PSYCHEDELIC/SPACE ROCK

Originally recorded in 1968 but never released until a few years ago, this is truly a lost pearl among collectors of very early british progressive rock bands. Among all of those obscure recordings from the 60's who gets reissued decades later, this is one of the best and most progressive in the most true sense of the word. In 2007 Malcolm Ironton (guitars) found the master tapes and managed to resurrect four of the six tracks which were recorded for the album, along with a demo tape recorded previously the album was now released on CD and vinyl. Basically "Sacred Scenes And Characters" consists of 4 main tracks, each of them is around the 10 minutes mark. The CD edition offers a fifth bonus track and the vinyl edition offers two different tracks replacing that bonus track. The sound quality is surprisingly very very good, capturing all the great aspects of the band and bring it to the fullest. Another interesting anecdote that will please a lot of progers is the inclusion of no less than Steve Hackett on the song Prologue, apparently he joined the band for a while, but sadly the band fell apart after they lost their momentum when trying to choose between Polydor and CBS for a record deal.

So Canterbury Glass were a five piece band who on top of their basic rock instruments added keys, harmonica and flute in order to enrich their sound. Their music here would fit nicely somewhere between proto prog sound and psychedelic prog, don't expect any weird psychedelic experimentations, the music is more focused rather than trippy, think of a progy mix between Vanilla Fudge, Caravan, Moody Blues and The Doors. One of the biggest elements here are the vocals which are strongly influenced by choral, church like singing, with multi layered harmonies, sounds quite religious at times but it also adds to the music a more angelic symphonic vibe. I think the key word here and the thing that stands the most as opposed to those very early prog bands is that the music is really 100% progressive! The band has a clear adventerous progressive direction, there are no happy 60's kind of tunes or Beatles inluenced songs to try and fit the era. The music contains a lot of ideas and effectively evolves containing varied and long instrumental sections. "Kyrie" opens with a beautiful choral vocals tune creeping in, which gradually builds and becomes fuller and rockier, around the third minute the band is sliding into an instrumental part but not because they want to solo, they have a whole bunch of ideas which evolves from one to the other perfectly, check out that killer Doors like organ psychedelic part, superb stuff! It then goes back to the main melody and closes with a rocking bang. "Nunc Dimittis" follows the opener's formula presenting the main melody before going into an instrumental journey, excellent stuff, this time adding flute and harmonica to the party on top of that fiery organ sound. "Gloria" is focusing a little more on guitar but still maintains a high level of creativity, throwing a lot of ideas and evolving just about every minute. "Prologue" starts with a bang, featuring some rocking guitars by Hackett, you never heard him like this in Genesis. This one doesn't have as many ideas as the previous songs but it is still quite progy and contains a lot of fiery guitar playing from the man throughout those 9 minutes. "We're Going To Beat It " is a song from the band's demo tape and is said to be very different from the version recorded for the original album. The song is not as good or progressive as the rest but still nice featuring prominent harmonica all over. But one must wonder what would happen if the band got signed and continued with Hackett, I think this is a must to anyone who's looking for that early psych proto prog obscurities. Recommended!

The thing that really stands out is that FTB seemed obsessed with everything Western and incorporated few Japanese sounds into their mix. The only thing I can discern is the occasional gong and a few scales that sound Eastern-tinged at times. For the most part this will remind you of the 60s drugged out hippie bands that emerged from the LSD culture. There are monotonous bass riffs, tripped-out echoed guitars and full-on freakouts but the sound is heavy and the contrast between the hard rock and the psychedelic ways in which they play it is what makes this sound so different from everyone else of the day. I agree with the hype surrounding this album but it falls short of a long lost masterpiece for me however it is a very well played album that will keep your interest throughout its entire run.

A UK obscurity (but simultaneously a psychedelic rock legend) CANTERBURY GLASS' "Sacred Scenes And Characters" has notified us they played psychedelic progressive rock with quite eccentric style for 40 or more years ago. The first track "Kyrie" tells us all of late-60s sound innovation. Varelie's deep and solemn voices, weird flute sounds made a drastic attack upon psychedelic keyboard bases. This psychedelia reminds me something like 13th Floor Elevators but yes, not only such a pure psych but also complexity, eccentricity (partially leaning toward Barrett's Pink Floyd but ... not all). In the following "Nunc Dimittis" we can touch kinda "Wall Of Sounds" established by Phil Spector. Able to feel sound depth and atmospheric euphoria, based upon repetitive keyboard plays and crazy flute sound dissemination. Not simple pop but persistently distorted harmony really.

A vague, evasive first departure can be heard in the third track "Gloria", that consists of sticky voice riffs, German-rock-ish guitar picks, and simple hypnotic keyboard tips. Their slippery chorus are funky and addictive. The middle part reminds me Floyd-y air with Happenings Four's dramatic storytelling ... one of my favourite phrases in this album actually. The last is sooo dreamy, beautiful that we must get immersed into their inner muddy world. Which can we feel, brilliant sunshine or dim moonlight? The fourth "Prologue" sounds more and more heavier, clearer ... with Steve's excellent wowwow guitar sounds.This stuff is a tad simple but with flexible psychedelic jamming featured. Aside from the last bonus track just in the same vein of 13th Floor Elevators, we can listen to their kaleidoscopic, innovative psychedelia all through this album.

Why not call they ARE progressive? Recommended strongly.

Mayday Sister Mayday ... I'm not sure if they totally could chase those galactic outlaws with success since then, namely Krokko Redd, Spacecop Goodbad and Agent Froggenstein. This subjects must have made a lasting impression at least, to cut a long story short, as they still get a mention in between. Even one song title directly refers to their former dangerous trip. However, the show must go on, now they are on their next ambitious ride, reaching for the black belt in kama sutra ... any questions? Which excercises do we need for this? A proper groove overall, crazy excursions, blatantly melodic parts, an OH! here, a WOW! there, some surprises all over the shop ... you have to make the game safe, you obviously have to impress. And finally you will need a 'let's do it again!' by way of explanation.

As for that the CHICKENCAGE EXPERIENCE succeed, if you ask me. 'KamaSutra BlackBelt' marks a new rounded affair, stylistically unpredictable, where the closing instrumental jam Whitewash - while featuring wonderful electric piano and guitar.- will impress space rock afficionados first and foremost. I would also emphasize the lovely Thousand Miles - showing the vocal sisters in best form - and standing for their typical 'psychedelic pop tunes from the vault' ... wait! What did they actually promise? A contradiction? Nada, just another sign, that their music is reputable enough, but please, please don't take those messages too seriously which are continuously arriving from the chickencage .

Furthermore you frequently will hear support coming from cello, xylophon and especially diverse wind instruments. Eh ... maybe this is caused by the mysterious Apocryphal Special School Orchestra, which is listed for the line-up... however ... I won't be surprised if this turns out to be a new chicanery. Thus I would prefer to bet on Onkel, performing some magic with synthesizer and samples. But who knows? Here we have a prolific presence over the course, exorbitant song-writing qualities, excellent musicianship, an album full of humour and thoughtfulness including unique funny illustrations - this shadowy combo undoubtedly belongs to the cream of the crop which is available at the moment when it comes to jazz tinged psychedelic/space prog. Well, it's your own fault if you still decide to miss the train!

Stylistically this is rather a step back for the band, which returns to its Hard Rock roots, quite reasonable for a band, which revisits its older material.Compositionally though ''Omega III'' is a pretty strong album, even if the progressive flavors are limited.Tight, well-produced and powerful Hard Rock with occasional symphonic/proggy vibes and fantastic work on English vocals by Janos Kobor.Actually they sound extremely close to British bands, especially URIAH HEEP, dropping hard riffing next to dymanic and diverse keyboard parts full of passion and energy.As aforementioned, most of the tracks are straightforward Hard Rock with great guitar moves, edgy solos and lots of keyboard waves next to Kobor's great voice.A few of them though really stand out.''Remembering'' is a very good piece of Classic/Prog Rock in the vein of URIAH HEEP and THE MOODY BLUES with a nice organ intro, irritating Mellotron parts and melodic guitar soloing by Gyorgy Molnar.''I go away'' is quite close to Classical Rock with psychedelic beats, highlighted by a beautiful opening organ themes by Benko and another monumental guitar performance by Molnar.''Spanish guitar'' is another winner.Accesible, consistent and solid Classic Rock with background Mellotrons and a fine combination of electric and acoustic textures.

This is an album closer to the likes of Classic Rock than Progressive Rock fans.Even so, its high level of energy, consistent compositions and Benko's amazing voice are good reasons to give this a spin.Warmly recommended.

The first words of the opening cut off their latest album ring all-too true for this veteran '70s outfit, currently adrift without a rudder in the 21st century. Give them credit for avoiding the copycat avenues followed by other Prog acts riding the nostalgia bandwagon: the ones that sound an awful lot like classic GENESIS or YES (with the emphasis on 'awful'). But after four decades Nektar still hasn't managed to locate a distinct musical identity of its own.

In their prime the band was often mistaken for Germans. Today they favor a bland, contemporary rock aesthetic, while occasionally pushing a few well-worn Prog buttons: big symphonic chords; portentous MOODY BLUES narration (in the song mistitled "A Better Way"); trippy cover artwork, and so on.

The opening moments of the album show promise, full of big Neo-Prog guitar chords and clever rhythmic syncopation, before the ennui sets in (when the singing begins). And there are some nice instrumental passages in between the routine songwriting, including a groovy title track, and a cool break in the middle of "Juggernaut", with hazy electric pianos and synths drifting across a flowing bass ostinato. But the music too often takes a path of least resistance, falling into that shapeless area between Progressive Rock and just plain Rock, in songs like "Destiny", and in the cantina pop nadir of "Set Me Free, Amigo".

It doesn't help that Roye Albrighton's 64-year old voice is more than a little insecure these days. Or that Billy Sherwood's production of the music was so impersonal. Besides playing bass guitar, the ex-Yes factotum recorded and mixed the album at his own studio, investing it with the same faceless professionalism he brought to the latter-day Yes low-point of "Open Your Eyes".

It's always good to hear any band from Prog Rock's golden age still alive and kicking. But not when their well of inspiration is so conspicuously dry.

All the elements are present for a full hour off tripping progmusic.

Nice, melodic keyboards, aswell as guitarwork, thundering drums, constant changing rhythmpatterns and good compositions.

The bass is really loud and takes a leading role in a lot of songs. It reminds me of Anekdoten and Hawkwind. The music itself sounds like Ozrics and Hidria Spacefolk but Moonwagon rocks harder.

Extra flavours are added via use of accordeon, acoustic guitar, organ, percussion. Moonwagon is a real adventurous musical group and takes the listener on a journey through a strange planet.

I don't know about other albums by this band, but I will definately search for them.

What separates this from being a straight up Pink Floyd clone are the harsher tones this band uses to perform the pieces. To me, it sounds as if Karnivool, or a band like them were performing Floyd tracks. This is not altogether a bad thing. The music is quite powerful, and creates an enjoyable listening experience.

Were it not for the prevalent Pink Floyd overtones, I might give this 4 stars. But the derivative sound of the album reduces theb rating to only 3 stars.

And together the 7 dwarves put their heads together and conjured up an idea on how to construct monumentally colossal and intricate architecture through sound. Working together like small bees, they managed to create an unparalleled string of albums by releasing musical pheromones in the air, seducing and enticing their fellow compatriots to take part in whatever honey-dripping invisible triangular cathedral of the day. And like all bees, the fruit of the labour - the meaning of it all - was to be(e) and fly and build and buzz along with the hive...

Throwing all reviewing manners out the window is probably the best way to go about writing about an album like this anyway...... Imagine a busy beehive trying to perform Tangerine Dream's Zeit inside a huge castle of reverberating iron. That's Taj Mahal Travellers for you! Or maybe a floating sand dune elliptically crashing into an electric signal....on repeat and in different octaves.

The 7 dwarves never go for the easy way out, or maybe they do because it's the only way they can work together? I honestly don't know, but it sure is a thrilling thing to witness. The music is free - completely improvised, as all their other records are. Slow drones that edge their way forth like a bare bellied Sleepy squishing on his stomach through jello and fine sand. Unreal wind instruments like wailing trumpets that sound so frail and longing, you could swear you were listening to a mother elephant mourning the passing of Dumbo and his little mouse friend. A bass tuba that raaaaaws on like a deep pulsating wall of blackness - foxtrotting through the night with the ominous and, at the same time, gentle electronics that have a way of sneaking up on you like shadows from a moving car - the city ninjas.

Over and under this fabulous structure, you get the violin sorcery. Yet another thing that moves in mysterious ways as the good Bono says, only here it moves entirely differently than what you'd expect such a nostalgic and classic instrument to do. It slithers, writhes, drones - creates elliptic circles of sound that never really sound like a violin. It's everything but actually, and come to think of it, the violin itself is probably the best advocate for all the dwarves playing. It deceives you....tricks you into thinking that it's something else. A wonderful kind of betrayal that flusters your senses and makes belief out of everything around it. All of this music is a sweet deceptive veil dropped softly and poignantly on your ears.

Take this out among the stars and watch the universe zoom in on you. Watch them dwarves build pyramid upon pyramid....drifting and floating on the cool winter night. They sparkle and shimmer in the moonlight and make you feel as if you're witnessing things you can't and at some future time will have immense difficulty in explaining to folks who don't believe in the magic power of music that builds structures out of air and can grab you by the throat and heart and soul all at once.