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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


The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of
- Sheavy
- Meltdowner
- siLLy puPPy
- Rivertree


Progressive Electronic Top Albums


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

4.29 | 266 ratings
MIRAGE
Schulze, Klaus
4.26 | 853 ratings
RUBYCON
Tangerine Dream
4.23 | 259 ratings
TIMEWIND
Schulze, Klaus
4.17 | 732 ratings
PHAEDRA
Tangerine Dream
4.41 | 33 ratings
IN COURSE OF TIME
Zanov
4.18 | 139 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.24 | 57 ratings
AN ELECTRIC STORM
White Noise
4.11 | 230 ratings
X
Schulze, Klaus
4.24 | 50 ratings
GREEN RAY
Zanov
4.56 | 17 ratings
LONG LOST RELATIVES
Syrinx
4.30 | 34 ratings
CATCH WAVE
Kosugi, Takehisa
4.78 | 11 ratings
DECONSECRATED AND PURE
Alio Die
4.48 | 18 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.06 | 173 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.15 | 52 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.21 | 36 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.18 | 42 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.52 | 14 ratings
BLACKER
Radio Massacre International
4.26 | 27 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
3.99 | 435 ratings
FORCE MAJEURE
Tangerine Dream

Progressive Electronic overlooked and obscure gems albums new


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

SYNTHESIST
Grosskopf, Harald
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
WUNDERBAR
Riechmann, Wolfgang
HARMONIC ASCENDANT
Schroeder, Robert

Latest Progressive Electronic Music Reviews


 Kinder In Der Wildnis by SCHICKERT, GÜNTER album cover Studio Album, 1983
4.52 | 6 ratings

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Kinder In Der Wildnis
Günter Schickert Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

5 stars This might be the most Krautrock sounding of Gunter's solo releases. His third and final studio album and check out admireArt's review for details surrounding this release. Gunter was part of the legendary Krautrock band GAM and this will be the third time I've given five stars between GAM and Gunter Schickert's solo albums. I just love his sound and the way he uses field recordings, echo guitar, trumpet, tapes and so on. A brilliant mind in my opinion when it comes to music and getting his start with Klaus Schulze didn't hurt I'm sure.

"Hollentanz" opens with what sounds like birds chirping crazily as a heavy drum and guitar sound joins in. Krautrock styled vocals a minute in and this is catchy but very underground sounding as the vocals echo and sound double tracked. So good though. Classic Krautrock right here as other vocals join in and other sounds dizzying the senses. Trumpet after 4 1/2 minutes.

"Rabe In De Nacht" opens with guitar and percussion along with experimental bits. Some vocal expressions too. Man this sounds good cranked up. Vocals are pretty much spoken after 3 minutes as the guitar grinds it out. Just a killer track. "Es Ist Schon Kurz Vor 12" has this raw sounding and fast paced guitar. A second sound of guitar I think arrives just before a minute. Distant words 3 minutes in as the guitar continues to power through the soundscape. More guitar like sounds 4 1/2 minutes in. It ends with fireworks and crowd noise and this will continue pretty much to the final track believe it or not.

"Guitarre Wlaurniam" continues with the fireworks and crowd noise as fast paced guitar sounds arrive but they suddenly slow right down, atmosphere too. Another guitar starts to solo over top at 3 1/2 minutes. Nice. Fireworks and crowd noise to the fore to end it blending in to "Suleika" where intricate guitar joins in, intertwining with another it seems. Very mathy as a beat joins in. So good! Catchy as atmosphere adds some depth. Spoken words around 5 1/2 minutes and the fireworks are back with crowd noise(haha) as it blends into the next tune.

"Schwarz Voll Weiss" is that tune as heavy drums join in along with atmosphere, vocals and more. More fireworks and crowd noise as it blends into "7/5" where some amazing guitar joins in then trumpet as it builds while the fireworks keep blasting off and the guitar keeps churning. The guitar steps aside as trumpet, fireworks and crowd noise continue as it blends into "Kinder In Der Wildnis"

 Rain Falls in Grey by RADIO MASSACRE INTERNATIONAL album cover Studio Album, 2007
3.86 | 16 ratings

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Rain Falls in Grey
Radio Massacre International Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

4 stars It took me years before I picked this up simply because it's a tribute album to Syd Barrett so naturally I thought there would be a lot of quirky, psychedelic tunes of the shorter variety with plenty of humour. Well not so at all. This is more like a tribute to PINK FLOYD after the "Pipers..." album where we get these dark and heavy psychedelic tunes stretched out and man what a great job this band does with that style. And no I'm not surprised at how good this is being that RMI are right at the top when it comes to my favourite Electronic bands. The way they use guitar, drums and mellotron with the electronics is incredible. So not much of a stretch for these guys to go in the Psychedelic direction with way less electronics. Some guest sax, clarinet, flute and electric violin here as well.

We get seven tracks all in a similar style and really the only hiccup for me is the song "Legacy" but at 3 1/2 minutes it's not a big deal. "Rain Falls In Grey..." is the over 17 minute opener that opens with experimental sounds in atmosphere before a heavy beat arrives around 3 minutes. A horn after 4 minutes and it turns dissonant. Organ takes the lead for a while then guitar. Just a great sound here around 7 minutes in. Love the vocal melodies 10 1/2 minutes in that last to the 12 minute mark. More guitar before the mellotron arrives before 15 minutes. So good!

"Bett'r Days" opens with heavy drums and organ before the bass arrives. Just a great sound overall here then the guitar starts to solo over top. It winds down some after 5 minutes and even more after 8 minutes before turning quite spacey. "Shut Up" is very spacey, haunting and experimental. An excellent number.

"Syd" is under 3 minutes of bliss, quite dark, heavy and psychedelic. "Emissary" is headphone music for sure early on. We get drums before 3 1/2 minutes and a horn after 4 1/2 minutes. Some nice guitar before a dissonant horn comes in late. "...Far Away" ends it with a lone guitar to start and this will continue for some time as it cries out in atmosphere. Bass will help out along with mellotron later on as it all builds.

This is a must for fans of heavy Psychedelic music. The mellotron is a bonus of course but man this is my kind of music. Closer to 4.5 stars.

 Turning Towards Us by REDSHIFT album cover Studio Album, 2008
4.47 | 6 ratings

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Turning Towards Us
Redshift Progressive Electronic

Review by Gnq

5 stars 5-stars; no hesitation. Violent and beautiful. A masterpiece of Prog. Shreeve takes his EM on a parallel universe journey, an alternative inheritor of Berlin '76. Play loud, play very loud. Upset your neighbours. Marvellous.

I have been a fan of Redshift since the eponymous first release nailed Tangerine Dream's 'Rubycon' for those of us who mourned the demise of Froese, Franke and Baumann's invention. Where that first album bathed in nostalgia and hero worship, by the time of 'Turning Towards Us', Mark Shreeve had so inhabited the landscape his heroes created that he can paint new masterpieces with the pallet; exploring structures that are evolved, not derivative.

Maybe you have to love 'Rubycon' to get it, so perhaps start there; then hang on to your seat for the whirlwind ride that is 'Turning Towards Us'.

 Klaus Schulze & Lisa Gerrard: Farscape by SCHULZE, KLAUS album cover Studio Album, 2008
3.43 | 52 ratings

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Klaus Schulze & Lisa Gerrard: Farscape
Klaus Schulze Progressive Electronic

Review by WFV

3 stars Not a bad record at all if taken for what it is - soft electronic beats and new agey rhythms with gorgeous yet impenetrable female vocals over the top. The mood is reflective and dissonant. For me, this only operates as background music - it's just too long and repetitive to keep my attention all the way through. It's best if I throw it on while doing something else and sporadically give it full attention.

By no means am I a Klaus Schulze expert but personally this ranks low on his list for me.

For some reason this album reminds me of something a university professor would have playing in their office

 Zygoat by ZYGOAT album cover Studio Album, 1974
4.24 | 6 ratings

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Zygoat
Zygoat Progressive Electronic

Review by shantiq

5 stars Odd and compelling piece. I first heard this in 74 when a teenager. I had found it at my local record library and was magnetized by the sleeve: otherwordly kind of prog image; oddly De Chirico hinting at parallel worlds. It seems it was first written for BBC Dance Worshops by a New Yorker called or calling himself Burt Alcantara; might be his real name but there are no photos or useful bios anywhere online I can find. Anyway New York and BBC Dance Workshop seem solid info. Beyond that it is all as mysterious as the music which is electric, compulsive, and totally coherent altho at times it feels as if the man just sat down and played it all in one go with no rehearsal no forethought or plan. 44 years later I still find it exactly as I did aged 16. Mysterious. Beautiful. Mildly unnerving. Any lover of prog/electronic music must hear this and I would surmise they will be captured straightaway and knowledge of this will never leave them. I am a fan of this album. Any other recording of Alcantara I can find is a Ballet Rambert opera called Tutti-Frutti and the second half of an album named Napalis .... beyond that enigma .... like the music here
 Caravan (Kitaro & Pages) by KITARO album cover Singles/EPs/Fan Club/Promo, 1983
2.95 | 2 ratings

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Caravan (Kitaro & Pages)
Kitaro Progressive Electronic

Review by Matti
Prog Reviewer

3 stars There's a bunch of vocal tracks in Kitaro's discography; for example Dream (1992) features lyrics and vocals of Jon Anderson on a couple of tracks. 'Caravan' is however a special case, as it turned Kitaro's original synthesizer music into a radio-friendly pop song. I'm not sure if it entered the charts, but I remember hearing the song on the radio occasionally. I always wondered who is the good-voiced singer since he was never mentioned on the radio. Now as I added this single here, I learned that Kitaro was teamed up with an American group called Pages. The names of the musicians are printed on the cover -- with the strange exception of the vocalist, but some years ago I found out that he is Richard Page, an unfamiliar name to me. His other groups include Mr. Mister, which I have at least heard of, if not listened to.

'Caravan' is based on the track 'Caravansary' -- featured on the B-side of this single -- from the 1983 album Tenjiku (Silk Road IV). Already the intrumental itself feels very much like a *song* in its sincere melodicism. The beautiful, slightly melancholic main melody is simply "sung" by a synthesizer. The vocal version feels like the most natural thing and actually makes one wonder if the composition was right from the start meant to become a vocal song as well. I don't know how the collaboration between Kitaro and Pages started, ie. whose idea it was to record this song. But it's a lovely [non-prog] song. A peaceful, dreamy pop ballad with rather spiritual lyrics. "Caravan, journey in the sky / As the sun comes out from the day / Caravan, we know who we are..."

 Tunhuang (Silk Road III) by KITARO album cover Studio Album, 1981
3.79 | 5 ratings

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Tunhuang (Silk Road III)
Kitaro Progressive Electronic

Review by Matti
Prog Reviewer

4 stars - First review for this album -

Japanese electronic musician Kitaro gained international fame at the turn of the 70's/80's for his music to the documentary series Silk Road, which dealt with the history, archeology, religion and art of the countries along the ancient route from Eastern China to Rome. This is also how I found the music of Kitaro as a young boy. However, for decades I hardly ever listened to his albums (not even in the early 90's when I actually listened more to electronic /New Age artists than rock music), but during the last eight years or so I have updated my relationship with Kitaro's music. I still see him mostly as a New Age artist that hasn't got very much progressive tendencies in his calm and beautiful instrumental music. Which of course doesn't imply that I wouldn't appreciate his music for what it is, or his inclusion here.

Tunhuang is the third part in the Silk Road album trilogy. Especially for those listeners who were fascinated by the TV series and its music, this album represents the ideal Kitaro. As All Music Guide says, "it contains some of the most provocative music in the trilogy". The soundscape is grandiously cinematic and richly detailed despite its smoothness. One can just lie down eyes closed and be carried to faraway places with this excellently produced music for the mind's eye. Very relaxating without being uninspiring or narcotic. It's difficult to pick highlight tracks since all nine tracks are pretty fine, forming together a harmonious flow. But the last piece, 'Sacred Journey II', sticks out positively as the most powerful and climax-building arrangement. It reminds me of highlights on some later albums such as Light of the Spirit.

Tunhuang may not represent the most "progressive" side of Kitaro, but I believe it can be counted among his finest albums. Warmly recommended to the listeners not disliking New Age serenity.

 Autumn Equinox: Amethyst Deceivers by COIL album cover Singles/EPs/Fan Club/Promo, 1998
4.95 | 4 ratings

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Autumn Equinox: Amethyst Deceivers
Coil Progressive Electronic

Review by TCat
Prog Reviewer

5 stars This is the 3rd EP in a series of EPs based on the 4 seasons by Coil. It was released on the Autumnal equinox in 1988 which was fitting of course. Coil was an experimental and mostly electronic duo that has released quite a few albums and have also worked with many artists like Depeche Mode and Nine Inch Nails doing remixes. Their music is typically quite dark and unsettling.

It starts off with a short track called 'Regel' which is made up of strange electronic noises and vocals that are a combination of singing and high pitched calling. This ends quickly and goes to 'Rosa Decidua'. This one is very atmospheric with synthesized keyboards (organ and etc.) and a nice female voice, guest vocalist Rose McDowall from Strawberry Switchblade, singing from what sounds like a distance. Soon a poetic reading starts while all of this is going on. This is a nice track with a lot of depth. There is also a nice tenor voice from Robert Lee from 'Sorrow', another guest vocalist, singing in counterpoint.

'Switches' starts out with an echoing, ambient drone. Soon, electronic noises and pulses come in, making some very interesting and captivating noises. This one is really unsettling when listening through headphones and can really scare the flibindigibits out of you. Make sure you at least have a good stereo set up to get the real effect of this track. This track really shows the ingenuity of Coil, and is worth getting the EP for. Simply amazing.

'The Auto-Asphyxiating Hierophont' is a more majestic sounding track, yet it is still quite unsettling. It is also more melodic, but in a very discordant way. There are processed, chanted vocals here, which sounds like a male and female doing a reading at the same time. While this is going on, there are strings and a thumping percussive noise playing along. Again, this is very spooky and unsettling. At the end this is all replaced by electronic noises before the strings come back in again without percussion or voices.

'Amethyst Deceivers' is the last track on the EP. There are again electronic effects with an electric harp and guitar/bass playing while more chanting is going on by McDowall. Additional voices are layered in later.

This is a very beautiful addition to the Season EP cycle. It is very ritualistic sounding, and gives one the feeling of an old folk/pagen folk music and chanting but feeling very up to date with the orchestration and instrumentation. This is one EP that is worth searching for, especially if you like this style of old ritualistic folk. When combined with the entire song cycle, this is an amazing work, but alone as it is on this EP, the biggest drawback is you wish it was longer. However, I can easily give this one 5 stars as it is the strongest EP in the cycle. You can also find the entire cycle on the release 'Moon's Milk (in Four Phases)'. This is the way I would recommend getting these 4 EPs for those that are curious.

 Molecules of Motion by ROACH, STEVE album cover Studio Album, 2018
4.00 | 8 ratings

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Molecules of Motion
Steve Roach Progressive Electronic

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars With Molecules of Motion master of electronic music Steve Roach has produced one of his most delightful and surprisingly refreshing albums in some time.

1. "Molecules of Motion" (24:22) If some of Stefano Musso's or Laraaji's zither tracks were sped up and set within some Berlin School electronic sequences, this is what you might get. Definitely a modern computer take on the Berlin School art of sequencing. (8.5/10)

2. "Grace Meditation" (23:40) my favorite song on the album and the one that got me to buy it. The multiple octave lower register synth sequence is just awesome--especially for the genius fact that it's mixed in the foreground while the spacey synths are in the background. There are also several awesome "key changes" throughout the song that keep it interesting, make you think and observe different elements of the sequence. Absolutely brilliant! Even the excessively long fade is okay by me. This is what Progressive Electronic and modern Berlin School music should be sounding like. (10/10)

3. "Phase Reverie" (10:11) bouncy, quirky, yet still hypnotic and beautiful. (9/10)

4. "Empath Current" (15:03) fro the first nine and a half minutes there is a constant flow of nice spacey slow-attack and slow-decaying synth wash notes and chords lilting gently in the middle while beneath it plays a multi-track sequence of rhythmic staccato computerblipping, with the the tracks purposely out of synch with one another. Interesting. I'm not sure it works for me. During the final five minutes, the rhythm track has been faded out and is absent allowing the spacey synth to float us around until it, too, eventually fades away. (8.5/10)

4.5 stars; a near-masterpiece of progressive electronic music with one certifiable masterpiece of a prog epic!

 Midnight Moon by ROACH, STEVE album cover Studio Album, 2000
3.86 | 3 ratings

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Midnight Moon
Steve Roach Progressive Electronic

Review by Dobermensch
Prog Reviewer

4 stars This one's like being drawn up to heaven in slow motion after being blown to pieces in Verdun 1916.

If you're familiar with Steve Roach you'll know what I mean. For those who don't, Steve Roach uses no drums, bass or vocals. What you're gifted with here are droning time-tunnel swathes of sound and slowly evolving electronic chords of melancholia. The kind of music you'd expect to hear after dying as your hand reaches out to God, like that Michelangelo painting depicting the creation of Adam in the Sistine Chapel.

It's all very quiet and subdued with an eerie, atmospheric sound. Similarities may be found with parts of Brian Eno's 1982 "On Land - Ambient 4" recording.

Some listeners may find this miserable. I find it life affirming and colourful.

You get the usual Steve Roach massive reverb and decay, from each note played on his unworldly guitar and seemingly vast array of keyboard effects.

'Midnight Moon' becomes increasingly darkly hypnotic the longer it progresses, with huge filters and electronic gadgets being utilised . This is so much better than the spacial Aboriginal percussive recordings he made during the previous years. Beat-less is better in this case.

A semblance of tune rears its head in "Broken Town". This sounds like the remaining tracks, a Post-Apocalyptic nightmare where all human civilisation has suddenly ground to a standstill. The total and utter silence of human intervention. Yes folks... it really is that grim, but in a beautiful way.

"Midnight Moon" is either funereal or meditational, depending on your state of mind and is yet another excellent huge slab of Ambient Prog from Mr Roach.

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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
THE ASTROBOY Portugal
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
BLACK UNICORN United States
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
BREIDABLIK Norway
OLIVIER BRIAND France
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
SAMUEL CADIMA Portugal
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
CHURCH OF HED United States
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
CON HERTZ Germany
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
DEUTSCHE WERTARBEIT Germany
NICOLAS DICK France
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
DOLULUS Switzerland
DR. SPACE'S ALIEN PLANET TRIP Denmark
HEINRICH DRESSEL Italy
DYNAMO SNACKBAR United Kingdom
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
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