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PROGRESSIVE ELECTRONIC

A Progressive Rock Sub-genre


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Progressive Electronic definition

Born in the late 60's after the expansion of avant-gardist, modern, post-modern and minimalist experimentation, the progressive electronic movement immediately guides us into a musical adventure around technologies and new possibilities for composition. As an author or a searcher, the musician often creates his own modules and electronic combinations, deciding his own artistic and musical action. The visionary works of Stockhausen, Subotnick, John Cage ("concrete" music, electro-acoustic experimentation), La Monte Young, Steve Reich, Terry Riley (minimal, micro-tonal music) express a vision of total reconstruction in the current musical world. Luminous works such as "A Rainbow in Curved Air" (1967) and "Silver Apples of the Moon" (1967) bring an inflexion on opened forms and new ways to explore the essence and the physical aspects of sounds (through time and space). "Static" textures, collages & long running sounds, the power of technology previously exposed in ambitious classical works will have a major impact in "popular" electronic music.

After the artisan & innovative uses of magnetic tapes, feedback, microphones, etc., the instrumental synthesis, the elaboration of global sound forms and the psycho-acoustic interactions will be sublimated thanks to the launch of the analog synth. A great improvement happened in 1964 with the appearance of the first modular synthesiser (Moog). This material (or "invention") brings the answer to the technological aspirations of many musicians, mainly after the release of the popular "Switched on Bach" (Walter Carlos) and Mother Mallard's portable masterpiece (pieces composed between 1970-73).

At the beginning of popular essays in electronica, the pioneering technologies (in term of recording and sound transmission) will not be abandoned. For instance, "Tone Float" (1969) by Organisation (pre-Kraftwerk), "Zwei Osterei" & "Klopzeichen" (1969-70) by Kluster and "Irrlicht" (1972) by Klaus Schulze will carry on the domestication of the electric energy and the use of refined harmoniums, organs and echo machines. During the 70's decade, European groups & musicians such as Eno, Kraftwerk and Tangerine Dream will make their name in the music industry thanks to an abundant use of analog synthesisers and original electronic combinations. After weird, mysterious experimentation on conventional acoustic & electric instruments, Kraftwerk enjoyed huge success in popular music thanks to "mechanical electronic pop music". "Trans Europe Express" (1977) and "The Man Machine" (1978) figure as two commercial classics. The German spacey electronic scene launched by Tangerine Dream with their outstanding "Alpha Centauri" (1971) and Cluster "I" & "II" (1971-72) will have echoes everywhere, starting from the Berlin underground electronic scene (the Berlin School) with Klaus Schulze ("Timewind" 1974), Michael Hoenig ("Departure from the Northern Wasteland" 1978), Ashra ("New Age of Earth" 1976), Conrad Schnitzler's buzz-drones and repetitive electronics ("Zug", "Blau", Gold" 1972-74) . After several innovations always from Germany we notice the dark, doomy atmospheric manifests of Nekropolis (Peter Frohmader) in "Le culte des Goules" (1981), Asmus Tietchens in his colourful and engaged "Biotop" (1981) and the semi-ambient "Hermeneutic Music" (1988) by Lars Troschen (sound sculptor and synthesist).

In France, the "hypnotic" and "propulsive" electronic essays of Heldon ("Electronic Guerrilla" 1974) and Lard Free ("Spiral Malax"1977) introduce an inclination for industrial, urban and post-modern sound projections. The French "avant gardist" Philippe Besombes takes back the inspiration of " concrete music" (Pierre Henry.) and mixes it to a hybrid rocking universe (published in 1973, "Libra" figures as a true classic). Bernard Xolotl in "Prophecy" (1981), "Procession" / "Last Wave" (1983), Zanov (Green Ray, 1976) and Didier Bocquet (Voyage cerebral, 1978) will follow the musical path anticipated by Klaus Schulze in his kosmische electronic symphonies.

At the end of the 70's until the debut of the 80's Albums as "ambient 1: Music for Airports" (Brian Eno), "Cluster & Eno", "Deluxe" (Hans Joachim Roedelius side project called Harmonia) will announce the emergence of the famous ambient movement, musically characterised by gorgeous shimmering atmospheric textures.

During the 80's, Maurizio Bianchi will be in search of the absolute industrial "post-nuclear" sound tapestry. His visionary musical experience is based on cyclical loops, abrasive concrete noises and vertiginous piano dreamscapes. ("Symphony for a Genocide" 1981 and recently the mesmerising "A.M.B Iehn Tale" 2005). Before M.B and the industrial-bruitist wave, the 70's Italian specialists of electronic experiments had been (among others) Francesco Cabiati (Mirage, 1979), Francesco Bucherri (Journey, 1979), and Francesco Messina for representative, lyrical and spacey orchestrations and also Futuro Antica (D'ai primitivi all'elettronica, 1980) or Telaio Magnetico (Live' 75) for tripped out minimalism.

In the early 1980s and after following the kosmische path of classic Klaus Schulze, The Bay Area / Los Angeles school of electronic created the so called "alchemical" / "Sacred" space music. The music offers a dynamic combination between ancient-traditional music of the West and synthesised sonic soundscapes. The most representative artists of this movement are Michael Stream (Lyra Sound Constellation, 1983) Robert Rich (Numena, 1987) and Steve Roach (Dreamtime Return, 1988).

In the early 80s Ian Boddy (Spirits, 1984 / Phoenix, 1986) and Mark Shreeve (Assassin, 1983 / Legion, 1984) unique spacedout synthesised sagas represented the british answer to the challenging Berlin kosmische school. Their music embodies timbral drone sequences, systematic arpeggiations and synth-pop textures.

Young contemporary bands and artists in electronic experimentation took their inspiration from the 70's "kosmische" analog synth psychedelica of Klaus Schulze, Conrad Schnitzler, Tangerine Dream, etc. In the spaced out synthesisers spectrum, modern Japanese artists as Yamazaki Maso (noisy avant garde experimentor who contributes to the Kawabata's projects named Andromelos, Christina 23 onna and Father Moo & the Black sheeps) or Takushi Yamazaki (Space Machine) are key figures. The minimal, moody / lysergic epic soundscapes of Omit (Clinton Williams), Cloudland Canyon, Astral social club or Zombi also contribute to the renewal of the "cosmic" synth genre. Many modern electronic artists have taken an original musical direction, surfing on post-krautrock ambient waves (Aethenor), on spherical "abstract" ambient minimalism (Pete Namlook, Biosphere, Robert Henke) or on trancey, (post) industrial drone hypnosis (Alio Die / Amon / Nimh for the italian side and Andrew Chalk with his respective projects Mirror, Monos and Ora).

To sum up things, the progressive electronic subgenre is dedicated to intricate, moving, cerebral, intrusive electronic experiences that get involved in "kosmische", dark ambient, (post) industrial, droning, surreal or impressionist soundscapes territories.

Philippe BLACHE

Current Team as at 09/06/2012

Philippe
Alex (Sheavy)

Progressive Electronic Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Progressive Electronic | More Top Prog lists and filters

4.24 | 735 ratings
RUBYCON
Tangerine Dream
4.27 | 216 ratings
MIRAGE
Schulze, Klaus
4.66 | 19 ratings
IN COURSE OF TIME
Zanov
4.60 | 21 ratings
CATCH WAVE
Kosugi, Takehisa
4.44 | 31 ratings
GREEN RAY
Zanov
4.15 | 630 ratings
PHAEDRA
Tangerine Dream
4.16 | 206 ratings
TIMEWIND
Schulze, Klaus
4.20 | 108 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.14 | 196 ratings
X
Schulze, Klaus
4.30 | 30 ratings
AN ELECTRIC STORM
White Noise
4.09 | 91 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.19 | 41 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.28 | 27 ratings
EARTHEN
Alpha Wave Movement
4.03 | 147 ratings
NEW AGE OF EARTH
Ashra
4.22 | 30 ratings
LUCIFER RISING
Beausoleil, Bobby
3.99 | 372 ratings
FORCE MAJEURE
Tangerine Dream
4.02 | 141 ratings
AMBIENT 4 : ON LAND
Eno, Brian
3.97 | 256 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.19 | 25 ratings
FILAMENTS
Rich, Robert
4.43 | 13 ratings
ABANDONED CITIES
Budd, Harold

Progressive Electronic overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Progressive Electronic experts team

TIME REPLICATED
Bownik, Adam Certamen
SYNTHESIST
Grosskopf, Harald
HELDON IV: AGNETA NILSSON
Heldon
WUNDERBAR
Riechmann, Wolfgang

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Latest Progressive Electronic Music Reviews


 The Ship by ENO, BRIAN album cover Studio Album, 2016
3.00 | 1 ratings

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The Ship
Brian Eno Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
3 stars As always any output under Brian Eno's name or any of his multi-factorial collobaborative ways, beholds expectations.

I follow his releases and tend to listen or aquire his latest ones. "The Ship", 2016, is no exception.

Sound engineering wise, this is top of the cream. That mentioned, everything revolves actually around that attribute.

Music composition wise his "advertisers" announce a criss cross between "Ambient 1- Music For Airports",1978, and his super early stuff, lke "Taking Tiger Mountain (By Strategy)"- 1974 and "Here Come the Warm Jets"-1973 a personal favorite. I would have added "Before and After Science"-1977, which exposes to perfection this bi-polar frequency of song writing.

Well "The Ship" is that kind of ENO's multiple musical, slow paced, languages mixed throughly and upgraded with his acute artistic sense for the recorded sound. That and his later aquaintance with Karl Hyde, it shows and can not be "hydenn" and a Roger Water's feel (quiet surprising) is also present here and there, by the way.

Having set the court for ruling, I bought this album and I do not think that I have gotten something extraordinary or highly valuable or to put it simply this one, as most of his post "Small Craft on a Milk Sea"-2010 solo releases, can still not compare to the same.

There are of course magnificent moments although somehow diluted by lack of contrasts and some of its proposals may seem new in Eno's world but not that "new" in the outside world. The focus on the lyrical power of the recorded voice be it Eno himself or guests Nuria Homs or Peter Serafinowiczis is truly remarkable.

Like a self set level of mastery in the fields of music composition, he himself has established, this release, beyond its astounding sound engineering, music wise is good to listen to but not really groundbreaking as to become essential.

***3.5 PA stars.

 Laserscape by YOU album cover Studio Album, 1986
2.00 | 1 ratings

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Laserscape
You Progressive Electronic

Review by Modrigue
Prog Reviewer

— First review of this album —
2 stars 2.5 stars

The second half of the 80's were definitely not the best for German electronic artists. Most of them turned towards new-age or ambient, not always successfully. And what about YOU? Well, "Laserscape" is an unequal mixture of ambient music with reminiscences of the Berlin school approach and a touch of new-age. There are only a few moments with heavy-psych pulsating sequences and upbeats typical of the band.

The tracks were in fact recorded in 1985 as a soundtrack for German designer Horst H. Baumann's open-air laser performances.

The opener "Passing Landscapes" sets the tone by displaying an aerial intriguing atmosphere. "Can You Tell Me Where I Am" is clearly the best track of the record, as it's the one that most resembles YOU's previous material. Consisting in a quick sequence and cool drums over a melancholic soft synthesizer melody, this passage is quite nice and catchy. Back to ambient with "Changing Rooms", the longest composition of the disc. Apart from bizarre sounds and slight oriental sonorities, nothing really happens in 13 minutes.

"Travelling Hologram" incorporates various string instruments. Original but not featuring many changes, this threatening piece sounds more like a thriller movie soundtrack. The surprising "Scanned Noises" is in fact not especially noisy. Its pretty delicate acoustic guitar play contrasts with the menacing electronic mood. Interesting. Not much to say about the anecdotal repetitive "Curious Phenomena Part I". Part II concludes the record with long mysterious synthesizer textures.

The 21 minutes bonus track "Laserscape/Live" is a recording of the Philips Laserscape Krefeld show on August 31st, 1985, that was broadcasted by Berlin's SFB radio station.

YOU went adventurous and experimental for this 1986 album. It has its moments, but the music is definitely not the trippy style of "Electric Day" or "Time-Code". However, the German duo avoided the cheesy new-age temptation, which is a good point. "Laserscape" was conceived as a soundtrack, so it may require to be heard with the corresponding laser shows to be fully appreciated.

If you're into ambient electronic music with experimentations, you can give it a try.

 Electric Day by YOU album cover Studio Album, 1979
3.00 | 9 ratings

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Electric Day
You Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars Berlin School at the dawn of the eighties

First studio album by YOU, "Electric Day" is in the straight lineage of the 70's electronic Berlin School. The music is mainly based on trippy pulsating electronic sequences weaving hypnotic textures. The German duo adds however more rhythm, futuristic sonorities and upbeat percussions typical of this period. This is also partly due to the participation of Klaus Schulze collaborator and ASHRA member Harald Grosskopf at drums.

The title track features a fast frenetic loop over a dreamy soundscape, in the vein of KLAUS SCHULZE-meets-HELDON. Then comes the very nice "Magooba". A little softer piece, with distorted guitar solo and slight oriental touches, which can remind ASHRA at times. Back to rapid sequencing with the more rhythmic "Son Of A True Star". This average track is nonetheless a bit repetitive and does not contain many variations.

The short "Sequential Spectrums" parts are slow drone contemplative pieces. On the contrary, "Slow Go" is the longest track of the record. This composition is a lengthy electronic improvisation built around Grosskopf's drumming, and has therefore reminiscences of TANGERINE DREAM's "Madrigal Meridian" suite from their 1978 album "Cyclone". The ender "Zero-Eighty-Four" features mysterious strange sci-fi sonorities and sounds rather... bizarre.

For a first studio album, "Electric Day" is quite pleasant. The German duo is just beginning to develop its own musical identity here. In 1979, YOU were one of the only few bands to propose such quick sequenced hypnotic electronic music. Their elder brothers TANGERINE DREAM were still in their progressive rock period before they turned more melodic in the 80's, while KLAUS SCHULZE was changing direction.

Although uneven and not genuinely innovative, this first opus is very futuristic and spacey. Recommended to 70's sequenced electronic music lovers!

 Ricochet by TANGERINE DREAM album cover Live, 1975
4.28 | 285 ratings

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Ricochet
Tangerine Dream Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group RIO / Avant / Zeuhl Team & Moderator

5 stars An appropriate development with obvious refinement. This "Ricochet" was performed and recorded on a TANGERINE DREAM stage in front of the enthusiastic audience. As for the whole performance of Ricochet Suite, their soundscape and atmospheric construction can be felt superb and surrealistic, both of which could give dreamy philosophical views and vibes to the audience. Their repetitive convoluted sound structure should be really too well-calculated and strictly-planned for other electronic followers to copy or imitate so easily methinks.

The first phase of this suite would get positive steadiness in a more polished and more ethnic manner than previously. The percussion / drumming launching a bunch of tribal mood obviously gets intensified with more German psychedelic movements, and multi- dimensional electronic components let us feel more strongly elegant palpitation. Simple repetition of musical phrases can be felt stretched solid and mystically melodic, and notify us they would have developed musically and digitally, electronically. Simultaneously, they would keep their 'dramatic' Krautrock essence as something cynical and distorting here and there ... it's exactly our pleasure.

The latter phase sounds more and more delightful and fashionable especially in the beginning, but do not be deceived, they discharged weirder and darker atmosphere just in the middle part, as if they might have shouted they never forget such a texture as their musical basis ... this bizarre might be in the similar vein of their first shot "Electronic Meditation" (a reviewer said "Electronic Meditation" could never be thought as their electronic roots but who believes?). They might keep this complicated method as a trauma I imagine ... could not avoid at all. However, they played their novel (but a tad tinged with previous flavour) clear identity perfectly on the stage, that could gain lots of cheers from the audience. In natural, let me say.

"Ricochet" is one of the greatest progressive electronic works we can say, without any suspicion. Cheers from me too.

 Aqua by FROESE, EDGAR album cover Studio Album, 1974
3.64 | 75 ratings

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Aqua
Edgar Froese Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars Phaedra's companion disc

3.5 stars

After the release of "Atem" in 1973, TANGERINE DREAM left the German record label Ohr to sign for Virgin. As Edgar Froese decided to devote his career for his band, he also signed for Virgin and received supplementary financial advances, that allowed TD to develop and buy their cutting edge electronic equipments, especially the Modular Moog synthesizer.

Recorded in winter 1973/1974 in Berlin after "Green Desert", the compositions of "Aqua" can be considered as drafts or B-sides of "Phaedra". Froese reworked the tracks and released them under his artist name. Only "NGC 831" features a guest apparition, his colleague Christopher Franke.

Although more ambient and experimental than the well-known TD's 1974 opus, the music is more accessible than the band's material during their previous Ohr years, and shows Froese venturing into unknown territories at the time. The four featured tracks are quite heterogeneous and do not totally resemble TANGERINE DREAM. These last points are the main interests of "Aqua", its unique sound and atmosphere.

The 17 minutes title track is very ambient and aquatic. It consists mainly in liquid drip sonorities over mysterious and relaxing long synthesizer waves. The water effects were in fact recorded in Froese's own apartment. Although the sounds are a little too present, this suite is quite crystalline and pleasant. The two following tracks use sequencing. "Panorphelia" contrasts with its robotic soundscape. A ramshackle futuristic sequence with changing rhythm, with an intriguing mellotron melody. Avant-garde and enjoyable, this track is however a bit repetitive and does not justify its ten minutes length.

"NGC 891" is the best composition of the record (due to the presence of Christopher Franke with his Moog?). More typical of TANGERINE DREAM, hypnotic and pulsing, it may have been a draft for the title track of TD's "Phaedra". Maybe this was also the first sequenced track Christopher Franke recorded in a studio. With its water sound effects, "Upland" has an ambiance similar to the title track, the melody being played this time with an organ.

Although "Aqua" is not easily accessible and could have been shortened, this first solo effort by Edgar Froese is quite unique and possesses its own personality. Rather innovative at the time, this mixture of ambient, liquid and cold music differs from what other electronic bands were proposing at the same period, even TD.

If you enjoy TANGERINE DREAM mid-70's era, especially "Phaedra", or experimental 70's electronica, give this album a try. In 1974, a vast new ocean of possibilities remains unexplored...

 Harmony In Ultraviolet  by HECKER, TIM album cover Studio Album, 2006
3.96 | 6 ratings

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Harmony In Ultraviolet
Tim Hecker Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Tim Hecker gets that "ambient" does not mean the same thing as "featureless", and that a good ambient album should exist in a curious space where it simultaneously fades into the background but also calls the listener's attention without ham-fistedly grabbing or demanding it. Harmony In Ultraviolet is an advanced lesson in the craft which takes a droning bedrock and layers onto it a range of curious sonic happenings which, like the best releases in the genre, offers a Rorschach test for the ear. Particular moods are suggested and some pieces, such as Chimeras, are positively rife with tension, but Hecker neither goes overboard nor becomes excessively spartan.
 Syn-Code by SOFTWARE album cover Studio Album, 1987
2.64 | 6 ratings

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Syn-Code
Software Progressive Electronic

Review by Modrigue
Prog Reviewer

2 stars "Syn-Code" is one of the most ambitious albums from the German duo. Consisting in two suites of more than twenty minutes and a third track of nine minutes, the music incorporates different instruments in addition of synthesizers and has a strong orientation towards new-age. However, the long pieces lacks unity and fail at keeping the interest of the listener as for example on "Electronic-Universe Part I".

"Syn-Code-A" begins with a rainy introduction, to then unveil flute and electronic passages. The middle section displays a jungle soundscape with animal sounds, while the ending part concludes the track with aerial voices. There are a few good moments but no true musical direction.

"Syn-Code-Z" is the weakest composition of the record. It features cheesy synthesizers and electronic percussions sonorities typical of the late 80's. The "thunder" section is more lively with the apparition of electric guitar, whereas the ending is just basic new-age. The problem is that the different parts seem disconnected and the overall is not very coherent.

The final track, "Syn-Code-Sunset", has strong reminiscences of what KLAUS SCHULZE was doing in the eighties. The finale is quite mystical.

"Syn-Code" is quite an uneven and strange album. The German duo wanted to experiment and emancipate from their initial TANGERINE DREAM and KLAUS SCHULZE influences by reducing the use of electronic loops and adding novel orchestrations and sound effects. Nonetheless, the result is not convincing and difficult to follow.

The style differs from SOFTWARE's previous electronic progressive acts such as "Phancyful Fire" or "Electronic-Universe Part I". Don't choose this album if you're looking for hypnotic meditative or futuristic soundscapes. Fans of 80's new-age music may however appreciate it.

 Elusive Metaphor by Alio Die & Parallel Worlds by ALIO DIE album cover Studio Album, 2015
5.00 | 1 ratings

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Elusive Metaphor by Alio Die & Parallel Worlds
Alio Die Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
5 stars This is the future!

"Elusive Metaphor" by Alio Die (aka Stefano Musso) & Parallel Worlds (aka Bakis Sirro) released in 2015 is a MASTERWORK.

7 expansive, rich in textures, truly inspired and unique compositions, including a short collaboration by the ghostly and beautiful voice of India Czajkowska (track 1), whose storm of ideas on each track gives a different and new meaning to conceptual albums.

Deep into the sequences of dream like emotions, these sonic/visions are as abstract as concrete, yet fleeting away their shapes through mutable environments, which even though "earthly", withhold an absolute deep in trance "cosmic/human" quality that is both attainable as it is possible and better yet represented through the art of music.

Progressive Electronics taken for a ride into our planet's inherent aural atmospheres in full amounts of sonic colors and their respective shades and better yet with pitch perfect music composition.

A well hidden treasure full of all the unwritten, until now, possibilities in progressive electronics and contemporary non-mainsream electronic music composition adding up to a Prog music masterpiece!

***** 5 "FULL" PA stars!

 Electronic-Universe Part I by SOFTWARE album cover Studio Album, 1985
3.34 | 7 ratings

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Electronic-Universe Part I
Software Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars 3.5 stars

"Electronic-Universe Part I" is certainly one the most ambitious studio album from the German duo, as it opens with no less than three 20 minutes suites! As a consequence, the three other remaining tracks are short compositions, but as good as the long ones. Classic electronic prog lovers, get ready to take off.

"Fluting Electronic Universe" is a slow soft new-age piece, composed mostly of flute and synthesizers. It weaves cool dreamy soundscapes. The pleasant "Surfing Saturn" alternates spacey and ambient passages with strange sound effects. The ending can remind TANGERINE DREAM's "Logos Part 2" by moments, however a little less messy. The cosmic atmosphere corresponds to the track name. On the contrary, "Dancing Venus" is a rather odd title. Its first half is quite mysterious with its synthetic haunting voice calls, while the second half is smoother and contemplative. Enjoyable though.

The 2 minutes "Cosmic Calimba" is the shortest track of the record. The sound and style are very close to TANGERINE DREAM's "Undulation". "Add-Space-To-Time" is the best passage from this second half. A trippy and futuristic sequence with a nice progression. "Psychomellow-Planet" is pretty much in the vein of "Cosmic Calimba", however average.

Although not very innovative and a bit lengthy, "Electronic-Universe Part I" fulfils its promises and carries the listener for a long synthetic journey through different spatial soundscapes. The three first long suites are one the most adventurous pieces SOFTWARE ever composed. If you like 80's electronic progressive music like KLAUS SCHULZE or TANGERINE DREAM, you'll surely enjoy this album from this lesser-known band.

 Beam-Scape by SOFTWARE album cover Studio Album, 1984
2.07 | 6 ratings

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Beam-Scape
Software Progressive Electronic

Review by Modrigue
Prog Reviewer

2 stars First official release by the Peter Mergener and Michael Weisser duo, "Beam-Scape" can be considered as a draft for the SOFTWARE albums that will follow. The ambient/electronic/new-age style of the band is already present, however the inspiration and ideas are still lacking. The compositions are mostly slow and do not feature enough changes to keep the listener's attention. The cold electronic sound is quite reminiscent of TANGERINE DREAM's "White Eagle" album.

The opener "RainBow" is rather average. Its first half is ambient with various bizarre sounds, while a small sequence appears on the second half. "SunBeam" contains nice synthetic electronic loops and similitudes with KLAUS SCHULZE's 80's material. A bit monotonous, but enjoyable. Not much to say about the 15 minutes "Shooting-Star", rather lengthy and boring, and "Small-Spark", which mainly consists in a repetitive sequence.

"Timber-Wave-Reflections" is a new age track, whereas the pulsing "Roots-In-Abeyance" is more lively and not bad, although it does not feature many variations. "Double-Binded-Sax" is a little messy. As its title suggests, it incorporates a saxophone but this instrument does not really add something to the ambiance. On the contrary, the ender, "Power-Of-Independence", truly stands apart the other tunes. Best track of the record, this good surprise is a nice punchy trippy tune. It proves that the band has an identity to develop.

This record has not been released under the SOFTWARE name, and for reason. Not very innovative, "Beam-Scape" only gives the listener a glimpse of what the German duo has to offer. There are some pleasant moments though, but unfortunately too rare. These ideas still require some maturation, that will arrive just one year later...

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Progressive Electronic bands/artists list

Bands/Artists Country
12 FOLLOWERS United States
6LA8 Pakistan
ACI Germany
AEON France
AETHENOR Multi-National
AFTERLIFE United States
ILDEFONSO AGUILAR Spain
PEKKA AIRAKSINEN Finland
AIRSCULPTURE United Kingdom
ALBERGO INTERGALATTICO SPAZIALE Italy
ALIO DIE Italy
ALLEGORY CHAPEL LTD United States
DAEVID ALLEN MICROCOSMIC United Kingdom
ALLUSTE Italy
ALPHA WAVE MOVEMENT United States
ALTO STRATUS United Kingdom
AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
ANNA SJALV TREDJE Sweden
ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ARZATHON Sweden
ASCOIL SUN Finland
ASHRA Germany
ATOMINE ELEKTRINE Sweden
AUBE Japan
AUTOMAT Italy
AWENSON France
MARVIN AYRES United Kingdom
HARVEY BAINBRIDGE United Kingdom
AIDAN BAKER Canada
SIMON BALESTRAZZI Italy
BAFFO BANFI Italy
BASS COMMUNION United Kingdom
PETER BAUMANN Germany
BAUMANN/KOEK Germany
BEAR BONES LAY LOW Venezuela
BOBBY BEAUSOLEIL United States
CARLOS BELTRÁN Mexico
LÁSZLÓ BENKő Hungary
PHILIPPE BESOMBES France
BETWEEN INTERVAL Sweden
MAURIZIO BIANCHI Italy
BIG ROBOT Norway
BIOSPHERE Norway
TIM BLAKE France
BLUE MOTION Switzerland
BLUE SAUSAGE INFANT United States
WOLFGANG BOCK Germany
DIDIER BOCQUET France
IAN BODDY United Kingdom
GASTON BORREANI Italy
ADAM CERTAMEN BOWNIK Poland
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
CALDERA United States
TOM CAMERON United States
DALLAS CAMPBELL United States
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK United Kingdom
JOHN CHRISTIAN United Kingdom
CHRISTINE 23 ONNA Japan
THE CIRCULAR RUINS United Kingdom
CLOUDLAND BALLROOM Ireland
CLOUDLAND CANYON United States
CLOUDLAND CANYON/LICHENS United States
COIL United Kingdom
COMA VIRUS Germany
PASCAL COMELADE France
COMPUTERCHEMIST United Kingdom
CONTRASTATE United Kingdom
COSMIC DEBRIS United States
COSMIC GROUND Germany
COSMIC HOFFMANN Germany
CRAWL UNIT United States
CREMATOR United Kingdom
CROP CIRCLES France
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRÀ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
NICOLAS DICK France
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
DOLULUS Switzerland
HEINRICH DRESSEL Italy
E-MUSIKGRUPPE LUX OHR Finland
EARTHSTAR Multi-National
EDEN France
ELEKTRIKTUS Italy
ELICOIDE Italy
EMERALDS United States
J.D EMMANUEL United States
ENDOPLASMIC FLOW Multi-National
BRIAN ENO United Kingdom
ENVENOMIST United States
EXPO 70 United States
F.G EXPERIMENTAL LABORATORY Switzerland
FRANCO FALSINI Italy
FANGER & SCHÖNWÄLDER Germany
FARBFELDE United States
FASER Germany
FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
FHIEVEL Italy
FIVE THOUSAND SPIRITS Italy
FLAMEN DIALIS France
FOVEA HEX Ireland
FREE SYSTEM PROJEKT Netherlands
FRIPP & ENO United Kingdom
EDGAR FROESE Germany
PETER FROHMADER Germany
KEITH FULLERTON WHITMAN United States
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