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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 | 268 ratings
MIRAGE
Schulze, Klaus
4.25 | 857 ratings
RUBYCON
Tangerine Dream
4.23 | 261 ratings
TIMEWIND
Schulze, Klaus
4.17 | 736 ratings
PHAEDRA
Tangerine Dream
4.40 | 34 ratings
IN COURSE OF TIME
Zanov
4.18 | 140 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.28 | 51 ratings
GREEN RAY
Zanov
4.23 | 57 ratings
AN ELECTRIC STORM
White Noise
4.11 | 231 ratings
X
Schulze, Klaus
4.78 | 11 ratings
DECONSECRATED AND PURE
Alio Die
4.28 | 35 ratings
CATCH WAVE
Kosugi, Takehisa
4.48 | 18 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.06 | 173 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.15 | 53 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.21 | 36 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.39 | 19 ratings
LONG LOST RELATIVES
Syrinx
4.18 | 42 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.26 | 27 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.44 | 15 ratings
BLACKER
Radio Massacre International
3.99 | 436 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

WUNDERBAR
Riechmann, Wolfgang
HATHOR
Wakhevitch, Igor
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
HELDON IV: AGNETA NILSSON
Heldon

Latest Progressive Electronic Music Reviews


 D.o.A. The Third And Final Report  by THROBBING GRISTLE album cover Studio Album, 1978
4.00 | 27 ratings

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D.o.A. The Third And Final Report
Throbbing Gristle Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars It might be the "Third and Final Report" but it's the second of the crucial, core trilogy of seminal Throbbing Gristle albums (which began with the Second Annual Report and concluded with the delightfully misleadingly named 20 Jazz Funk Greats). Foreboding, chugging noises, muttered conversations recorded just fuzzily enough that you can't quite follow what is being discussed, Genesis P-Orridge mumbling about a "Hamburger Lady" as a synthesiser bubbles and burbles evilly... it's all sinister, troubling stuff which will get under your skin. No wonder they received death threats (as capably documented on, you guessed it, Death Threats). An industrial music connection which skips Throbbing Gristle is questionable at best.
 Meditation by SCHOENER, EBERHARD album cover Studio Album, 1974
4.00 | 1 ratings

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Meditation
Eberhard Schoener Progressive Electronic

Review by Progfan97402
Prog Reviewer

— First review of this album —
4 stars I'm glad I have discovered Eberhard Schoener. For many I'm sure the name came up from Police fans as he did record a couple of albums in the late '70s with the Police boys (Sting included). In 1974 he released Meditation, which is far from the albums he did with the Police. Here the album concentrates on weird eerie drones. To my ears this sounds like how Tangerine Dream's Zeit would have ended up like if geared for inner space rather than outer space. I also get reminded a bit of Popol Vuh circa Affenstunde. This album was obviously meant for meditation, but this isn't some insipid New Age meditation album, anyone who prefers that type of music will find this rather unsettling. It seems that Eberhard Schoener keeps doing something very different from album to album from the Police trying prog (Flashback, Video-Magic), to gamelan (Bali-Agung) to church music (Trance-Formation) all in a strange electronic setting, and of course this album. If you enjoy Zeit or Affenstunde, give this a try
 Bali-Agúng by SCHOENER, EBERHARD album cover Studio Album, 1976
3.54 | 12 ratings

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Bali-Agúng
Eberhard Schoener Progressive Electronic

Review by Progfan97402
Prog Reviewer

4 stars A lot of ethno-fusion Krautrock albums you run across explore the usual Indian route using sitar and tabla with the usual rock and electronic gear you expect from Krautrock. What Eberhard Schoener does here is very different and explore Balinesian styles in a rather experimental electronic, Krautrock fashion. You get treated with plenty of synthesizers and Mellotron with Balinesian chanting and gamelan. It's amazing how well he Incorporated a traditional Balinesian ensemble with his electronic gear. I would expect lots of misunderstandings given I imagine it would be difficult for a traditional musical ensemble to understand the world of electronic music which is the polar opposite of traditional, but somehow it works. Imagine early Tangerine Dream flirting with Indonesian styles of music and this is what you get. Really worth your time and worth having.
 Vajrayana by BASS COMMUNION album cover Singles/EPs/Fan Club/Promo, 2004
2.23 | 14 ratings

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Vajrayana
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

2 stars "Vajrayana" is a two track EP from Steven Wilson's Bass Communion project written originally in 2001, but released in 2004. It is quite rare in that only 200 copies were released. Of course, Bass Communion is all Steven Wilson performing and playing everything. Typically, the music is made up of manipulated sounds, loops and/or field recordings and are always experimental and, in most cases, quite minimalistic. Both tracks are a little over 6 minutes.

The first track, "Vajrayana", is quite eerie with electronic tones and a throbbing percussion and some hardly discernible crackles. Sustained tones are soon added to the repeating pattern. At about the 2 minute mark, percussion stops and there are some louder tones, then the repeating pattern starts again without the throbbing percussion at first, then it fades back in. Intensity builds in what sounds like manipulated choir sounds, but they are processed so much it's hard to tell. This ebbs and flows for a while as other tones come and go. Eventually it all fades out.

The 2nd track is "Aum Shinrikyo". A pattern of 2 quick bass notes repeats with a subdued drone. This is replaced by some strange clicks and pops and then it returns again. An electronic melody made of sustained notes slowly plays over the top of this. Though it is very ambient, it has a dark cast to it with a tense atmosphere.

I find that I experience Bass Communion best when I close my eyes and just let myself get immersed into the sound. It can be like getting transported to being able to visualize scenes in my mind always being influenced by the sounds and experiences in my life at the time of listening. Otherwise, just listening to this for the sake of listening doesn't really accomplish much. I find it strangely beautiful, no matter how minimal it is, and it may seem like a waste of time to a lot of listeners, but I tend to get immersed in it.

Regardless, this EP is completely minimal, so don't expect anything except a nice soundscape. It is reminiscent of previous Bass Communion music, so it really offers nothing other than a few more soundscapes. It is hard to find, thus it is probably best suited to collectors or fans of this style of music.

 Bloom by FOVEA HEX album cover Singles/EPs/Fan Club/Promo, 2005
4.00 | 1 ratings

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Bloom
Fovea Hex Progressive Electronic

Review by TCat
Prog Reviewer

— First review of this album —
4 stars "Fovea Hex" is a mostly unheard of band centered around Clodagh Simonds who was the lead of a prog-folk band started in the 70s named "Mellow Candle". My question is, how can someone so talented at creating music scapes as Simmonds is can still be such an obscure artist even in progressive music? She has support from a wide array of artists, a veritable who's-who list of prog music; Robert Fripp, Steven Wilson, Brian Eno, to name a few. Under this name, Fovea Hex has only released a few albums and several EPs. Each time a new recording is released, the band line-up changes somewhat depending on the atmosphere being generated from the recording, however Laura Sheeren, cousin of Ed Sheeren, is also a regular member of the band along with Cora Venus Lunny who has also performed with Sinead O'Connor and Damien Rice.

In the case of "Bloom", this EP is the first of a trilogy of EP that were released collectively named "Neither Speak Nor Remain Silent". This particular EP enlists the help of Brian and Roger Eno, movie soundtrack artist Carter Burwell (The Big Lebowski and Being John Malkovich) and Andrew McKenzie (Hafler Trio). The EP only consists of 3 tracks totaling just over 17 minutes.

The music is reminiscent of the electronic/folk styles of "Current 93" in their most ambient states. And just like Current 93, the music is considered progressive electronic, and because of this, it remains hidden away from prog-folk music lovers that don't venture beyond that genre.

The EP starts with the track "Don't These Windows Open?" which is a mostly acapella track of layered wordless vocals. A main vocalist sings a lyrical melody over the top of this. The layered background vocals almost become drone-like. This is a pensive and beautiful song, and leans completely in the prog-folk realm.

The middle track is the 9 minute "We Sleep You Bloom". It starts with an ambient drone and occasional chime-like sounds. A keyboard rises out of this sound building some intensity. Harmonized, processed vocals start as a sparse sounding drone goes on underneath. Sustained notes change tones as singing continues. The feeling is icy cold, yet beautiful and expansive. The vocals are quite lovely with a siren-like quality enticing you to come closer, but do so with caution or you will be drawn into an icy grave. The music is at its most intense when there is singing, and becomes quite ambient and atmospheric when the singing stops. The music is completely immersive.

"That River" is the last track. Starting with a harmonium drone which soon turns melodic, the vocals are quite up front this time with intriguing lyrics. Again, the folk leanings are very strong in the vocal melody. After the verses, the music turns ambient and drone-like.

This music is definitely a modern art rock sound. Yes it utilizes electronics on this EP, but has a very strong folk feeling, mostly Celtic in nature, and also experimental, but not really dissonant. The harmonies are lovely, the singing and lyrics are clean and crisp, the instrumentals are minimal and fit the lyrics perfectly. The only drawback, is that it is over much too quickly. But, when combined with the other 2 EPs in the series, it makes for a perfect album. Yet even if it is only an EP, it is 4 star material.

 Spoon Forest by FREE SYSTEM PROJEKT album cover Studio Album, 2018
4.00 | 1 ratings

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Spoon Forest
Free System Projekt Progressive Electronic

Review by TenYearsAfter

— First review of this album —
4 stars "And then there were three .... "

On this album the Free System Project duo Marcel Engels and Ruud Heij has expanded to a trio, featuring Norwegian guest musician Terje Winther. To me delight because I consider his contribution to the Edition samplers (former Dutch EM magazine) as one of the highlights. The recordings are from 2012 and recently (2018) put on CD as an own production.

The three compositions feature a similar intro (with spacey atmospheres and the usual beeps and bleeps) and outro (fading strings and Trons, blended with sound effects) and in between wonderful layers of synthesizer strings, Mellotrons, hypnotizing sequencers and several vintage synthesizers, this is the realm of 74-77 Tangerine Dream, top notch electronic music!

Despite the similarities in the three compositions the trio has succeeded to add a special flavor to each compositon:

subtle Rhodes electric piano runs and finally majestic Mellotron choirs in Winterflow,

delicate interplay between Rhodes electric piano, Mellotron choirs and a pulsating sequencer in Spoon Forest

and a sumptuous climate with dreamy synthesizer flights on the mighty Moog Voyager, again majestic Mellotron choirs and pulsating sequencing, goose bumps, this is what exciting electronic music is about!

Every track delivers one member who does the sequencing, on the first Ruud Heij, the second Terje Winther and the third Marcel Engels, the prime mover of Free System Project.

If you like the unsurpassed electronic music by Seventies Tangerine Dream and Klaus Schulze, this is an album to discover!

 Procyon by FREE SYSTEM PROJEKT album cover Live, 2018
4.00 | 1 ratings

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Procyon
Free System Projekt Progressive Electronic

Review by TenYearsAfter

— First review of this album —
4 stars In 2005 this Dutch EM project was added to Prog Archives, the following years reviewers wrote very positive words about Free System Project. But after 2008 the additions of new albums stopped on Prog Archives so I would like to introduce their latest album Procyon, from 2018. Because I consider FSP as one of the best EM projects since the Eighties, as a huge Seventies Tangerine Dream fan.

The prime mover and musical brainchild of Free System Project is Dutchman Marcel Engels, on his website we can find a mini biography. 'It was around 1980 (at the age of 7) when I heard records from Jean-Michel Jarre and Tomita. I really liked and still like those records, although I didn't had a clue who they were or how they made such music. Later I knew. When I was 14 years I bought my first keyboard. It was a small Yamaha keyboard and I was very happy with it. Later came a new keyboard and soon after that the first synthesizers appeared. I now have a nice studio at my home where I can experiment with sounds and record the things I like. As Mike Oldfield once stated in an interview: "It's a room with possibilities".' Marcel his musical partner on his Free System Project albums is Ruud Heij who plays synthesizers and sequencers.

On this Free System Project album (originally released as a download album in 2009 but now re-released as a CD by Dutch EM label Groove Unlimited) Marcel plays an Access Virus A (synthesizer module) and a Yamaha A3000 (hardware sampler) with Mellotron and Stringensemble sets, Ruud the Alesis Fusion HD (a 88-key synthesizer workstation) with Mellotron and Stringensemble sets, wow, 'a vintage keyboard maniac's wet dream', perfect gear to produce the unsurpassed 74-77 Tangerine Dream sound that the duo embraces. As we can hear on their many previous efforts, my favourite one is Okefenokee Dreams, recorded live at a Tangerine Dream fans meeting in the USA, in 2001.

1. Procyon (27.55) : After a spacey intro with SF sounds and the usual beep and bleeps a dreamy Mellotron flute and soaring synthesizer strings join. Then majestic low sounding Mellotron violins, gradually the music turns into more dynamic. In a wonderful way the Mellotrons and synthesizers of the two musicians blend, culminating in a very lush and exciting electronic music atmosphere. Suddenly it's sequencer time, around 15 minutes long, accompanied by first a high pitched Mellotron flute and flashy synthesizer flights, and then sumptuous Mellotron choirs, this is top notch electronic music, obviously inspired by 74-77 Tangerine Dream but with an own touch. The final part delivers fading sequencers and mellow Mellotron flutes and synthesizer strings.

2. Procyon (14.20) : First scary sound effects, then pulsating sequencers and the focus on synthesizer flights. Halfway deep sounding sequencing and lush Mellotron choirs that colour the music in compelling way, goose bumps! After an interlude with high a pitched Mellotron flute this composition ends with strings and a fading Mellotron violin sound.

3. And Then There Were Two (20.15) : After the usual spacey sounds and beep and bleeps the music delivers soaring Mellotron flutes and strings with a phaser sound, a wonderful dreamy climate. Then a deep synthesizer sound and majestic Mellotron choirs, now the sequencing joins, the combination with the Mellotron choirs turns into a very spectacular sound, this is Electronic Music heaven! After a mellow interlude with soaring Mellotron flutes the atmosphere changes into bombastic with synthesizers flights, the use of the pitchbend button is sensational! The dreamy outro delivers tender Mellotron flute runs. Simply beautiful (and it tastes way more better than And Then There Were Three!).

If you are into the unsurpassed electronic music of 74-77 Tangerine Dream don't miss this warm tribute from one of the best Dutch EM projects!

Track 1 and 2 recorded live at Hampshire Jam 7, Liphook, UK, on November 15th, 2008 and track 3 recorded live at The 3 In 1 Theatre, Huizen, The Netherlands, on October 30rd, 1999.

Other recomended EM bands/projects: Red Shift, Air Sculpture, Rudy Adrian, Pollard/Daniel/Booth, Gert Emmens and Terje Winther.

 Renaissance by SEQUENTIA LEGENDA album cover Studio Album, 2018
4.95 | 2 ratings

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Renaissance
Sequentia Legenda Progressive Electronic

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars More Berlin School magic from Klaus Schulze devot' Laurent Schieber, the Mulhouse Maestro seems to be pulling together an LP per year (or, more accurately, every nine months) all the while increasing in confidence, quality, and allure. While last year's Ethereal was a veritable prog masterpiece--and remains on my frequent rotation playlist-- I've been so busy this year (since May) that I've had little time to listen to much new music much less 20+ minute long epics like these. But, I can now say, these are every bit as much up to the standards set by Laurent's previous work--and by the master himself, M. Schulze.

1. "Out of the Silence" (21:55) starts surprisingly familiar and takes a little time growing and developing (a little too much time, in my humble opinion). A drummer's cymbol play enters and joins the sequence over the course of the fifth minute. It sounds live (not looped)! Full drums enter in the seventh minute, total key shift at 7:35 and then back to original formation at 8:25. Two more different key shifts in the tenth and eleventh minutes with a few more percussion noises added to the mix, but the song doesn't really go anywhere new, different, or exciting--not even the shift to a more minor key spectrum at the 11:00 mark--though it is nice that there are four key shifts to choose from instead of the usual two. At 14:00 all rhythm tracks are dropped and multiple layers of synth chords and synth noises hold their own in a new universe of spacey-ness. I like this section. Especially the hypnotic four-note electric piano arpeggio repeated as the central foundation. The brilliance of Rainer Br'ninghaus's work with Eberhard Weber comes to mind. A solid song with a wonderful final third--again, a song that is displaying the growth and development of Laurent's confidence and mastery. (8.5/10)

2. "Ici et Maintenant" (25:40) opening with a much darker, foreboding soundscape than is usual for Sequentia Legenda, the slow fade in of the rhythm and percussion tracks and multiple loops of synth washes brings with it a softening of the tension, a slight brightening of hope. By the fifth minute all levels seem set. By the ninth minute the repetition is starting to wear and then--boom!--at the 9:00 mark, just in perfect timing, there is a big shift--a key change which settles the nerves. Awesome! Laurent is getting so good at reading his listeners (or, at least, me). Something about this key makes the music so much more settling, more relaxing, then, at 11:00, the key shifts again--back to its original, but thanks to that two minute reprieve, it is much more tolerable, enjoyable. Another shift at 13:00--and with it some new synth and keyboard "harp" chords and flourishes. Nice! At 15:00 we enter yet another key. The sequenced items are feeling so friendly and close now. New percussives are being added-- prominent kick drum in the lower range and hi-hat cymbol in the high. After 17:00 a few more synth noises: insect buzzes, full synth wash chords, and an orchestra-like snare track. Nice. The soundscape is so perfectly balanced-- and not overly full. The subtle introduction of so many elements helps me, the listener, to stay entranced and entrenched . . . in the Here and Now. Tom-tom runs are added to the mix in the twentieth minute and then, quite suddenly, at the 20:00 mark, everything collapses; all tracks but the synth washes and a few two-note rhythm tracks disappear. This is awesome! I am so stupefied by the slowly panned and flanged single note "guitar pluck"--I'm reliving my deep connection to Propaganda's "Dream Within a Dream"--one of my all-time favorite songs. Love the prolonged exit with the percussives and upper octave electric piano arpeggi. Awesome song! Definitely a showcase piece of a Berlin School master! (10/10)

3. "Valentins Traum" (17:24) a long opening with minor or discordant chord choices over which odd and eerie, even disturbing, sounds flit in and out of the soundscape. The sequenced rhythm track stays far in the background, fading in and out of the aural spectrum. Only in the fifth minute does it begin to emerge and stay, even rise to a place within the thick of the sonic palette. By the end of the sixth minute an electronic harpsichord riff, insect zip!- buzz, electronic tambourine, and rotation of synth strings washes have established themselves as the mainstays. The chord selection is not quite as dark and scary now, though eerie, unnatural sounds continue to fly in and out of the soundscape. That "harp/harpsichord" riff is so hypnotizing! In the eleventh minute multiple components of a drum kit are introduced and interwoven. The eerie sounds become more frequent, constant, and layered in multiplicity as the drums and rhythm tracks fade out by the end of the fourteenth minute. The d'nouement is slow, gradual, and steady, so I'm guessing that Valentin's dream was a bit of a disturbing event, though not one that caused sudden fright or night terrors, but the persistence of the scary sounds continues in the fore despite the slow fade of the music into the background, so perhaps I a wrong. Nice work. Definitely engaging, mesmerizing, and convincing as a representation of its subject matter. (9/10)

Five stars; another masterpiece of Berlin School-inspired progressive electronic music from this evolving master-- and another superb masterpiece to contribute to the lexicon of Prog Electronic Epics and Prog Valhalla.

 Ambient 1 - Music For Airports by ENO, BRIAN album cover Studio Album, 1978
3.66 | 180 ratings

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Ambient 1 - Music For Airports
Brian Eno Progressive Electronic

Review by Chaser

3 stars Utterly soporific!

Brian Eno was almost right, but this is not music for airports, it is music for airplanes, and especially for airplanes on long haul flights.

I have always had terrible trouble sleeping on long haul flights. I remember one long haul flight from Hong Kong to Perth where I sat bolt upright in the dark for 8 hours whilst everyone else slept. Horrific!

But then I discovered Brian Eno and his "Music for Airports", and my long haul flying experience was changed forever.

Now I take this album with me on every long haul flight, and by a third of the way through 1/1 I'm sleeping like a baby.

It's easy to describe the tracks on this album:

1/1 DING DONG DING DONG DONG DING. Repeat for 16.39 minutes.

1/2 AAAAAAAAAAA. UUUUUUUUUUU. AAAAAAAAAA. UUUUUUUUUU. Repeat for 8.25 minutes

1/2 TING. AAAAAAAAAAAA. TING TINGALING. AAAAAAAAAA. TING TINGALING. Repeat for 11.36 minutes

2/2 HOOOOOT. PAAAAAAARP. HOOOOOOOOT. PAAAAAARP. HOOOOOOT. Repeat for 9.38 minutes

Still the sounds are all very melodic and soothing, albeit with the effect of Chinese water torture.

This is not an album for collectors or fans only, this is an album for insomniacs everywhere!

It should be prescribed by doctors. Throw away those sleeping pills and get your hands on a copy of Brian Eno. I swear by it.

Take this album on your next long haul flight, and I can guarantee you won't be disappointed.

Before the end of track one, you'll be away with the fairies.

Let's start counting stars. One, two, three, zzzzzzzzzzzzzz...

 Live At The Green Mushroom Festival by SOUNDS OF NEW SOMA album cover Live, 2018
4.05 | 2 ratings

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Live At The Green Mushroom Festival
Sounds Of New Soma Progressive Electronic

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars As the album title unmistakeably signifies, this was recorded live at the Green Mushroom Festival ... hey, you want to know where and when this event may have occured? Well, I couldn't find any information about the named location. So this will be a joke, a fake. Forgivable of course, as it is common courtesy all around the German (neo) krautrock related scene. I mean the intention to hoax a bit, to challenge the listener, to play with anagrams concerning album respectively track titles ... and so on. The first track Schein is more than indicative then, no surprise really. This german word has multiple meanings, but I would translate it to 'Pseudo' here in a strict sense.

Somebody is introducing the 'festival' with a distorted voice. And initially it all sounds like a concert intro including sound check. A live in the studio expedition though most likely, as I also can't recognize any reaction coming from an audience. While regularly serving a kosmische blend of electronics and krautrock on their common studio albums, the show is more characterized by a mesmerizing space rock procedure. This predominantly due to the inclusion of guest drummer Armin Schopper, who will contribute the obligatory mid-tempo groove. Furthermore the guitars are more relevant as usual in contrast to the electronics.

SOUNDS OF NEW SOMA are serving a wonderful floating atmosphere, spacey, laid back. Somewhat hypnotic, very nice. Managing guitar, bass and synthesizer goodies Alexander Djelassi and Dirk Raupach are representing the core. 'Other psychedelic astronauts' are introduced as well, something else to speculate about if you will. Weinende Eidechsen even sees them partially leaving into heavy territories with slicing guitars and powerful drumming. Backed by electronic loops Projektionen on the other hand won't need percussion, is close to Tangerine Dream. A proper album if you intend to relax and slip away into an alternative dimension for some time.

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