After @ All - A.C.I.D. (2001)

Is there such a thing as techno prog metal?  Well there is now.  Hailing from Hungary, After@All are on one hand incredibly unique and eclectic, melding razor sharp riffs and electronically altered vocals with complex "proggy" song structures and surging synth melodies.  On the other, many of the influences here are not exactly those I wouldn't normally associate with "progressive" rock, and that's not a good thing.  The vocal timbre (when not altered) has a distinct post-grunge feel, and the choruses use the same kind of stock, generic mosh riffs that recall heinous radio rock like Godsmack and Nickelback.   On a more positive note, there is a striking King's X influence on a number of tracks, particularly in the crafting of catchy, bright choruses and impeccable hooks in with their heavy, morose blend.  After@All almost seems like a cacophonous stew of all kinds of 90s alternative and industrial rock, slammed together and underpinned with a straight up prog rock love for eclecticism and all things in odd time signatures.

That said, there are plenty of moments on here that make me cringe, not because they're bad necessarily, but because the influences lifted often seem superficial, and just as often come from bands I don't like.  I love Tool, but the token Maynard-ish ranting in "...hoffman" just seems contrived and unnecessary.  Same for the Alice in Chains-like "l'image_d'une_etoile".  At other times, when incorporating influences from  third wave alternative rock like the aforementioned Godsmack, the band simply makes me want to take my own life.  That's not to say this isn't a well done album, it is.  The playing is top-notch.  The entire affair is sharp, crisply produced and accessible, and in a perfect world, it would probably be a hit album.  Ultimately though, one wonders what kind of audience this will hit with.  Prog fans will likely be turned off by the obvious alt-rock influences, while 13 year old grunge kids will probably be lost by the complexity and dense arrangements (assuming they got the chance to hear it).  Overall, while not necessarily to my liking, I'll say the album is certainly successful in what it seems to be trying to accomplish. - Greg Northrup [April 2002]

After Dinner - After Dinner (1984)

After Dinner come off a bit like a Japanese Art Bears, playing short songs with a noticeable modern-classical influence.  They are typical of Japanese avant-rock, though, in that they take their experimentation much further than their Western influences. In this case, the band has a penchant for tape effects and chaotic, seemingly random percussion (witness the shaky, all-over-the-place middle section of the title track), as well as a tendency to mix pop forms into their modernism ("Sepia-ture" accompanies its main melody with mildly campy lounge music).

I have to admit, I have problems with this band.  For one thing, the vocals are about as stereotypically Japanese as vocals can be: Haco sounds like a 10-year-old girl half the time, and Yasushi Utsunomiya sounds, for lack of a better way to put it, like someone doing kung fu while singing.  As stupid as it may sound, I sometimes feel slightly uncomfortable listening to this kind of singing, as if I were watching the Japanese equivalent of a minstrel show.  Even when I ignore that feeling, the vocals can still be a bit annoying in their overt campiness.  On top of that, sometimes I feel like After Dinner are trying so hard to be weird that they lose sight of making interesting music.  The biggest offender is certainly "Shovel & Little Lady," which opens with an explanation (in very fractured English) of how to turn your head along with the music, thus making use of their "bio-binaural recording system."  The rest of the song is a scrappy little march which doesn't seem very engaging even if you follow their instructions.  Other songs just seem a bit aimless, like "An Accelerating Etude," which has a few cool bits but doesn't hold together very well.  Still others, like both "Sepia-ture" songs, start out brilliantly but end long before they've finished developing their material.

Still, the band does get it right occasionally.  "Dessert," for example, is a late-60s-style psychedelic jam played by various folk instruments instead of guitars and keyboards and such. "Cymbals at Dawn," kung-fu vocals aside, is a catchy and satisfying quasi-military tune with an excellent piano part, and "Glass Tube" is haunting in a Kurt Weill sort of way.  Overall, It's hard to know what to make of the album, with such great music existing alongside such obvious missed chances.  I feel like After Dinner is a band with a lot of potential, but they don't really live up to it here, and the result is frustrating and unsatisfying. - Alex Temple [August 2002]

Click Here for Tracklist and Lineup Info

Agnus - Pinturas y Espresiones (1980)

One of the only truly significant Argentine progressive rock bands to not be based in Buenos Aires, Angus instead hailed from the northwestern city of Santa Fe. Nonetheless, they were kept in the proverbial loop thanks to a close association with MIA (Musicos Independientes Argentinos), who were really more than a band, but in effect, a national fan and musician network. Although Agnus' debut album would not be released until 1980, it does somewhat reflect the vibe of the classic MIA albums, thanks in no small part to the chamber-symphonic feel and legion of contributing musicians.

The music itself is heavily composed, built around guitar, synthesizer and especially flute motifs. However, Agnus perhaps lacks the deft subtlety and intricacy of MIA, as the rhythmic backdrops have a tendency to be rather repetitive, and the main melodies can occasionally come off as dry and slightly underdeveloped. Likewise, Agnus rests a little too heavily on symphonic prog precedents of yore, particularly those of giants like PFM and Camel. These criticisms may be a little harsh though, because Pinturas y Expresiones is still a very good symphonic prog album. The standard set by the likes of MIA is indeed a lofty one, and one can’t fault Agnus for coming up a little short. On the whole, while the compositions are restrained, the melodies are quite beautiful throughout. Male and female vocal choruses add a distinctive, ethnic air, and the interaction between the guitar and flute is particularly haunting. The final piece "Historia de un Rey" is something of a departure, rejecting the languid tempos of the rest of the album for an upbeat, folky number replete with violin, flute and stunning vocal harmonies.

This is one of those easy recommendations for international symphonic prog junkies like myself. While arguably nothing groundbreaking or essential, Pinturas y Expresiones will provide much enjoyment to symph prog fiends, and is ultimately a solid addition to any South American progressive rock collection. - Greg Northrup [November 2002]

Ain Soph - Story of a Mysterious Forest (1980)

Ain Soph is surely among the most beloved Japanese prog bands, and A Story of Mysterious Forest is deservedly considered their finest album. With other albums bearing titles like Hat & Field and Ride on a Camel, it's clear where this band's influences lie. A heavy Canterbury flavor permeates the proceedings here, and along with some symphonic touches, as Ain Soph maintains a competent jazz-rock approach throughout. With all that said however, this album leaves me a little cold. The whole affair strikes me as having a sort of middle-of-the-road feel and is a little too lightweight, with few truly raging climaxes. Additionally, there seems to be little to set this band apart from the many other bands treading similar ground, among them countrymen Kenso, the Estonian Kaseke (about whom I have similar qualms), Atlas, Crucis, Finch, etc. Admittedly, Ain Soph probably loses points with me, in comparison to some of those other bands, due to a slight 80s production aesth etic, which, perhaps more than anything, lends the album a quality of fluffy, sonic wallpaper.

Granted, the musicianship here couldn't be better. The guitarist, in particular, rips, but as we all know, musicianship ain't everything. "Variations on a Theme by Brian Smith" is one of the only pieces that manages a truly engaging melodic theme, but even there the piece is padded out with some rather bland instrumental noodling. The lengthy title track manages some impressive moments in its 19 minutes, but not enough to make me want to play this album very often. This may be a stylistic thing for me more than anything, because, as I said before, A Story of Mysterious Forest is one of the most highly regarded Japanese prog albums. Jazz-rock, fusion and Canterbury diehards may get quite a bit of mileage out of this one, but it doesn't really push any of my buttons.. - Greg Northrup [February 2004]

Aksak Maboul - Un Peu de l'Âme des Bandits (1980)

Aksak Maboul were sort of an "odd man out" among the original RIO bands, caught somewhere in between the more humorous faction (Etron Fou Leloublan) and the darker, more serious groups (Univers Zero).  The excellent first track of Un Peu de l'Âme des Bandits, "A Modern Lesson," is a perfect midpoint:  groovy, catchy, spiky, witty, and un-self-consciously modernistic.  In the first half, a beautifully ugly, muddy-sounding groove is established as an underpinning for Catherine Jauniaux's hysterical gibberish vocals (somewhere in between Kukl-era Björk and Yoko Ono) and Marc Hollander's writhing saxophone flourishes.  In the second half, the chamber element comes to the fore: Fred Frith's bowed strings, Michel Berckmans' reeds and Hollander's keyboards play short fragments that fit together to produce long, elaborately convoluted, jumpy lines that somehow can stick in your head for days.  And somewhere underneath the playful experimentation and subtle wit is an elegant charm that strikes me as extremely French.  This was the first Aksak Maboul piece I heard, and it made a big impression.

Unfortunately, after that it's downhill for the rest of side one.  This is not to say that any of the album is bad -- in fact, it's pretty enjoyable -- but the next four songs lack what it takes to be truly great.  "Palmiers en Pots" is a bit of out-of-tune Polish lounge music and a tango created out of scraps of existing tangos:  interesting and fun, but hardly mind-blowing.  Frith's "Gestige Nacht" starts out as a nice driving piece with syncopated saxes and clunking drums, but it seems to lose steam a bit, and the avant-jazz sax solo in the middle seems kind of pointless.  "I Viaggi Formano la Gioventú," Aksak Maboul's arrangement of a Turkish folk song, just goes on a bit too long, although it does contain some absolutely delicious synthesizers. And "Inoculating Rabies," while it deserves some credit for being the only piece of music ever recorded that can accurately be referred to as "angry bassoon punk," is just too shrill to listen to without getting a migraine.

Ah, but then there's "Cinema"!  This could be one of the best album sides in the history of rock music.  If you can call it rock music, that is -- at times it sounds more like contemporary chamber music than anything else.  Whatever you call it, it's certainly a great moment for RIO. In a way, it epitomizes everything great about the movement, from its meticulous construction to its passages of freewheeling improvisation to its experimentation with tone color.  The sound is very similar to Henry Cow's Western Culture, but less gloomy and somewhat less single-minded.  There are dissonant woodwind passages, atonal psychedelic rock-outs, and snatches of Middle Eastern music.  In one very strange and very beautiful passage, a piano quietly repeats the same French-sounding, slightly angular motif while a man, presumably Marc Hollander, occasionally gasps in wonder.  Another section consists mostly of primitive synthesizer whistles, accompanied by scraps of tuned percussion and sul ponticello violin scrapes.  The piece ends with a section subtitled "Radio Sofia," which seems to be an attempt to imitate a Bulgarian talk show.  But what really makes "Cinema" great is not the variety of material used, but how deliciously /right/ it feels.  There is an incredible economy of material here, so that nearly everything in the piece is somehow related to something else. Motifs are manipulated and recombined in ways that keep the listener in a constant state of half-recognition.  The piece is simply brilliant, and more than makes up for the shortcomings of the first side of the album.  Simply put, anyone with any interest in RIO or 20th century classical music has to hear this.

...and the bonus track.  A lot of people don't like it.  I do.  It's from a later incarnation of the band, and it sounds kind of like Aksak Maboul gone pop -- quite similar to "A Modern Lesson," but with real vocals.  Very French-sounding vocals.  Something about it reminds me of Kukl.  Whatever. After "Cinema," nothing else matters. - Alex Temple [December 2001]

Alas - Alas (1976)

The Argentine trio Alas displays a style that pays heavy homage to Emerson, Lake & Palmer, particularly with regards to the bombastic, complex organ riffs and consistently shifting meters. Thankfully, they provide enough of a unique character to render them worthy of any South American symphonic rock fan’s attention, thanks to the folky ethnic touches that pervade the melodies themselves. Occasional sections dedicated to trumpet or flute themes do help in breaking up the potential monotony of an album length-keyboard wankfest. As well, the interplay between the instrumentalists is consistently interesting, and particularly welcome is the drummer’s lyrical style, which provides compelling rhythmic commentary on the organ and synthesizer melodies..

The first two pieces on the CD reissue represent the bulk of the album. The aforementioned "Buenoes Aires Solo es Piedra" firmly establishes Alas as a devotee of the ELP school, whereas the 17 minute "La Muerte Conto del Dinero" begins with some fine vocal melodies and a fuller, more symphonic sound before launching back into a Hammond-led assault. A fluid, jazzy character begins to take shape at points of the album, particularly in the second track, with Gustavo Morretto’s buzzing synths recalling Dave Stewart at his best. Imagine Egg with a more exotic feel. "Rincon, Mi Viejo Rincon" is shorter and more vocal-oriented, which is by no means a bad thing. A subtle, smoky flavor pervades the laid-back vocal melodies, atop a more understated instrumental backing. There are certainly parts of the album that are a complete waste of time, such as the drum solo on "La Muerta Conto…," but overall Alas’ self-titled album should make a more than satisfying addition to any symphonic rock fan’s collection. - Greg Northrup [April 2003]

Click Here for Tracklist and Lineup Info

Alphataurus - Alphataurus (1973)

The self-titled Alphataurus album was one of my earliest ventures into the world of Italian progressive rock, and today stands, in my eyes, as one of the unequivocal classics of the scene.  Stylistically, the group falls squarely into the heavy progressive mold, sitting nicely alongside bands like Il Balleto di Bronzo and especially Museo Rosenbach.  Alphataurus incorporates something of a bluesy, hard rock-ish vibe in along with frenzied Hammond riffs and thundering mellotron movements, combining for a shuddering attack of unparalleled power and energy.  The vocalist has a raspy, earthy tone that lends itself perfectly to the alternately exquisite and violent instrumental underpinning.  Despite the aggressive stance of the band, the melodies here are absolutely gorgeous when the band wants them to be, rising from the cacophony like a butterfly.

The entire album is pretty much flawless, and features three long tracks divided by a short mellotron driven instrumental, and the short, but monstrous "Dopo L'Uragano", a relatively simple track with a ballsy guitar riff that crushes you with all the subtlety of a Panzer tank.  The other three tracks are fairly varied but all retain a consistently high quality; catchy, emotional and biting, with a tendency to for total balls-to-the-wall ferocity. Alphataurus is an unparalled heavy prog classic to my ears, don't miss out on the kick ass gatefold artwork either. - Greg Northrup [September 2001]

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Alusa Fallax - Intorno Alla Mia Cattiva Educazione (1974)

Intorno Alla Mia Cattiva Educazione is yet another solid entry to the ranks of Italian symphonic progressive, and unfortunately another in a sea of brilliant one shot albums which would never see follow ups.  Alusa Fallax play grand, morose symphonic rock rife with the usual amenities like flute, mellotron and layers of acoustic guitars.  While the vocalist has a similar delivery to Locanda delle Fate's singer, he's somewhat raspier and not quite as good.  Still, the very expressive vocals guide the stunning musical mosaic on its delicate course, reminding throughout of a darker PFM, with hints of Quella Vecchia Locanda and the aforementioned Locanda delle Fate.  The music is darkly intense at times, plaintive and beautiful at others, marked with waves of flute, guitar and horn.

The album consists of thirteen shorter tracks that flow together as an extended piece.  The first half of the album is the strongest portion, often breathtakingly gorgeous.  In some of the middle tracks, the band muddles around a bit, playing with sounds and seemingly attempting some sort of more 'experimental' vibe.  It doesn't really work, but certainly doesn't ruin the album.  These tracks are easy to ignore when sitting down with the album as a whole, and thankfully, the work picks up towards the end, as powerful vocals and sweeping symphonics guide the album to its somber conclusion.  Fans of mellower Italian symphonic will likely find Intorno... an indispensable gem. - Greg Northrup [September 2001]

Amon Düül - Para Dieswarts Düül (1970)
[CD - Repertoire - 4678 - 2003]

Amon Duul has something of a mixed reputation. Everything I've read or heard about this group has indicated that the albums were essentially free-form, drugged out jam sessions by the remainder of the Amon Duul political commune, after their more musically talented compatriots had defected to form the far more successful Amon Duul II. Not so. At least, not in the case of Para Dieswarts Duul. Evidently, most of the Amon Duul releases were culled from a single, mammoth jam session from 1969, except for this one.

The music here is folky and pleasant, quite melodic, and heavy on bongos and acoustic guitar. There's a German take on hippie idealism in the lyrics, such as in the opening number "Love is Peace" ("Love is peace, freedom is harmony"). Importantly, the album was one of the very first releases on the legendary Ohr label, and for that reason is of interest for historical reasons alone. That's not to say this is a fantastic album. It's good, certainly, but it's clear that Amon Duul II far surpassed this particular ensemble in nearly every respect. On the other hand, despite the inevitability of the comparison, it may be slightly unfair to place such judgment on this album, given the extraordinary accomplishments of their one-time cohorts. 

Taken on its own merits, Para Dieswarts Duul is an enjoyable album, the extended acoustic instrumental portions are appropriately cosmic, and as a whole it's certainly worth checking out for Krautrock or Amon Duul II diehards. Others would be advised to look into the bigger names for now. - Greg Northrup [February 2004]

Click Here for Tracklist and Lineup Info

Anand - A Man's Mind (2000)

Anand plays well executed guitar oriented progressive rock that borders on prog-metal.  This is without a doubt a guitar album, and Anand is the star of the show.  This guy shreds.  I suppose that this is mainly from the school of Steve Vai, Joe Satriani and other virtuosic solo players, though I'm not overly familiar with them.  Basically, every track is a guitar solo, generally very melodic, with the rest of the group serving a back-up role.  I suppose this is good for what it is, but it's really not a style that I'm particularly familiar with, or fond of.  The album has an extremely slick production, is all instrumental, and everything serves to highlight Anand's soaring guitar melodies.

Unfortunately, to me most of these songs sound rather similar, without offering too much individually.  Most of the songs feature some all-out shredding behind some metallic riffage, but don't often veer into the overly bombastic territory of straight prog metal.  Songs like "Mysterious Ways" have some extraordinary dynamics, as does the rather beautiful "Far Away", while "What's on a Man's Mind" introduces a funkier vibe.  Of the "proggier" tunes, "Midnight Chaser" definitely sticks out, with a nice intertwined guitar rhythm and some great harmonic tapping.  Overall, I think those that would get the most out of this are fans that are particularly into guitar technique, or into Satriani and Vai and that sort of thing.  I find it pretty cliched myself, and not particularly complex aside from the guitar playing, but there definitely is an audience for this, and you know who you are. - Greg Northrup [March 2001]

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Antibalas Afrobeat Orchestra - Liberation Afrobeat Vol. 1 (2001)

It would be pointless to attempt to describe this band better than they did on the booklet of this, their first CD. So, here's a quote:

        "A diverse cooperative of music makers in Brooklyn, USA dedicated to making original revolutionary afrobeat music inspired by the chief priest Fela Anikulapo Kuti as well as other visionary artists, musicians and thinkers".

        Well, let's say that they go way beyond the "inspired by Fela". They flat out replicate his whole sound, from the infectious groove up to the loud horns blaring on top of it. They were even careful enough to have the album sound like it was recorded in 1975 Nigeria! So, copy they did, but they didn't stop there. As the band's members come from many different cultural backgrounds (Latinos, Americans, Africans, Asians), that diversity shows in their compositions, which helps bring a much greater variety. Singing is kept to a minimum, and is done in english, yoruba and spanish. If you're into the whole afrobeat/Nigerian scene at all, this band is a must! - Alexandre Siufy [September 2002]

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Anyone's Daughter - Adonis (1979)

This isn't a bad album, but it's also not something I really have any need to listen to again.  Basically, Anyone's Daughter plays a watered down version of mid-period Eloy.  Decent symphonic progressive with some nice moments, but overall uninteresting.  The lyrics are fairly bad, but although I've heard a lot about the vocalist's German accent being distracting, it's certainly no worse than Frank Bornemann's vocals from Eloy.  They actually sound fairly similar.

This band is really symphonic German prog with more of a neo-prog edge in that is has more vocals, is more streamlined, and less instrumentally complex, though it certainly has little to do with any Genesis or Marillion clones.  The "Adonis" suite is pretty good, and the fourth section actually has some very nice playing and soaring guitar licks.  There are actually quite a few nice moments throughout the album, but overall nothing to get excited about here.  This is certainly below the level of other excellent German symph bands like Novalis, Eloy or Grobschnitt. - Greg Northrup [February 2001]

Apoteosi - Apoteosi (1975)

Apoteosi is one of those Italian bands that one would tend to gloss over in light of the slew of excellent releases from that country, and understandably so.  The band plays symphonic progressive rock with many of the usual characteristics; piano, flute, beautiful melodies, and a tendency to sound like PFM at times.  Add that to the fact that the album came out in progressive rocks downswing, 1975, and is really not as highly touted as, say the Quella Vecchia Locanda or PFM albums, a conclusion could be drawn that a certain wannabe connoisseur of Italian prog (read: me) might have clean overlooked this album until just recently.  Not surprisingly, it's actually really damn good.  Thankfully, this Italian one shot has enough distinguishing qualities to make it a necessary purchase for any serious collector.  Most obviously, Apoteosi features a full time female vocalist, who is quite nice, though her vocals certainly don't make or break the album.  More importantly, the band has a slight hard rock/psych sound at times, with fuzzed out electric guitar solos, plenty of organ and moog, as well as thick, consistently intriguing basslines that tie the proceedings together nicely.  Of course, these portions are always set against other, quieter segments that are more typically Italian, for better or worse.  Piano and flute melodies create beautiful backdrops for the female vocalist, who generally chimes in when things settle down, allowing the instruments to carry the melodies when the band chooses to crank up the intensity.

The best cut on here is probably the 14 minute two part second piece "Prima Realta/Frammentaria Rivolta", which features some absolutely sizzling moog lines over a driving rhythm section that will stick in your head for days.  I remember back when I had only heard the album a few times, having the main theme from this piece in my head and being maddeningly unable to place it.  The other highlight is the three part third track, which again exhibits some absolutely extraordinary melodies and powerful playing, especially with regard to the hard rockish guitar riffs.  "Dimensione da Sogno" is uninteresting, basically a ballad over which the female vocals actually sound pretty cheesy.  Still, its only about four minutes long, so no biggie.  The album closes with what is perhaps the most atypical track on here, "Apoteosi" sounds vaguely improvised, build up around a repetitive bass groove as other instruments fall into place around it, building and releasing tension cyclically.  Very cool.  Essential at some point for fans of Italian symphonic for sure. - Greg Northrup [July 2001]

Originally published in Reels of Dreams Unrolled No. 8, January 19, 1999:
Add Apoteosi to the list of great bands who sadly only did one or two albums in the '70s, then vanished into obscurity, only to become more famous than ever due to the prog revival of the '90s. The music on Apoteosi's one and only album is very energetic and vibrant at one time, then very mellow, melodic and beautiful at others. I think they sound a little like an Italian Camel with a female vocalist and more sophisticated compositions. This album has five tracks ranging from two minutes to nearly 15 minutes in length. They all flow pretty well together, so the album tends to sound as if it is one piece of music and passes by quickly. There are plenty of great analog synth and guitar solos to keep it interesting. This is a must for fans of Itaprog. - Scott Hamrick [January 1999]

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Aquelarre - Siesta (1978)

Formed from the ashes of the legendary Argentine psych-rock combo Almendra, Aquelarre’s second album Siesta certainly sees a departure from the sound of that band, as well as from the other two major Almendra-related bands like Pescado Rabioso and Color Humano. Certainly, there are elements of the subtle, psychedelic melodies here, particularly in the fuzz box guitar riffs that occasionally come to the fore, but in general, Siesta is a true-blue symphonic prog album. Far superior to the preceding album, Brumas, Siesta features heavy emphasis on sweeping synthesizer and moog melodies as they accompany the largely song-oriented pieces here. In general, the vocal melodies are less than catchy, which weakens things somewhat, but on the whole, the album has a well-executed symphonic prog aesthetic that is hard to resist.

On early listens, this album did strike me as somewhat dry and unexciting, an impression which has changed with repeated listens. The sound is certainly laid back, and the playing is perhaps less than impassioned. However, the beds of warm synths and gritty guitars give the whole record a lo-fi edge that belies its late release date of 1978. The instrumentally dominated pieces are easily the best, as the bright melodies and compelling jams of "Siesta Combiada" illustrate. Ultimately however, Aquelarre fails at distinguishing themselves in any particular way here, aside from simply crafting a mildly enjoyable album that is perhaps destined to be lost in the shuffle. While not in the upper-tier of Argentine progressive rock, fans of Almendra and its off-shoots would do well do continue on to Aquelarre. - Greg Northrup [April 2003]

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Arachnoid - Arachnoid (1978)

Arachnoid's only album is an amazing opus from 1978 that combined the strengths of other French symphonic groups like Shylock and Ange into a darkly futuristic and aggressive blend.  Another frequent comparison made to Arachnoid is King Crimson, and the band is definitely influenced by that group's mid-period albums.  Digital synths seem to be abound, in tandem with traditional "prog" instruments like mellotron and organ, though their presence does not detract at all, but are used appropriately to create a distinct nightmarish technological atmosphere.  Vocals are carried out in a style that is rather similar to that of Christian DeCamps from Ange, often harsh but ultimately very effective.  Layers of keyboard melodies are backed by towering mellotron and distorted, churning guitar rhythms.  The band drifts into angular dissonant territories occasionally, but for the most part keeps things darkly haunting and beautiful, yet with an omnipresent aggressive edge.

The first song is without a doubt one of the most incredible dark progressive songs ever, completely epic and chock full of pounding rhythm and soaring synthesizer passages.  "Toutes Ces Images" is another highlight, and possibly the best track on the album.  Equal parts Pulsar and Shylock, the band begins sedate and symphonic before completely ripping things apart here.  Floating mellotron passages gradually build into and explosive, guitar/keyboard led finale that sounds like a hole being torn in the side of the universe.  "La Guêpe" leans more towards the Crimson side of things, with angular polyrhythmic textures that builds into a grooving dark carnival like vibe reminiscent of Ange.  Overall, this could be the finest symphonic album I've heard out of France yet.  Visionary and perfectly executed.  A classic slice of dark progressive for sure.  If you love Pulsar (as I do), prime Ange or the first track on Shylock's Il De Fievre, definitely grab this puppy. - Greg Northrup [April 2001]

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Arcadium - Breathe Awhile (1969)
[Green Tree - GTR - 002]

Arcadium is one of those bands that straddle the fine line between proto-prog and straight up heavy psychedelic rock. Like a mix of Iron Butterfly and Arzachel, Arcadium thrive on sludgy, reverb-laden guitar riffs and monstrous organ spires. The music is generally doomy, heavy and dark, with tortured vocals and a swirling, hellish mix of blazing guitar and organ. That said, tracks like "Poor Lady" display the band’s adept pop smarts, crafting catchy hooks atop driving rhythms. Where the band really shines, though, is on the extended tracks that bookend the album. "I’m on My Way" opens things with a slow build up; repetitive guitar chords and distorted organ are layered upon one another until the ghostly vocals arrive mid way through, sounding like a voice from beyond the grave. These guys must have had some bad LSD in their coffee prior to recording the closing mini-epic "Birth, Life and Death." An up-tempo beat and a heavy organ riff start things off, before launching into a series of rousing guitar solos. The ending chant of "Goodbye my world" is the perfect ending to what amounts to a prototype of nightmarish heavy psych. The CD reissue is rounded out by two tracks from the band’s early 7", which is a nice addition.

This album is certainly a little rough around the edges. The production leaves much to be desired, and the vocalist has an emotive yelp that, while possessing a lot of character, clearly illustrates that he’s not the most technically accomplished vocalist in the world. For me, it more than makes up for that with great late 60s atmosphere and an intense sense of urgency. Breathe Awhile isn’t for everyone, but fans of heavy psychedelic rock should find much to enjoy here. - Greg Northrup [April 2003]

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Ardo Dombec - Ardodombec (1971)

Ardo Dombec has always been a band saddled with two dubious distinctions.  Firstly, their self-titled album had been the only album on the historic German Pilz label to remain unreleased on CD, apparently duly outshined by labelmates like Wallenstein, Popol Vuh, Emtidi, Hoelderlin and many other underground legends over the years.  Secondly, their rather tasteless album cover, featuring a bloodied cactus sticking out of a gooey, melting ice dream cone is probably the most notable thing about the album.  Even the liner notes in the not-exactly-long-awaited CD reissue admit some of the band's deficiencies: "Although they were good musicians technically, their tracks may have lacked exciting ideas and enthusiasm".

With all that said, Ardo Dombec really isn't too bad.  Certainly, their blues-based jazz rock is somewhat at odds with the majestic folk and Krautrock that the Pilz label is known for, but the music is far from inspiring offense or even outright boredom.  Rather, they sound like a more pedestrian, less inspired version of Moving Gelatine Plates or Brainstorm.  Decidedly middle of the road might be a better description.  The rather mediocre, and unfortunately heavily utilized, vocals certainly don't give Ardo Dombec points.  Shouted, awkwardly phrased English lyrics don't exactly press my buttons, or anyone else's I'd imagine.  The sax heavy grooves operating beneath do give us some nice moments however, and particularly refreshing are the flute and acoustic guitar themes of "108".  Overall though, I'd say Ardo Dombec is probably only truly necessary for the kind of collectors who were paying $75 for a copy of the LP. - Greg Northrup [August 2002]

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Ars Nova - The Book Of The Dead (1998)

Ars Nova is a Japanese keyboards/bass/drums trio that is very much influenced by ELP and Il Balletto Di Bronzo (two influences that would be confessed on the "Keyboards Triangle" tribute album that they appeared on). Similar to Gerard, Ars Nova plays an aggressive brand of symphonic rock that will either delight you or irritate you. This album sees the departure of bassist Kyoko Kanazawa, temporarily replaced with Ken Ishita (ex-Deja Vu). While this ruins the band's previous standing as a "female trio", the change has little overall effect to the band's sound, as keyboardist Keiko Kumagai remains the constant center of attention. She certainly has more chops than she knows what to do with. Unfortunately, that's the problem: she often doesn't know what to do with them. As the sole composer of the group, Kumagai's writing is too centered on being flashy and fast, and not focused enough on developing some of the (often rather good) themes that she flies through.

Sometimes, however, Kumagai manages to get it right. The highlight of this album is "Field of Iaru", a nearly 11 minute piece that dispenses with the head-pounding sledgehammer tactics and smoothly builds from stripped down piano/drum sections to a number of delightful synth climaxes. Even this piece, however, occasionally seems to lack direction. Kumagai makes a rather novel attempt at breaking up the sonic assaults, however. In-between every song is an interlude, each approximately 1:00 long and usually resembling either traditional Japanese or Middle-Eastern music (I'm not familiar enough with either to make a more specific assessment). While I can't say that I don't like the interludes, I would much rather see these musical styles appear in the main compositions themselves. It would really help keep them from being both too aggressive and too "samey".

In the end, The Book of the Dead suffers from being too one-dimensional. While Kumagai can write something interesting when she puts her mind to it, it seems that she is rather content to stick to warp-speed bursts for the most part. For some people, however, this will be keyboard prog nirvana. Fans of ELP and Mastermind might want to check this out. Others might be better served looking into Motoi Sakuraba's work instead, as he offers a more varied take on this style. - *Legion* [July 2001]

Arzachel - Arzachel (1968)

Comprised of what was then the band Uriel, Arzachel contained some of the earliest protagonists of the prog world using faux names as to not violate their existing contract. What we have here is one of the earliest recordings to fall under the 'prog' umbrella. As can be expected from the recording date, the music here is more along the lines of psych, rather than typical symphonic prog or canterbury. Sprinkling clouds of Hammond drift along under lethargic vocals to be cut by distorted guitar and spiral into a cacophony of squealing sounds. Mont Campbell and Hillage alternate vocal duties singing of spacey mysticism (hey, what do you expect - it's still the late 60s).

Hints of what to come later in Egg and Khan surface every now and then; "Garden of Earthly Delights" resembling to the former and being very similar to "Seven Is A Jolly Good Time" with it's lush organ and jerky vocals, while "Leg" typifies the British blues jamming influences of the latter. The closer, "Metempsychosis" brings to mind early Krautrock such as Tangerine Dream and Ash Ra Tempel; dissonant, spacey organ sounds, whirling guitar riffs, and driving, pulsating rhythms.

Often considered a classic, I find the album to lack focus in too many places, especially in the improvised closer which seems to end and start again in a few places. The awful sound quality does not do much to help either. Still, an interesting document of the embryonic progressive scene that should appeal to those already aware of these bands. - Mike Prete [September 2001]

Asia Minor - Crossing The Line (1979)

Originally published in Reels of Dreams Unrolled No. 4, February 7, 1998:
One of the many fantastic, obscure European progressive bands to be unearthed and made available to the prog-buying public by the French label Musea is Asia Minor, who only released two very small-time albums in the late '70s. This Turkish/French band created some great symphonic progressive rock tinged vith a subtle, unique middle-eastern twist which helps guarantee their singular niche in the world of progressive rock.

This is the first of Asia Minor's two albums and from what I have heard of the second one, this one is a little simpler but maybe more original. Crossing the Line is characterized by its clever displays of different textures and tonalities. Genesis-like guitar arpeggios and light, melodic, yet fuzzy solos combined with rough, breathy flute playing create a melancholy, dreamy atmosphere which is also achieved throught the use of chorus, phasing and other effects. The instrumentation is usually quite sparse, but cleverly arranged. There is a little keyboard now and then, but it is never takes the center stage. Seven of the nine tracks contain very, very thickly accented English or Turkish vocals, but they are usually short, unobtrusive and embedded in several minutes of instrumental passages.

Occasionally the band breaks from the dreamy, melodic land scape and employs some heavier, faster group phrasing in asymmetrical time signatures, allowing most of the tracks to be quite composionally episodic and dynamic. Overall this adds up to quite a pleasant listen, but it does seem to suffer slightly from the same ailment as Änglagård's Epilog in that it is excellent, original music, but it can be very difficult to pay close attention to throughout the length of the whole album. Maybe this is more a fault of the listener than the muisc, however. It's very hard to think of any band Asia Minor resembles. Aside from some very slight Genesisisms and the Ian Andersonish flute technique (probably coincidental and coupled with a completely different melodic sensibility), Asia Minor are pretty much in a class by themselves. Adventurous proggers know that's a good sign and that it's reason enough to check them out. - Scott Hamrick [February 1998]

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Atila - Reviure (1977)

Atila's third album, Reviure, is one of the clear cut classic albums to come down the pike from Spain in the late 70s.  Unlike many of the other Spanish releases of the time period, Reviure is somewhat unique; lacking the typical flamenco or folk influences, nearly relinquishing the symphonic mantle altogether at points in favor of jazzy cosmic jams.  On the whole this is a symphonic progressive gem, albeit with a slightly spontaneous vibe borne out of the player's impressive technical abilities.  A predominantly instrumental beast, Reviure subsists primarily on savage, biting guitar licks trading off with rousing Moog and synthesizer leads.  The playing is simply astounding, keyboard and guitar displaying deft melodic phrases while the rhythm section contributes an impeccable dynamic sense.  This is tight, savage, furious... simply beautiful music.

The album is made up of four lengthy pieces, all excellent.  Vocals make a brief, but appreciated, appearance on the title track, an otherwise instrumental barn burner highlighted by some killer synthesizer work that will drive Moog lovers to ecstasy.  On first listen "Somni 'Sueno'" seems like something of a let down, reigning in the intensity somewhat in favor of some tasteful melodic playing.  Still, this track reveals itself as important breather in the context of the album, setting up the maelstrom of the upcoming "Atila".  Perhaps the best cut on an already classic release, "Atila" is a monster, swinging between tightly composed grooves and frenetic, unrestrained jamming.  The album ends with a shorter, more vocally oriented track that brings a fitting closure.  Overall, Reviure is a classic Spainsh progressive rock album, rivaling only Mezquita's Recuerdos di Mi Tierra as one of the finest albums out of the country.  Unfortunately, although the first two Atila albums have seen CD reissue, Reviure, their third and reported best, has tragically been overlooked in the recent splurge.  Surely one of the finest albums worldwide currently awaiting the treatment. - Greg Northrup [February 2002]

Atlas - Blå Vardag (1979)

Blå Vardag, the only album that I know of from Swedish symphonic proggers Atlas, is certainly one of the strongest traditional symphonic albums I've heard from the late 70s.  Thankfully, aside from some digital synths here and there, the music is all instrumental with nary a trace of the impending neo-progressive movement.  Admittedly, the music here is pretty typical; nothing groundbreakingly original and even a tad cliched at points.  Still, if passionate performance, great playing and stunning compositions are what matter to you, than Atlas should do it.  The band takes its cue from the instrumental portions of Yes and Genesis; jaunty, melodic, and if not downright "happy" sounding, then at least optimistic.  The emphasis is certainly on melody, taking the listener from one memorable theme to another throughout the album, but with an energetic, complex approach.  Often, the band takes a turn towards quieter, jazzy territory, changing pace before returning to some overwhelming melodic assault.  A number of times throughout, the keyboard pyrotechnics and compositional emphasis on powerful, developed melodies made me think of Anglagard's brighter, less morose, moments. Various synthesizers are the primary weapons of choice, as the band features two keyboard players, though the guitar playing is very good and often comes to the fore.  Mellotron and flute are also occasionally present, and there is always an active melody line to follow, which keeps things exciting for the duration of the album.

The second cut, "På Gata", is an absolute monster.  14 plus minutes of utter symphonic splendor, addictive melodies and beautiful playing.  The other tracks are all strong, in the same basic style, with a number of twists and turns within them.  The other highlight for me is probably "Den Vita Tranans Väg", which closes out the album proper and leans on a slightly heavier, guitar/organ theme which really kills.  Still, the album maintains a consistently high quality throughout, though letting down a tad in the three lengthy bonus tracks, which were still a nice surprise.  Discerning fans of instrumental prog with a symphonic flair will find a lot to like about Blå Vardag. - Greg Northrup [June 2001]

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Ayreon - The Dream Sequencer (2000)

It would be a sad state of affairs indeed if, in the 20 to 30 years since the hey day of progressive rock, the most important advances made by current "progressive" artists would be to cloy Pink Floyd, Yes and Genesis endlessly, make poorly conceived "concept" albums, and all the while adding electronic pap and poppier melodies as their only original contribution. Thankfully, that's not the case in general, with a few exceptions, like this album. I mean, give me a break. At least in the 70s concept albums were something new, and bands were treading unexplored water, even if the end result was arguably mixed (as was usually the case). Nowadays, what’s the freakin’ point? I mean, aside from being able to market it as such. Firstly, you'd have to do something really damn good to make it relevant, not conceive some shitty sci-fi epic with terrible lyrics and a laughable plot.

Firstly, I understand that The Dream Sequencer, otherwise known as Part I of the Universal Migrator, is a collection of Ayreon's "softer" moments, while the separately packaged Flight of the Migrator (Part II) is the "heavier" moments. Indeed, I thought Ayreon was supposed to be a sort of mix between prog-metal and neo-prog, but this album has nary a trace of the former, with annoying, trite Pink Floyd and electronic influences added in its place. Ayreon is basically Arjen Lucassen, who writes all the music, and a troupe of guest musicians and singers. Whereas Part II has Iron Maiden's Bruce Dickinson and Russell Allen from Symphony X, the cast on The Dream Sequencer is, to say the least, dubious. Johan Edlund from Tiamat is an interesting inclusion, but besides that we have guys like Erik Norlander, Neal Morse, Damian Wilson and Clive Nolan. If that sounds like an all star cast to you, well I don't know, you might like this album after all. For me, this should have been an indication to say far, far away. Still, to be fair, it’s not like any of their presences has a dramatic effect on the album, at least not as far as I can tell. The problem is that this was just, in my eyes, a failed proposition to begin with. Take, for example, the opening narration on the title track, an imagine it being delivered in a faux-"robotic" voice: .

"Good morning colonist. You have selected the Universal Migrator program. Please lie down in the energy tank and place the electrodes on your temples."

You really couldn’t make it any cheesier if you tried. Every song is basically slow, with vaguely catchy verses that build into big, bloated choruses. There is tons of wanna-be Pink Floyd atmosphere, you know the kind I'm talking about: generally dreary and morose, with endless strains of Gilmour-esqe guitar runs straight out of "Shine On You Crazy Diamond". However, these are stripped of any kind of direct emotional impact, thanks in no small part to the unbelievably inane "concept" and the literal ocean of Velveeta. Combine this with incredibly slick production, tons of digital synths (some analog though too, not to nitpick or anything), and superficial electronic effects. Now, throw in some bad lyrics, and imagine a cliched line like "One small step for man, one giant leap for mankind" sung with big backing vocals and DRAMATIC™ chords and you'd have a pretty good idea of why I'm not all about this album. This strikes me as the prog equivalent of Oscar Mayer processed baloney; 10% meat and 90% preservatives.

Ugh, well sorry to have gone off so hard on this album, but it’s really not something I would suggest making a priority. If you absolutely must check out Ayreon, go for Flight of the Migrator, which seems to have a little more life to it than this tepid collection of padded, mediocre and unnecessary tunes. I mean, come on, yeah there are some nice melodies here and there, but the only real good things about this album relate to what's already been done. The only "original" contributions made by Ayreon, at least judging from this album, have to do with fluffing it up and adding some techno-industrial textures. For the sake of comparison, I have in my CD changer right after this the album from Hungarian group Townscream, which actually uses some industrial influence to productive end, along with mind blowing piano playing, and an authentic symphonic sound. That album came out three years prior to The Dream Sequencer. Progressive rock doesn't have to be angular and inaccessible to be relevant today, but it does have to be good. - Greg Northrup [July 2001]