Harmonium - Si on Avait Besoin d'une Cinquieme Saison (1975)

As it turns out, the Quebecois progressive rock scene of the 70s managed to turn out a pretty impressive array of great albums, albeit ones that are known only to the more intrepid collectors. Unfortunately, many of these great works have either yet to see CD reissue, or have gone long out of print, making Canada one of the more underappreciated corners of world as far as good prog is concerned. Thankfully, Harmonium, along with a few others such as Et Cetera and Opus 5, have had their CD reissues remain relatively accessible to those not willing to catch a bus to Montreal in order to schlep through the vinyl bins there. As one of the scene's most important bands, the group is really an ideal place to start exploring the country's surprisingly significant contributions. And as arguably their finest album, Si on Avait Besoin D'une Cinquieme Saison makes for a great entry point.

The album presents itself as stunningly beautiful amalgamation of folk and symphonic progressive. Not knowing a whole lot about French folk music, I would be hard pressed to draw a direct comparison, but suffice it to say that this is what I would imagine it to sound like. The emphasis is on exquisite, lyrical melodies, layered acoustic guitars, delicate flute and pleasant, unassuming vocals. The symphonic progressive element is not to be underestimated, and indeed the sweeping "orchestral" feel, due primarily to omnipresent mellotron and shimmering piano, is a dominant element. The overtly French lyricism makes comparisons to the France's symphonic scene tempting, but those bands were always much darker and more dramatic. Rather, Harmonium seems to adopt that sort of "pastoral" sense common to many English and Italian bands. Celeste's self titled album jumps to mind in particular. Oh, and one thing. No drums. Ever. Initially this threw me off a bit, and I found that the almost complete lack of anything that "rocked", the rather effeminate album cover, and the flowery, fluffy melodicism indicated an album that lacked any kind of edge.

So yeah, this one took some time to grow on me. On early listens, I saw it as infuriatingly stereotypical and dainty. I was wrong of course. Part of this has to do with the fact that the magnificent centerpiece "Histoires Sans Paroles" is saved for last. Talk about a gorgeous piece of music. Primarily instrumental, sublime acoustic guitar parts lead the way, as flute and piano overlay the structure will beautiful, interwoven textures and melodies. Towering spires of mellotron coat the entire affair, which will unfailingly drive symphonic progressive devotees to fits of ecstasy. Exquisite. The first half of the album is comparatively less exhilarating, but for the most part still excellent. Only the rather banal, cheesy jaunt of "Dixie" sticks out as a low point really. Once you get into the band's style the entire album works very well, and given its relative availability, I'd say this makes a nice starter to begin exploring the rich Quebecois tradition. - Greg Northrup [January 2002]

Click Here for Tracklist and Lineup Info

Hax Cel - Zwai (1972)
[CD - Garden of Delights CD 056 - 2002]

Hax Cel were a group out of Hanover, who released their only full length album of the time, a live recording, in 1972. The band might in some way be described as a garage band doing classical covers, but the end result is considerably better than that description might imply. According to the liner notes, only two of the compositions here are in fact interpretations of classical pieces, both being works from Handel. Nonetheless, the rest of the album tends to project a similar vibe. Rejecting the use of electric guitar, the band’s melodies are focused around the flute and harpsichord, and the entire feel is generally soft and restrained. The occasional upbeat portions are very appealing, as in the climax of opener "Albinioni," or in "Julius Caesar," whereupon ripping flute melodies take the lead atop a propulsive drum attack. For the most part though, the pieces are based around stately melodic themes and a stiff, almost laborious, rhythmic backdrop of bass and drums. The vocals, delivered in German-accented English, are less annoying than those of some of their contemporaries, but can still be difficult to ignore. There is surely an ‘underground’ feel to Zwai, which can either come off as amateurish or endearing, depending on one’s perspective. While not a classic by any means, Hax Cel's Zwai is nonetheless an interesting obscurity. - Greg Northrup [March 2003]

Click Here for Tracklist and Lineup Info

Hellebore - Il y a Des Jours (1985)

Hellebore were a one-shot French group that disappeared into obscurity after their singular release, Il y a des Jours, in 1985. While the mid-80s release date may throw some listeners for a loop, it actually goes some way in explaining this group's rather unique sound. It is one which, incidentally, has aged rather well, and a revisionist historical view might place the group nicely into the continuum which spawned the post-rock and experimental indie scenes of the late 90s. In reality, none of those guys have probably heard of this group, but that doesn't mean we can't enjoy this album for the inventive and cleverly composed work that it is.

Hellebore are often mentioned as a second-wave Rock-In-Opposition group, and while the influence of some of those bands, Etron Fou Leloublan and Henry Cow in particular, is certainly present, there's also a little more going on here. There is a slight Krautrock influence on Il y a des Jours as well, as Hellebore create an almost Can-like atmosphere of minimalist groove, combined with a square, dry melodic sense and clever, deceptively simple harmonies. The synth sounds have a coolly detached, campy 80s feel, but not in a bad way, as when combined with the mechanic drumming, stunted clean guitar melodies and stark wind themes, they add up to an album of striking ninety degree angles and sharp, symmetrical sounds. The musicians in general sound particularly restrained, and it wouldn't be surprising if one were to misinterpret the album as "cold" or "academic" on first listen. Upon further examination, it is precisely this sense of restraint that makes the album as eerily beautiful, and addictive, as it is. Imagine a mix involving Etron Fou Leloublan, throw in some more modern fare like Miriodor or Sotos, and then add an album like Tortoise's TNT, and you'd have a pretty good idea of the mesmerizing, deftly executed effect of this record. Also worth noting is that the Musea reissue features three bonus tracks which were apparently recorded before the album proper. Without a track listing handy, one wouldn't be the wiser, as they are uniformly excellent and easily on par with the album material. An excellent package on the whole, Il y a des Jours is the perfect Christmas present for the avant-prog fan who has everything. - Greg Northrup [October 2002]

Click Here for Tracklist and Lineup Info

High Tide - Sea Shanties (1969)

High Tide were a by now long forgotten British hard-rock/psych group that played heavy, fuzzed-out metallic progressive rock. It's taken me awhile to really get into Sea Shanties, but this is definitely an essential album of the then embryonic British progressive scene. High Tide plays heavy psychedelic rock with flailing distorted guitars, wailing violin and deep crooning vocals. A good comparison I've heard tossed around is to imagine Jim Morrison fronting Black Sabbath. While that's a good starting point for their sound, High Tide is much more energetic than Sabbath, generally more upbeat and with much more of a tendency to "jam". Not to mention the fact that High Tide also features some fairly frenetic violin playing as a major staple of its sound. In fact, High Tide might best be known for its violinist, one Simon House, who would later go on to greater notoriety with Hawkwind and David Bowie. Incidentally, early Hawkwind circa In Search of Space has a similar vibe at points. In short, this album just rocks. Yeah, it's a little sloppy and not particularly complex, but you'd be hard pressed to find much to top this as far as sheer energy and power.

I'm not sure exactly when this came out, but being sometime in 1969, there's a good chance that High Tide's debut predated Black Sabbath's first album, rendering Sea Shanties one the earliest incarnations of "heavy metal" as we know it. "Futilist's Lament" kicks things off by simply clobbering you with a sheer wall of sound, while "Death Warmed Up" and "Missing Out" feature some mind blowing jams and overpowering interplay between Hill's soaring guitar and House's frantic and unrelenting violin work. "Pushed, But Not Forgotten" and "Nowhere" are both more vocally oriented, seeing the band drift into a more mellow, Doors-type vibe. Overall, this is essential early heavy psych/prog, occasionally drifting into heavy metal territory, with great vocals and tremendous emotional power. Sea Shanties is an album that truly kicks ass on an extremely visceral level, and is an essential part of the early progressive rock puzzle. - Greg Northrup [March 2001]

Click Here for Tracklist and Lineup Info

Lyle Holdahl - Prog (2001)

When music makes me feel physical pain, I take it personally. As such, Lyle Holdahl can expect to hear from my attorney in the coming weeks. This is the point where I become an alter ego, known as The Hammer. For the rest of the review, The Hammer will only refer to himself in the third person.

Holdahl's album Prog is to Hammer what Kryptonite is to Hammer's buddy Superman. Hammer should have known something was up when he noticed that this CD is merely an MP3.com CD. Still, great music can come from the strangest of places, so Hammer gave it a shot. Little did Hammer know that Prog was going to go Ike Turner on him and leave him battered on the floor like a sobbing Tina.

Hammer should point out that he actually has a high tolerance for digital keys, which Prog is plastered with from head to toe. Still, Hammer knows when he hears a mellotron, and you, Casio, are no mellotron. All of Prog is recorded with digital keyboards, even the bass and drums. Even that in itself is not bad, but when Hammer hears an awful sound patch that is supposed to be a flute, he begins to suspect that Holdahl's keyboards came from Target. (OK, so Holdahl actually plays an Ensoniq TS-10. Blah blah blah. Do not confuse Hammer with facts). Vocals, however, are where Prog really falls apart. Hammer recalls a night where he could hear a neighbor's cat getting some forceful lovin' from another neighborhood cat. Hammer hears that kitty's pain again when Holdahl sings. A strange cross between a drunk Ozzy, Phil Collins, and the poor kitty in question, Holdahl's vocals are the sort of thing that Hammer would never want to expose friends or family to. Hammer likes his friends and family.

Holdahl does know how to play his keyboards, however. He played in the '70s prog group Harlequin Mass, and has played with a couple of other bands since then. And despite some terrible synth timbres here and there, there are good melodies to be found here. Hammer particularly likes the second track, "Wakeful Dreams", at least when there are no vocals. Also, "The Forest" (which is, according to the liners, a three movement piece, despite being only 4:51 long) is pretty. By the end of the album, though, all Hammer hears are the same bad synth patches and vocals that he's heard throughout the whole album. Hammer suggests to Holdahl that he go back to being a band member, where he can focus on his talent - playing keyboards. Just keyboardy. No singy. Also, better (and broader) tastes in keyboards and patch selection would be nice. Hammer is not a bad guy. Hammer wants Holdahl to succeed at making good music. Hammer just doesn't want to be hurt anymore. Flowers and chocolates will only keep Hammer coming back for so long. Hammer quote Haddaway: "Baby don't hurt me, no more". - *Legion* [December 2001]

Click Here for Tracklist and Lineup Info

Horizont - The Portrait of a Boy (1989)

Iliya Prutov's liner notes for The Portrait of a Boy go on at length about how, unlike Horizont's previous album Summer in Town, this one is "the most real 'Rock in Opposition.'" There are comparisons to groups like Univers Zero and Present, and words like "gloomy," "grotesque," "hard-edged" and even "torture" are scattered about liberally. As it turns out, the album is not so neatly categorized: to me, it sounds like the work a symph band who listened to far too much Belgian RIO and then overdosed on digital synths.

For the most part, they pull of the digital thing quite well. While total analog freaks might be advised to avoid the album, the sound here is nothing like neo-prog. Instead of trying to simulate analog keyboards or real instruments, the synths here are very metallic, distorted and disembodied, giving the album a very cold, mechanical feel. One of the best parts is the second "movement" of the title track, in which Pétrouchka-like ballet music is played on highly filtered synthesizers that come off like an industrial music box that's been recorded on vinyl and played back with a broken stylus.

Still, cool timbres aren't enough to make a great album, and the actual composition here is pretty uneven. The title track is mostly pretty good: as well as the middle section described above, there's a strange and rather cool opening section that alternates wonderfully angular, jerky passages with clunky Russian Romantic ballet music -- still played on these otherworldly synthesizers -- producing something that sounds like an unholy union of Univers Zero and ELP, except good. Unfortunately, the third section, an RIO-meets-circus-music romp that recalls Zamla Mammaz Manna's "Five Single Combats," is largely pretty uninteresting, and the band makes the mistake of bringing in some terrible, pinched, nasal wordless vocalization for the largely unmoving, pointless climax. But then it ends with over ten seconds of discordant drone-noise, which is pretty cool. So.

The rest of the album consists of shorter, character study-type pieces. Of these, only the "Prelude Fis moll," a lugubrious and very Russian sounding piece for piano, synths and harmonium, is at all listenable. (Actually, it's pretty good.) "Guy's Solo" uses drum machines in the most artificial way possible to accompany an awkward melody that not even the freaked-out wobbly noises that occasionally percolate through the right speaker can save. "The Final of the Ballet 'Farenheit 451'" is much like the title track, only more conventional (read: dull) and more clumsily put together. And the "Vocalise" is simply unlistenable in its bombast, melodrama, and further use those terrible vocals.

I suspect that the audience for this album is pretty limited: only hardcore symph fans will enjoy its pseudo-Romantic "triumphant" moments, but hardcore symph fans usually have a low tolerance for inorganic sound. Maybe, though, if you enjoy Yes, Gary Numan and Shostakovich, you should give it a try. - Alex Temple [September 2002]

Click Here for Tracklist and Lineup Info