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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

4.27 | 608 ratings
RUBYCON
Tangerine Dream
4.26 | 200 ratings
MIRAGE
Schulze, Klaus
4.16 | 547 ratings
PHAEDRA
Tangerine Dream
4.16 | 184 ratings
X
Schulze, Klaus
4.20 | 100 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.15 | 186 ratings
TIMEWIND
Schulze, Klaus
4.47 | 23 ratings
GREEN RAY
Zanov
4.10 | 117 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.48 | 18 ratings
CATCH WAVE
Kosugi, Takehisa
4.07 | 135 ratings
NEW AGE OF EARTH
Ashra
4.11 | 83 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.59 | 13 ratings
IN COURSE OF TIME
Zanov
4.19 | 37 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.07 | 78 ratings
BODY LOVE VOL. 2
Schulze, Klaus
4.24 | 26 ratings
LUCIFER RISING
Beausoleil, Bobby
3.95 | 318 ratings
FORCE MAJEURE
Tangerine Dream
3.94 | 218 ratings
ANOTHER GREEN WORLD
Eno, Brian
3.92 | 258 ratings
THE MAN-MACHINE (DIE MENSCH-MASCHINE)
Kraftwerk
3.93 | 224 ratings
TRANS-EUROPE EXPRESS (TRANS-EUROPA EXPRESS)
Kraftwerk
3.90 | 380 ratings
STRATOSFEAR
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

TIME REPLICATED
Bownik, Adam Certamen
ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale
SYNTHESIST
Grosskopf, Harald
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter

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Latest Progressive Electronic Music Reviews


 Tiefenrausch  by ACI album cover Studio Album, 1982
2.76 | 4 ratings

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Tiefenrausch
ACI Progressive Electronic

Review by apps79
Special Collaborator Neo Prog Team

2 stars Pseudonym of a keyboardist, who was said to be either Michael Gerlach, future keyboardist of Eloy or an unknown H. Van Aaken, the man who wrote most of the album ''Tiefenrausch'', released in 1982 on Harvest.Whoever he was, his album features some great guests like Rufus Zuphall's and Kraan's drummer Udo Dahmen and bassist Dieter Petereit, who previously played with New Triumvirat.Other contrbutors were Armin Biermann and Peter Schneider on Moog synth and Peter Broicher on guitar.''Tiefenrausch'' was recorded in two different sessions at Tonstudio Langendreer and at EMI Studio II.

Very much a product of its time, ''Tiefenrausch'' is an album full of rhythmic electronics and synthetic beats, which sometimes obtains some of the cosmic touch of early Kraut-Electronic bands, but most of the time runs through the emerging synthesizer music of the 80's.An obscure mix of spacey keyboards, New Wave atmospheres, Electronic Music and Synth Pop with questionable results, containing spacious soundscapes, some VANGELIS' symphonic flashes, lots of accesible electronic tunes and, most of all, a JEAN-MICHEL JARRE-like tendency towards hypnotic and atmospheric synthetic music.Despite the presence of a bunch of contributors, this is all about synths and drums, the later sounding a bit too robotic, with only a few electric shadows in a PINK FLOYD vein and the bass actually being buried under the display of synthesizers.This is moving away from the German school of Electronics and becoming a trend of the 80's, as about half of the pieces could be listed in a New Wave/Synth Pop album, the other are more into Kraut/Electronic Music with trippy images and lots of outlandish keyboard distortions.

Not among the best albums of the genre.Too many period sounds, but also some references to the classic German EM stylings.For dedicated fans of the style.

 Mala Kunia by TANGERINE DREAM album cover Singles/EPs/Fan Club/Promo, 2014
3.00 | 1 ratings

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Mala Kunia
Tangerine Dream Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
3 stars Released by electronic pioneers Tangerine Dream to coincide with the recent live performances at the Melbourne Town Hall in Australia on November 16th 2014, `Mala Kunia' is the first studio work to feature a new line-up for the project. Still comprised of founding member Edgar Froese on keyboards/guitar, Thorsten Quaeschning on keyboards and Hoshiko Yamane on violin/cello from the previous line-up, the band now boasts the addition of highly regarded German electronic musician Ulrich Schnauss on keyboards, an artist of great variety in tune with both vintage and modern styles. Although hardly essential, this 52 minute album hints at possibilities this new version of Tangerine Dream may go on to produce once they are more established and settled in, with a few moments drifting rather close to excellence.

The title `Mala Kunia' is derived from the name of two Aboriginal tribes who, according to Aboriginal mythology, lived ages ago around Uluru, also known as Ayers Rock. The Mala tribe lived on the sunny side, the Kunia on the shady side of the rock, and this is contrasted in the way the music on the disc frequently balances light and shade to great success.

Despite moments of lovely drifting backwards effects, tip-toeing electric piano footsteps and Froese's chiming synth melodies, there's not too much to distinguish lead track `Shadow and Sun' from endless other more anonymous sounding Tangerine Dream pieces. But it all sounds perfectly lovely, especially on repeated listens, balancing lighter flights of optimism with quite nicely driving guitar growls. A never-ending optimistic electronic loop is punctuated by shimmering effects and groaning synth lines that reach for the heavens in `Madagaskunia', the more dramatic `Madagasmaia' is a slow-build mix of pulsing beats, tribal percussion and successfully grand pretty themes full of joy and freedom...and is that a hint of the barest Mellotron wisps of TD old buried in there?

A nice Pink Floyd flavour (similar in moments to their recent release `The Endless River') floats through both `Beyond Ularu' and `Vision of the Blue Birds'. The former is surreal and hazy, with unobtrusive metallic percussion clicks under soothing yet striking synth washes. The latter piece, the longest on the album at almost nine minutes, contains the most colour and variety. An unhurried sonic collage of shimmering synth drones, a variety of pattering beats, atmospheric guitar interjections and ethereal electronics, many moments throughout it ripples with brooding power, and it's deeply surreal and full of ancient mystery. More old-world meets the new with `Snake Men's Dance at Dawn', blending modern slinking electronics and reassuring cinematic synth themes with cooing chants and beats that sound like stones thundering together. Closer `Power of the Rainbow Serpent' is the highlight of the album, full of climactic power and mellow grace. Slithering dark electronic grooves, Hoshiko's serene cello piercing through the heart of the beast, fanciful synth themes and welcome uneasy flourishes take flight, and this piece is the one that hints at the exciting potential of this new Dream line-up the most.

Froese boasts that this new period in Tangerine Dream's long-running history shall be known as The Quantum Years, and that it will deliver `some adventurous music in a different aural landscape.' In comparison to many of the 90's onwards Tangerine Dream albums that had a plastic, shallow sound, there's definitely traces of a freshness and vitality seeping back in, and the positivity throughout is reassuring and quite grand in moments. This one probably works best as a pleasing and undistracting background listen, where it's undemanding and dreamy melodies can take hold. But there's definitely signs of life in the progressive-electronic institution that is Tangerine Dream, and `Mala Kunia' will appeal to both longtime T'Dream collectors, and likely be extra appealing to Australian fans due to the theme and the recent concerts.

Three stars...but the best is likely yet to come from this exciting new vision of Tangerine Dream.

 Cenotaph by BASS COMMUNION album cover Studio Album, 2011
3.13 | 19 ratings

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Cenotaph
Bass Communion Progressive Electronic

Review by TCat

4 stars "A painter paints pictures on canvass, but musicians paint their pictures on silence." - Leopold Stokowski

When you look at paintings, your sense of vision is used. Steven Wilson performing as Bass Communion paints with sound. Your sense of hearing is used. These are soundscapes. The music is ambient, very minimal. It is not music for entertainment in the way that we are used to using music for entertainment, that is why it is so hard for people to understand this music.

Paintings are enjoyed by looking at them, there is no time, no rhythm, no sound. They are a still portrait and we as humans can take as long as we want to look at them, but in the world of the actual painting, time means nothing. Music, however, lives more in the constraint of time. We use rhythm to help break up the timing so that we notice even more the movement of time as a song or a composition plays itself out.

These "songs" on this album and most of the Bass Communion recordings can be thought of almost like paintings, at least that's how I consider them. In actuality, it is all art. The songs have rhythm, but it's not the typical rhythm as drums, but more like percussive electronic sounds. Other sounds and textures weave in and out, flow around each other. Each sound could be considered brushstrokes for the painting. There is no picture other than what we visualize in our own mind. The picture we conjure up is what is painted on the silence, however, musicians and artists both, whether they know it or not, not only use silence or canvass, they use our memories. In music, especially this kind of minimalism, we have a lot more freedom to let ourselves be touched in a wider variety of ways than we do for standard art. We have a lot more freedom of interpretation through music. As in painting though, the more abstract the music or the painting, the more freedom we have.

I find this music very inspiring when I really sit down and listen to it, either really concentrating, or even as background music. If I listen to it like I would any other kind of music, I don't find it enjoyable, but if I listen to it by losing myself in it, or as background music, then I find I enjoy it more. However, to paint a picture that the music makes in my mind, I have to concentrate on it. This is so different from what we as humans are used to when listening to music, so it only makes sense that if we really want to enjoy it, we must find a different way to listen to it. There are no melodies, no choruses, no verses, no structure really. It is abstract. It is there for our own interpretation and it is a little harder to understand because it transcends traditional form. So, it takes more effort to understand. This is why I love progressive music so much. And this is really prevalent in this album and this type of music. Bravo Steven Wilson!

By the way, he CD version of this album uses rhythm to mark the passage of time. But the vinyl version does not rely on rhythm so much, the percussive sounds are not there or at least not as prevalent.

I'm not really sure how to rate this or anything by Bass Communion. I think there are other Bass Communion albums that would merit a 5 star rating because of the ingenuity. This one is excellent for this type of music, I guess not really essential, so I will give it 4 stars.

 Simbiosis by RENAUD, ALEJANDRO VILLALÓN album cover Studio Album, 2013
4.00 | 1 ratings

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Simbiosis
Alejandro Villalón Renaud Progressive Electronic

Review by memowakeman
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Review originally posted at www.therocktologist.com

It is wonderful to be surprised by a man from your own country, and I say this because when I saw Azafrán Media released this album by a man called Alejandro Villalón, the first I asked to myself was "Alejandro who?" but none of it matters when I listened to the album and knew he is a Mexican man creating great music. So surprise, we have talented musicians in all the parts of the world, we just have to give them a chance so their music will rise. In this case, I am sure fans of progressive electronic music will have a ball with this album, whose name is "Simbiosis" and contains six tracks for a total time of 44 minutes.

The name of Tangerine Dream will come to your head, I believe that iconic band was an inspiration to Villalón Renaud. It starts with "Caos" which is slow in the first two minutes, but man, be careful because later it explodes and you can have a heart attack if you are not prepared for this drastic changes. Now you can feel on space, floating, flying, looking for a place to land, but at the same time you feel unsecure, with some nervous and a chaotic feeling, so the name of the song is actually reflected on the music. The track brings different passages, and the music is very visual, so you can close your eyes and put images on your mind, you just have be relaxed and open, the music will do the rest.

"Espectro" offers a bunch of textures and nuances since the very first second, the several synths' sounds create wonderful atmospheres, which are greatly complemented by a soft guitar that can be heard here and there. The track flows and progresses, different sounds can be heard even some bells after four minutes, so the inclusion of new noises is good and helps the music not to be plain, actually, it is far from being plain. "Foresta" is the longest track reaching 8:30 minutes. Though it is alike to the previous track, this one brings a salad of sounds, it takes us to another galaxies where we get on well with different species that surround us. The quantity of things I imagine is tremendous, which means the music succeeded, at least with me.

"Revelaciones" seems to be more chaotic than the first one, here I listen to a ton of sounds that in moments my senses can bear, I cruised the line and entered to another galaxy, where my eyes witnessed things they never watched before. But at minute three in my dreams I fell asleep for some seconds, when I woke up a bright light appeared, I was floating and some strange beings were surrounding me, watching me, I did not say anything, just stare at them and feel the light glowing, entering in my soul until a strange calm covered my body and felt tranquilized.

Now it is time to dream again, so "Sueńos" appears with a much calmer sound, a friendlier and gentler one, here I remembered a bit to Rick Wakeman's Aspirant trilogy. This one track could actually fit in the relaxing music category, I really feel calm and easy with in spite later it brings more sounds and atmospheres, the calm remains. "Transmutaciones" is the last track, a piece that sums up what Simbiosis offers. It is a cool way to finish this spacey album made by this Mexican genius which has nothing to ask to the same Klaus Schulze. And though I do not consider it to be a true masterpiece, it is a solid album that fans of electronic prog and even from other styles of prog will enjoy, just like I did, because it is a great album without a doubt.

Enjoy it!

 Zero Time by TONTO'S EXPANDING HEAD BAND album cover Studio Album, 1971
2.87 | 7 ratings

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Zero Time
Tonto's Expanding Head Band Progressive Electronic

Review by Progfan97402

4 stars I had actually found a copy of this LP at my nearby Eugene, Oregon record store, and I couldn't believe I found a copy! It was the American pressing on Herbie Mann's Embryo label, which would naturally be the version you'd find here in America. Enough has been said of this British/American duo (Malcolm Cecil is British, Robert Margouleff is American) and their involvement with Steve Wonder on albums like Music of My Mind, Talking Book, Innervisions, and Fulfillingness First Finale, which were groundbreaking albums, the kind of albums you have to show great respect for even if Stevie Wonder isn't your kind of music. Previously the duo was in a group called Caldera who released one album in 1970 on Kama Sutra called Stabat Mater: A Moog Mass. Caldera broke up, and Cecil and Margouleff continued on as TONTO's Expanding Head Band, TONTO being the custom-made mega-synthesizer known as The Original New Timbral Orchestra, which consisted of modules and parts from Moog, Buchla, ARP and EMS synths. To many listeners, this is though of as groundbreaking at the time, now a dated relic.

"Cybernaut" is a great opening piece, a really catchy piece that I find impossible not to enjoy. "Jetsex" really goes off the deep-end, it's basically a rather experimental piece. "Timewhys" has this nice spacy thing going on, it's a melodic uptempo number. The rest of the album tends to be rather slow and it's this slow paced nature that scares many off. "Aurora", for example, features some really big synth sounds and juicy noise filters, I can't believe how big the synth sounds are here, despite the slow tempo. Try getting that off a Yamaha DX-7. You absolutely cannot (the DX-7 works better with metallic sounds common to the mid 1980s). Even these analog modeling synths like the MicroKorg (which I love, makes great sounds, but nothing like what TONTO could do). "Riversong" sounds like a Moog raga to me, with what sounds like a distant ancestor of AutoTune speaking poetry written by Tama Starr. Actually I believe it was just a voice modified through the synthesizer and could be thought as a prototype vocoder. For some strange reason the next song is called "Tama", it's a slow, spacy song, sounding a bit like something Tomita would do (had this been a classical piece like what Tomita would do, it would pass for something he'd do).

I can understand this album won't be to everyone's liking, but I enjoy it.

 Virtual Future by ZANOV album cover Studio Album, 2014
3.34 | 5 ratings

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Virtual Future
Zanov Progressive Electronic

Review by DrömmarenAdrian

2 stars I am investigating different subgenres among newly released albums and the electronic genre is very new to me. Zanov is an electronic artist whose real name is Pierre Zalkazanov, so Zanov is a cool short form of his name. He is actually not a new artist. I guess people who like this subgenre know the name for sure. He videlicit made three prog albums in the seventies and eighties: "Green day"(76), "Moebius:256301"(77) and "In course of time"(83) which all have got good ratings here. I guess this year's "Virtual Future" is just as good as them. Thirtyone years after the third one came this one which cover is very futuristic. Just like Hibernal's record about Replacements we see a head of a human robot on Zanov's record. I admit it is aestethic and the zanov sign too.

The music is totally electronic and zanov himself plays all instruments which are different forms of synthesizers. I prefer this before some form of psychadelic music because this contains definitely melodies and interesting themes to notice. But the majority of the songs are more like atmospheric structures anyway. The record is well produced and it sounds good, even if I have very hard to apreciate it. It's not my world of music unfortunately. Some pieces here are preferable such as "The final cut"(6/10) and "Very far"(6/10) but the rest, how well composed they apparently are, don't appeal to me. Neither bad nor good according to my opinion. I feel though that folks who enjoy the futuristic electronics from the seventies should like this too. My average rating ends att 2.5 stars which I have to round off down to two stars.

 Synapse-Shaihulud  by FIVE THOUSAND SPIRITS album cover Studio Album, 2007
4.00 | 1 ratings

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Synapse-Shaihulud
Five Thousand Spirits Progressive Electronic

Review by admireArt

— First review of this album —
4 stars Electronics and beyond....

By 2007, FIVE THOUSAND SPIRITS returned to its trio formation, consisting of original members Raffaele Serra and Stefano Musso and inviting Tommaso Cimň a.k.a. ZEIT, to this " Synapse-Shaihulud" release.

As more or less forwarned by their 2006´s two-disc project, this release adds up to the trio performance, the magnificence of extraordinary "studio engineering", which of course has been present in all their releases, but on this one, it is an integral part of its music direction. It certainly reminds me of Brian Eno in this regard, in its "studio engineering minimalism" to call it somehow.

"Synapse-Shaihulud", continues these "Spirits" into their journey of contemporary electronic "cosmic" music, which by way of expression, distances itself from the possible "ambient" tagging, and in all form, could actually be considered Progressive Electronics in its purest form.

A four track record, two "long" tracks and two shorter ones. Track one "Aardwolf" a 20 minutes composition,is another 5000 Spirits "masterpiece", which in its process, travels into a all kind of musical figures, from past to present, electronic music wise speaking. Well worth the price of the album, but of course there is more. The second song "Mnomquah", the shorter of this cd, is a clear example of the studio engineering, I mentioned above.

Track 3 "From These Ashes", also a multi-figure 9 and a half minutes song, opposite to it sisters, is the slow paced one, rich in nostalgic moments without losing its basic electronic timbres among its minimally charged "ambient" environment.

Track 4, "Lulungomeena" the last track, is a 20 minutes song, which is closer to ZEIT's electronic language, than the "Spirits" themselves. A well achieved but quiet long piece, considering the melody lines, which although interesting, run for too long. In its approximation in the use of rhythm "pulses" , which never were really that present in their previous efforts, it is easily the most recognizable, yet not entirely the astounding piece of the project, in direct proportion to the rest of the compositions.

Anyway, ****4 "essential" PA stars. The journey continues.

 Quantum Consciousness by FIVE THOUSAND SPIRITS album cover Studio Album, 2006
5.00 | 1 ratings

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Quantum Consciousness
Five Thousand Spirits Progressive Electronic

Review by admireArt

— First review of this album —
5 stars Unearthly connection!

The cosmos and the mechanical are the "spirits" within this 2006, FIVE THOUSAND SPIRITS's "Quantum Consciousness". A quantum leap, music wise in comparisson to their 1990's first two releases.

Raffaele Serra and Stefano Musso aka Alio Die, release 7 years later, this the first part of a two parts project that same year. An unparalleled adventure into the past and future of the famous 70's "cosmic music" electronics, shamelessly but WITHOUT ripping off nobody's language. They already have their OWN and it is more than perfectly established and it shows without question in this highly modern and unique approach to yesteryear's electronic music canons.

It is industrial, as it is the heavens, as it is the pitch black cosmos or its multicolored stars. It is human yet monstrous. It is the droning "noise/ambient" music like Fripp & Eno's 1973, "No Pussyfooting" or their 1975 "Evening Star", in its level of experimentation and way ahead creativity, to kind of construct a referential, if so, let's say to polished new territories without avoiding the "pure electronics" experimentation side of that era.

It is prog/electronics, but way above the already stated (and over-stated) electronic languages. It is humanly poetic among non-human elements. The structured and emotional yet detached melody lines, conjure a memorable an intimate experience all way through, non stop, FLAWLESS!

5***** "Taking Progressive Electronics into the future" PA stars.

 Mesmeric Revelation  by FIVE THOUSAND SPIRITS album cover Studio Album, 1999
4.00 | 1 ratings

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Mesmeric Revelation
Five Thousand Spirits Progressive Electronic

Review by admireArt

— First review of this album —
4 stars ....and then there were two!

After Claudio Dondo's early departure from FIVE THOUSAND SPIRITS, soon after their first release, Raffaele Serra and Stefano Musso (Alio Die) took charge of all the "spirits" of the project and played between both all electronics, synths and effects for this "Mesmeric Revelation", 1999 project.

This second release starts off with what I call an "electronic environmental symphony" that lasts around 30 minutes +-, with inner sections quiet well defined as they are perfectly blended with each other's movements and different scopes, that travel through pure cosmic electronic music across mid-western canons and slight multinational details. Never sticking to a single musical figure, the effect in fact is as rich as it is "mesmeric".

The following four compositions, which by the way are named "untitled" as the first, aside from being shorter in time (5 to 7 minutes +-), are closer to the placid electronic ambients, which both musicians have worked with in their solo releases.

Spacious, invisible like, slow paced enticing musical structures, alongside some "unearthly" musical territories, which in fact are too demanding to actually work out as "ambient music" in its strict form, due to their uncompromising songwriting, which can turn to be bright as obscure in a single song without notice, yet totally friendly if you let yourself in.

****4.5 "Essential" PA stars.

 Cosmic Furnace by POWELL, ROGER album cover Studio Album, 1973
3.64 | 5 ratings

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Cosmic Furnace
Roger Powell Progressive Electronic

Review by admireArt

3 stars A synth´s parade

Roger Powell´s credentials are impressive, arena Rock BIG.

Winged by the great Robert Moog, synth designer, musician, sound engineer, magazine columnist, programmer for Arp synths and later programmer for Apple, Roger Powell has that perfect balance between talent and showmanship. This same attribute brought him to play alongside "stage monster bands" like UTOPIA and Richie Blackmore´s RAINBOW as Meat Loaf, David Bowie and other stadium acts. Enough with the resume.

This 1973 first solo release goes by the name of "Cosmic Furnace" consisting of 2, 20+- minutes tracks, subdivided in 3 sections each, unconnected, musically speaking, but concieved as a project album.

Composition wise it takes different routes, some with better results than others. It travels the pulse/electronic Berlin school like route, as it can go the funky Jazz "a lá Jan Hammer" , other moments it takes the "Latin" path, also some slow paced piano solo meditations and here and there added up with slight touches of synth solos in the kind of arena Prog/Rock, of which he was one of the "keyboard player as frontmen", "litetarally speaking", pioneers.

Now the sad news. More than once his musical songwriting relies too much or solely on its super synths idiosincracies. He over saturates good musical ideas turning them into unattractive pastiches and at the same time making them sound totally predictable.

Disappointing in direct proportion with my expectations. But reality bites and music composition is all that really matters at the end of the day and this album in that regard is highly uneven.

What is great is solid great but what´s not is simply quiet boring. So dissecting this 6 song effort. I sadly report that it goes half and half , making it good but short of essential.

***3 PA stars.

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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
AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
ANNA SJALV TREDJE Sweden
ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
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
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
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
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 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
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRŔ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
DOLULUS Switzerland
HEINRICH DRESSEL Italy
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
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 AND ENO United Kingdom
EDGAR FROESE Germany
PETER FROHMADER Germany
KEITH FULLERTON WHITMAN United States
FUTURO ANTICO Multi-National
GALACTIC EXPLORERS Germany
MICHAEL GARRISON United States
MORT GARSON Canada
GRAHAM GETTY United Kingdom
SACHA GIBSON United Kingdom
BRUCE GILBERT United Kingdom
MATHIAS GRASSOW Germany
GRAUGLANZ Germany
GREGOR CÜRTEN & ANSELM ROGMANS Germany
RANDY GREIF United States
RAGNAR GRIPPE Sweden
HARALD GROSSKOPF Germany
SVEN GRÜNBERG Estonia
GEORGES GRÜNBLATT France
JEAN GUÉRIN France
CARLOS GUIRAO Spain
BRUCE HAACK Canada
HALL OF MIRRORS Italy
PETER MICHAEL HAMEL Germany
HARMONIA Germany
STEVE HAUSCHILDT United States
TIM HECKER Canada
HELDON France
HEMMELIG TEMPO Norway
ROBERT HENKE Germany
MICHAEL HOENIG Germany
HOLLAN HOLMES United States
HORSE PALACE Canada
HARUOMI HOSONO Japan
EPPIE E. HULSHOF Netherlands
HYDRAVION France
HYDRUS Italy
GIUSEPPE IELASI Italy
INVOLVED United States
IVERSEN Norway
JAZZCOMPUTER.ORG France
JESDAT Spain
GUSTAVO JOBIM Brazil
EDDIE JOBSON United Kingdom
JONATHAN Germany
ARIEL KALMA Australia
JÜRGEN KARG Germany
KASHMIR Switzerland
KHA - YM France
BERND KISTENMACHER Germany
KNITTING BY TWILIGHT United States
KOROIEV Spain
KÖSMONAUT United States
TAKEHISA KOSUGI Japan
ESA KOTILAINEN Finland
KRAFTWERK Germany
MIHA KRALJ Yugoslavia
KLAUS KRÜGER Germany
RICHARD LAINHART United States
LAMBWOOL France
PASCAL LANGUIRAND Canada
TEDDY LASRY France
STÉPHANE LEMAIRE France
IGOR LEN Russia
FRANCO LEPRINO Italy
LEROUGE France
NED LAGIN & PHIL LESH United States
CECIL LEUTER France
LIIR BU FER Italy
LILIENTAL Germany
JOHN LIVENGOOD France
LOGIC GATE United States
LONG DISTANCE POISON United States
RÜDIGER LORENZ Germany
LORQ DAMON United States
LULL United Kingdom
LUNAR MIASMA Greece
TOR LUNDVALL United States
LUSTMORD United States
LYDHODE Norway
BJORN LYNNE Norway
IAN MACFARLANE Australia
MAEROR TRI Germany
MAGINA Portugal
PEPE MAINA Italy
MAJEURE United States
ERIC MALMBERG Sweden
MARIBOR Italy
ANDREA MARUTTI Italy
MEERKAT Italy
METATAG Norway
MICKIE D'S UNICORN Germany
CLAUDIO MILANO Italy
DIETER MOEBIUS Germany
MOLNIJA AURA Italy
CLARA MONDSHINE Germany
MONOTON Austria
GEN KEN MONTGOMERY United States
MOORE / MYERS United States
KEN MOORE United States
STEVE MOORE United States
MORA-TAU Japan
SCOTT MOSHER United States
MOTHER MALLARD'S PORTABLE MASTERPIECE CO. United States
MOUNTAIN OCEAN SUN Japan
MOUNTAINS United States
THE ALMAN MULO BAND United Kingdom
MUSHY Italy
IAN NAGOSKI United States
PETE NAMLOOK Germany
NAUTILUS Germany
NEPTUNE TOWERS Norway
NEURONIUM Spain
NEVER KNOWN Italy
NEWCLEAR WAVES Italy
NIMH Italy
NIMH + M.B Italy
NODE United Kingdom
NUMINA United States
OMIT (CLINTON WILLIAMS) New Zealand
OÖPHOI Italy
OSCILLOTRON Sweden
OSE France
P'COCK Germany
STEPHEN PARSICK Germany
PEAK Australia
PETER M. Italy
PHROZENLIGHT Netherlands
RICHARD PINHAS France
COLIN POTTER United Kingdom
NIC POTTER United Kingdom
ROGER POWELL United States
THE PRESENT MOMENT United States
DAVID PRITCHARD Canada
PROPELLER ISLAND Germany
PRZEMYSLAW RUDZ Poland
PULSE EMITTER United States
PYTHAGORON United States
QUARKS Chile
RADIO MASSACRE INTERNATIONAL United Kingdom
LUTZ RAHN Germany
NIK RAICEVIC United States
RAINBOW GENERATOR Australia
RAINBOW SERPENT Germany
RAPOON United Kingdom
REALTIME Germany
TOM RECCHION United States
REDSHIFT United Kingdom
JONAS REINHARDT United States
ALEJANDRO VILLALÓN RENAUD Mexico
ROBERT RICH United States
RICHARD WAHNFRIED Germany
CHRISTIAN RICHET France
WOLFGANG RIECHMANN Germany
STEVE ROACH United Kingdom
HANS JOACHIM ROEDELIUS Germany
ROGUE SPORE Ireland
THOMAS RONKIN United States
RUNE MARTINSEN & ŘYSTEIN JŘRGENSEN Norway
SAB Japan
SANGIULIANO Italy
SATAN ALFA BEEL ATEM Japan
SAYER United States
GÜNTER SCHICKERT Germany
CONRAD SCHNITZLER Germany
EBERHARD SCHOENER Germany
ROBERT SCHROEDER Germany
KLAUS SCHULZE Germany
SEESSELBERG Germany
SHOGUN KUNITOKI Finland
MARK SHREEVE United Kingdom
SIJ Ukraine
SIL MUIR Italy
SINIAALTO Finland
SOFTWARE Germany
SONISK BLODBAD Multi-National
SPACE ALLIANCE Italy
SPACE ART France
SPACE MACHINE Japan
SPACECRAFT France
SPARKLE IN GREY Italy
SPERM Finland
STARDRIVE United States
MICHAEL STEARNS United States
SUBINTERIOR Italy
SYRINX Canada
JUTA TAKAHASHI Japan
TANGERINE DREAM Germany
TANGRAM Hungary
TELAIO MAGNETICO Italy
DR. FIORELLA TERENZI Italy
THOUGHT GUILD United States
THROBBING GRISTLE United Kingdom
ASMUS TIETCHENS Germany
TIPU SABZAWAAR Multi-National
TOMUTONTTU Finland
TONTO'S EXPANDING HEAD BAND United Kingdom
TOTAL STATION Russia
TRANQUILLITY Germany
TRANSPARENT ILLUSION United Kingdom
ROLF TROSTEL Germany
UDDER MILK DECAY United Kingdom
MATTEO UGGERI Italy
URNA Italy
VAKO Spain
VANDERSON Poland
JOEL VANDROOGENBROECK Switzerland
PATRICK VIAN France
VIDNA OBMANA Belgium
VIETGROVE United Kingdom
VOICE OF EYE United States
VOLT Netherlands
ADELBERT VON DEYEN Germany
VON HAULSHOVEN Netherlands
ADRIAN WAGNER United Kingdom
IGOR WAKHEVITCH France
WAVESTAR United Kingdom
PHILLIP WERREN Canada
WHITE NOISE United Kingdom
PATRICK WIKLACZ France
WO0 Serbia
BERNHARD WÖSTHEINRICH Germany
RENÉ VAN DER WOUDEN Netherlands
X-TG United Kingdom
XIU Italy
BERNARD XOLOTL France
YELLOW MAGIC ORCHESTRA Japan
YEN POX United States
YETI RAIN United States
YOU Germany
ZA SIÓDMA GÓRA Poland
EDWARD M. ZAJDA United States
ZANOV France
ZED France
ZOLTAN United Kingdom
ZOMBI United States
ZORCH United Kingdom
ZOVIET FRANCE United Kingdom

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