic fuzz guitar sound, and the rhythm section is just inventive enough to keep interest in the composition. So basically, an updated version of the 1970s Chilean group Blops at the time of “Locomotora”. I like the ingredients, so I’m bound to like the dish.

Tangle Edge – Serpentary Quarters (2006 Norway). Norwegian space rockers Tangle Edge are an A-List group for me, and it’s been 9 years since their last album “Tarka”, so to say I’ve been anticipating their new album would be a bit of an understatement. The centerpiece is a two part, 33 minute jam called “Transcendental Virtue”, which locks into a serious groove while the guitar solos, sometimes quite intensely. The drummer doesn’t just keep the beat either, but constantly adds fills and mixes up the sounds. This is exactly what I would expect a band like Acid Mothers Temple to do, rather than the racket they choose to create. The band states that their philosophy is they only will release an album if it’s something worth bringing to the public (which explains the long gaps in between albums). And they knew they had something special with this segment. Tangle Edge may jam in acid rock mode for hours at a time, but it never sounds noisy or out of tune. It’s orderly chaos verse pure chaos. You find yourself in a tantric state, completely zoned into the groove. So rare that a modern band pulls this off anymore. Superb! The other 3 tracks aren’t shabby either including another great jam to close it off. Instant classic.

La Torre Dell’Alchimista - Neo (2007 Italy) La Torre dell’Alchimista (LTdA) are one of the many current Italian progressive rock acts that are recreating the sounds of the past and moving it forward to the 21st century. LTdA are a bit more purist than most groups in this space, eschewing modern tendencies such as metal, electronica and post rock. Keyboards are the focal point, like with many of the 1970s classic groups, and bandleader Michele Mutti possesses an impressive array of vintage gear including Hammond C3, Mini Moog, Mellotron and a 1973 Fender Rhodes amongst many others. However, unlike fellow Italian retro rockers Wicked Minds, modern production techniques are in full force, and there’s no question that LTdA are a band from the current age. All of these historical references don’t matter if the music compositions aren’t there - and LTdA come through on this front. As students of the genre are keenly aware, the options of creating exciting and unique music is immense, and LTdA have found their little slice of the big pie. And fortunately they use the Italian language which goes so naturally with the style. File along with La Maschera di Cera as the current torchbearers of the original Italian progressive rock sound.

Trespass - Morning Lights (2006 Israel). One of the most debated topics in chat rooms and posting boards is “what is progressive rock?”. Unless you stick to the literal dictionary version of the word “progressive”, one answer you can now give is Trespass’ “Morning Lights”. Simply put, Israel’s 2006 contribution to proggy prog are all about old fashioned, 1970s styled keyboard trio compositions with classical overtones, just the way bands like Trace, ELP, Rare Bird, The Nice, Metamorfosi, etc… did 30 years ago. The playing is crisp, the array of keyboards is a nice mix of analog (organ overload) and digital, the tracks are long (including 12 and 21 minute epics) with plenty of theme and meter changes. And beautiful cover art of a sleeping Zeus on Mount Olympus with his toy Tonka fire engine (very cute). Not much reason to banter on here. By now, you should’ve made up your mind on if this album is for you. For those who need an analogy, let’s put it this way: You love to eat, and are always looking for something new. So the roast rabbit in the mushroom lime sauce sounds cutting edge, hip and trendy. But, darn, if a double cheeseburger doesn’t sound better! Pass the fries...

Tricantropus – Recuerdos del Futuro (2007 Spain). One of the more interesting bands from the late 70s Spanish scene was a drummerless group called Azahar. They had an almost chamber like approach to flamenco music, with a rock element propelling it along. So I was quite curious when it was announced that the Chilean label Mylodon had signed a new group called Tricantropus, which featured at least one of the members of Azahar (I’m not sure which members, as none of the names matched their debut “Elixir”, but label Mylodon claims it, so I believe them). I was expecting something similar, but it becomes quickly apparent that Tricantropus play in a modern instrumental rock style. When I say modern, think more late 1980s and early 1990s than 2008. They are a guitar based instrumental trio, and like many newer bands, the style recalls Andy Latimer of Camel. Probably more to the point, Tricantropus sounds like Edhels at the time of “Still Dream”. Nothing wrong with that of course, as to be successful at this style, one has to have a keen sense of melody and atmosphere, and Tricantropus deliver on both. I probably would’ve preferred more Spanish heritage being applied, rather than a generic western European sound, but that’s not what Tricantropus are about. Overall, a soild effort by a promising new band.

Trion - Pilgrim (2007 Netherlands). Trion is a madeup word that combines trilogy and mellotron, which gives a pretty good idea where these lads are going musically. The group is made up by members of the veteran Dutch progressive rock bands of Odyssice and Flamborough Head. Their charter, as it were, is to play instrumental rock music utilizing only analog instruments and 70s era recording techniques. While “Tortoise” was an impressive debut, “Pilgrim” is even better as they add more diversity in the keyboards (not just mellotron). Also, more acoustic guitar is deployed than prior, adding some needed contrast.

Trion - Tortoise (2003 Netherlands). I don’t tend to scour the Cyclops catalog in search of my next purchase, but Trion proves once again the label does have surprises up their sleeve (like Henry Fool for example). Basically this is a guitar, mellotron (all sampled), drums trio playing symphonic instrumental prog rock. For an non-Reconstructed progger like me, this fits the bill entirely. It’s like discovering a new burger joint with a great tasting meal. Yea, it’s not new, but dammit if a good cheesesteak doesn’t just hit the spot! Trion is very much of the Dutch variety of prog music as well. Generally that means the music tends to be mid-paced, highly melodic and somewhat rhythmically uninteresting. So it always gets to the execution of melodies and the change of tone and color. And here is where Trion excels mightily. Plenty of nice electric leads are contrasted with acoustic strumming. The mellotron (with many different tape samples - not just the usual suspects) provide the color and tone. The group that comes most to mind is Lady Lake with mellotron, though not as immediate. Other references are Camel (of course) and Focus circa “3″ and maybe even the Swedish group Dice in their slower moments.

Tuna Laguna – Ripples and Swells. (2007 Norway). Tuna Laguna are a modern Norwegian post rock band who have a clear connection with the US post rock scene ala Tortoise. But there’s more here than insoucient mid paced jams to aid with your sleeping disorder. With the growling fuzz bass, wah wah guitars, filtered organs and the occasional tempo change, it’s clear Tuna Laguna are just as comfortable being a 1970s instrumental European prog rock band (Lotus, Scope, National Health, etc…). And the 7 piece band collective (including 3 guitarists and 2 keyboardists!) allow the group a multitude of options that really expands their sound. And sometimes they’ll catch a groove, which makes me think of the modern tribal cosmic groups such as Korai Orom or Ole Lukkoye. Add in the melodic content that is post rock’s greatest contribution, and you have a nice piece of music to drive the interstate with.

Under The Dome – Wot No Colin? (2003 England). High energy sequence fest with some nice guitar leads. If you drew a straight line from Tangerine Dream's "Encore" to "Pergamon", rather than traverse through the rock era that was "Cyclone" and "Force Majeure" you would encounter this particular UTD album. Fitting as well that this is live. Some unexpected experimental sections with heavy echo on the sequences. So far I've enjoyed everything I've heard by Under The Dome.

The Underground Railroad – The Origin of Consciousness (2005 USA). An improvement on the already very good "Through and Through", The Underground Railroad continues their quest to discover new sounds in an old genre. The best compliment I can pay UR, and I know the band will really appreciate this, is that they really don't sound like anyone. Sure one can hear elements of bands such as Genesis, IQ and Porcupine Tree, but only the parts. I used to have long running debates with keyboardist Kurt Rongey on the evolution of technology and its marriage with progressive rock. Kurt is adamant that the latest technologies should be employed in the keyboard department, so absolutely NO retro mellotron here. Bill Pohl is a guitarist's guitarist, and has more chops than most, yet his style is subtle. At times very complex, at times very melodic, UR has carved their own picture into the graffiti wall. Played this 3 times straight and each listen revealed considerably more than the last. Band is named after a brief mention of a fictional band from an early episode of The Rockford Files

Viima – Ajatuksia Maailman Laidalta (2006 Finland). It’s getting to the point that everything that’s from Finland is great. They are to the current decade what the French were to the 1980s. And thank goodness for that. Wasn’t sure what to expect here. Was told it was Finnish folk prog, and about the only band I associate with that is the obscure and rare Scapa Flow. It’s not really like that however. Even though it’s sung in beautiful Finnish, the album has more of a UK feel than one from continental Europe. The female vocals are one distinguishing factor. What’s interesting to me are the guitar breaks, which are rooted in hard rock – a clear departure from the acoustic folk psych of the base material. I quite liked this one. Little curious how they go forward from here with a male vocalist, as Paivi Kylmanen seemed to be a key ingredient to their sound.

Vocokesh – Paradise Revisited (1998 USA). This is their 3rd album and in between the other two I have by them. Vocokesh seem to get better with each album and this one clearly fits the pattern. Still too much of a penchant to make noise for noise sake (which is the main problem I have with parent group F/i), but mostly this fits the Krautrock cosmic jam bill quite well. Even has some sequenced, Berlin school moves which is very uncommon for these type of groups. Along with SubArachnoid Space, Liquid Sound Company and Melting Euphoria, Vocokesh are at the top of the modern school of Krautrock.

Vocokesh - The Tenth Corner (2004 USA). Not sure why the two Vocokesh albums work so well for me and the F/i albums don't (the couple I've heard anyway), but this is just fantastic tripped to the maximum freakout space rock. Richard Franecki's guitar really works here. Some Indian/Middle Eastern bits, drones, trances, the whole bit.

Wicked Minds – Witchflower (2006 Italy) Italy’s Wicked Minds are a guilty pleasure. They are unabashedly retro rock. Hammond, Moog, Mellotron, Rickenbacker, Gibson Les Paul, cowbells. You know – 1971-1973 Deep Purple, Uriah Heep and a host of obscure “hard rock progressive” bands from England, Germany and Scandinavia. And, to Wicked Minds credit, they actually put the “prog” in hard rock prog. It’s a sub-genre of a sub-genre. And there are a few players in it now, all worth checking out: fellow Black Widow recording artist Areknames, Sweden’s Black Bonzo, and Blood of the Sun from the US are a handful more that come to mind. In some ways, these bands are better than their 1970s ancestors. I believe it’s because they’re more focused on the sound they want to achieve. The original bands may have experimented with other ideas, or pursued more commercial avenues due to pressure from major label executives. Commercial success always (I can actually use that word) altered a band’s direction in those days. Today, success for a band like Wicked Minds would be to keep playing 1970’s retro progressive hard rock. Me like.

Wicked Minds – From the Purple Skies (2004 Italy). So many of these new stoner bands seem more interested in the social aspects of said lifestyle, rather than what makes it really interesting – and that's the music. Wicked Minds may be the best band in this genre I've heard that captures the essence of the early 70s, while still moving the ball forward into the modern age. Fantastic hard prog rock, with great period instrumentation such as organ and fuzz guitar. Long tracks with experimental bits also points to an adventurous heritage. All roads lead to the UK early 70s non-symphonic school. Very much recommended.

WintherStormer – Woodwork (2007 Norway). The name WintherStormer is a combination of the two main protagonists Terje Winther and Eric Stormer, both of whom play a large array of analog and digital keyboards. Not surprisingly, WintherStormer are an old fashioned Berlin School style electronic band with lots of spacey textures and cool sequencer lines. They’re augmented on album by a guitarist and drummer, which add a nice rock touch, and give the group many more compositional options to pursue. Definitely on par with Radio Massacre International’s more recent works or Klaus Schulze and Tangerine Dream’s 1970s rock based efforts.

Wobbler – Hinterland (2005 Norway). Not since Anglagard, has a band received so much attention before their debut release. So there have been plenty of folks trumpeting its release and, not unexpected, plenty to say it's not all that hot. Since there isn't a single album that everyone agrees is great, this point / counterpoint is bound to happen. Personally I don't think we can have enough bands like this. It's analog keyboard heaven. It has the flutes, the woody bass, the active drumming, the loud fat acid guitar leads, the great production. It's rhythmically complex. It's dynamic with real climaxes and releases. It's an open ended style of progressive music, that allows for many avenues, crooked alleys and hidden piazzas. And it takes many listens to discover the various paths. So maybe not every band is the greatest ever, but if there were 50 bands operating in this style, most would score very well. Either that, or we'd have a reached a new point of cynicism, and you have to begin to wonder if you're even a fan of symphonic prog anymore. Admit it, you stumble on something like this album in the record store: 1974 Polydor Norway. "It's just average". Yea, sure. Through it all, I can't help feeling bad for Sinkadus. They're really the only other modern band that went down this route, and they were just TRASHED for daring to walk the sacred ground of Anglagard. Time will be good to Sinkadus. Time is already good to Wobbler. Bravo!

Yang – A Complex Nature (2004 France). Amazing how many new sounds the g-g-b- d instrumental quartet can come up with. Former Shylock and Philharmonie guitarist goes for the throat on this, Yang's debut album. Seems to me this is what I've been waiting for Djam Karet to do – let it loose and bang that head that doesn't bang. What separates this from other albums of its ilk is the inventive use of the rhythm guitar. Nice melodic structure as well. Very easy to digest for me.

Yugen - Labirinto D’Acqua (2006 Italy). My initial reaction was: Typical cartoon music for the avant prog dork crowd. But no way Jose, this won me over with its charms. Charms? That’s right, an ostensibly RIO oriented album that also brings in old fashioned 70s symphonic elements like the mellotron. Not that combining the 1970’s Big 3 English prog with complex, unhinged jazz rhythms through a dark punk angst hasn’t been done before. The 5uu’s pioneered this concept, before they too succumbed to the temptation to be a caricature of themselves (a common problem with the over analytical). Just as Israel’s Ahvak suddenly would pull a Progressivo Italiano move, Yugen will surprise with a little Happy The Man. This kind of crossover is just what the movement needs to erase the snob factor and, say yea, melody and atmosphere do matter after all. A knight in shining armor arrives but tells you to go to hell. It’s a start.

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