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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 | 272 ratings
MIRAGE
Schulze, Klaus
4.26 | 864 ratings
RUBYCON
Tangerine Dream
4.25 | 264 ratings
TIMEWIND
Schulze, Klaus
4.17 | 742 ratings
PHAEDRA
Tangerine Dream
4.41 | 34 ratings
IN COURSE OF TIME
Zanov
4.18 | 144 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.22 | 58 ratings
AN ELECTRIC STORM
White Noise
4.11 | 233 ratings
X
Schulze, Klaus
4.44 | 22 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.78 | 11 ratings
DECONSECRATED AND PURE
Alio Die
4.26 | 36 ratings
CATCH WAVE
Kosugi, Takehisa
4.07 | 177 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.15 | 53 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.18 | 43 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.39 | 19 ratings
LONG LOST RELATIVES
Syrinx
4.21 | 36 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.25 | 28 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.13 | 52 ratings
GREEN RAY
Zanov
4.00 | 440 ratings
FORCE MAJEURE
Tangerine Dream
4.44 | 15 ratings
BLACKER
Radio Massacre International

Progressive Electronic overlooked and obscure gems albums new


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

ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale
HELDON IV: AGNETA NILSSON
Heldon
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
TUSSILAGO FANFARA
Anna Sjalv Tredje

Latest Progressive Electronic Music Reviews


 Tour De France Soundtracks by KRAFTWERK album cover Studio Album, 2003
3.36 | 98 ratings

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Tour De France Soundtracks
Kraftwerk Progressive Electronic

Review by TCat
Prog Reviewer

4 stars "Tour de France" is the last studio album released to date by the German electronica band Kraftwerk. The album was released in 2003 accompanied with a lot of anticipation as it was the first time a full studio album had been released for 17 years.

The sound on this album seems a lot more mature and up to date. The sound still has that danceable, yet minimal, electronic sound they are famous for with repetitive, processed vocals. Of course, the album is inspired by the famous annual bike race in France, and it reflects the band members growing interest in bicycling. The band members consist of 2 of the original members that have always been with the band, namely Ralf Hutter and Florian Schneider. The other 2 members joined in 1989 and 1992, Fritz Hilpert and Henning Schmitz, who are still active in the group.

The album starts off and immediately you can detect the maturity in the music. The short "Prologue" give a nice, lush and short introduction and flows into the 3 part suite "Tour de France 2003 Etape 1 ? 3". It is reminiscent of the original "Tour de France" released years earlier. The tracks pretty much have a continuous flow through the 3 parts and a continuous steady beat. There are computerized sounding vocals that continue through the 3 parts, but it is mostly instrumental as that is the focus of this album. The music definitely has that electronic and computerized sound, but it is still quite interesting as it continues. "Chrono" actually continues with the same vibe and seems to be connected to the suite as a whole. It is a bit more experimental here as the themes are more varied, but it does return to the main theme by the end.

"Vitamin" is the first track to be not connected from what came previously. This one has a more solid beat and is not as airy, but actually approaches an industrial sound with some metallic effects. Again there are sparse robotic lyrics that are not a spotlight as much as they are a support to the music.

"Aero Dynamik" follows this track and was released as a single in 2004. This is fast paced track with nice upbeat feel. It has a repetitive pattern on top of which are spoken and processed vocals and other synth layers in an almost rave style track. "Titanium" continues on with the main idea from the previous track, but changing patterns up a bit, which is almost the only indication that it is a new track, but it later returns to the same theme.

"Elektro Kardiogramm" starts off with the sound of a heart beat and builds melodic, vocalized, and instrumental foundations off of that with the lyrics being "Minimum/Maximum beats per minute". The result is a solid mid-tempo beat sounded by the electronic melody lines.

"La Forme" starts off with an atmospheric and airy feel. One of the most realized melody lines on the album then starts and later spoken processed vocals start and takes turns with the melody line. This is one of the better tracks on the album as it is more melodic and all of the elements work together to build the song. It doesn't rely so much on a repetitive pattern as the previous track on the album, but creates variations and other thematic elements to make it a little bit more complex. "Regeneration" sits as a mid-track that takes off of the previous track as a cool down section to bridge it to a final version of "Tour de France". This time, it starts off with a repetitive breath effect and is joined by several percussive effects that establish an up-beat rhythm. Soon, a lusher, yet danceable, version of the main theme to the title track returns.

Overall, this album does what was expected from the band, and then adds to the sound by making it more mature, but also making the sound more up to date. The band really didn't need to prove anything except that they still could do what they've always been able to do, and that is make interesting Krautrock inspired electronic music. They didn't try to sound like anyone else, they just continued developing the sound that influenced so many other artists that grew up on their sound. The album is still fun to listen to, even though it lacks the funky elements of yesterday, it proves that this band easily still fits in the style it helped invent.

 Tactile Ground by RICH, ROBERT album cover Studio Album, 2019
4.00 | 1 ratings

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Tactile Ground
Robert Rich Progressive Electronic

Review by TCat
Prog Reviewer

— First review of this album —
4 stars Robert Rich has been around influencing music (especially ambient and electronica music) and releasing many albums since 1982. He is a multi-instrumentalist and builds his own acoustic and electronic instruments, but most of his music consists of ambient instrumental music and the utilization of microtones. He is famous for his all-night sleep concerts and lectures on music.

This album, 'Tactile Ground', released early in 2019, consists of two parts, the first of which is subtitled 'Location'. This part is quite ambient and all 6 of the tracks run from 7 minutes to 14 minutes. 'The Sentience of Touch' is quite lovely, being led off with a piano with other atmospheric tones and layers. The piano stands out the most and plays in a loose, melodic style, but drops out about half-way through the track. After that, the music is mostly electronic with a lot of ambience. This ambient and minimal sound continues through 'Eroding Columns' and 'Shrouded Lattice' that puts the listener in a peaceful mood, evoking soundscapes that hint at the slow creation or destruction of natural forces. Just like watching the formation of frost or ice, or the eroding of a river, in human terms of time, you don't see, or hear, a lot of movement in these tracks.

This changes to a subtle degree in the next track 'A Skein for Skin', which seems to be a bit warmer, and utilizes some nice, ethereal effects behind a lovely, wandering but more musical line. This continues through 'The Abiding Wheel' which adds to the effects and introducing some percussive sounds, which gives it a tribal feel and a slight bit more intensity. The passage of time now is more noticeable in the music. Continuing on, the music flows into the longest track at over 14 minutes, 'Language of Breezes'. Reflecting the name of the track, this one has an airy feel to it, and slowly, the music starts to dissolve from the previous intensity. As it continues, layers drop off almost unnoticed and soon you are left with the slow, moving ambience as before. Even this continues to lessen in intensity until you are left with complete quiet.

The second part is subtitled 'Dislocation'. It consists of 9 tracks, most around 7 ' 9 minutes, but with a few around 5 minutes, and while it stays ambient, the overall feel of this part is experimental. Starting with 'Radiant Groundlines', we get a high- pitched echoing effect with synth chords fading in and out over a quiet drone effect. A sax-like effect and another microtonal effect produce a quasi-melody passing it back and forth. 'Haptic Incursions' continues with the echoing effects, but a dark presence is looming underneath percussive tones. 'Glassmaker's Sand' goes even more ambient as the main drone drops off and the only sounds are slightly percussive tones, but a strange effect grows in intensity threatening to drown everything out, but quickly retreats to the background with occasional short outbursts of odd noise. Darkness still rules the atmosphere. Metallic notes and percussion that sounds like a bouncing object give a continued darkness to 'Senescent Architecture' which is where microtones make the ambience quite dissonant and unsettling.

By the time we get to 'Heat Island Effect' we seem to be 100 miles away from anything melodic or bright as it starts from deep, dark ambience, but a sudden breeze effect fading in and out bring in a little more life and hope with each cycle. 'Dominions of Microns' moves into some avant-garde territory as the strange noises increase and synth chords fade in and out. But on 'Tentative Unfolding' there is a 'tentative' movement away from the dark textures to more hopeful and less harsh tones. There is a feeling of new life emerging as the track brings us back out into the light. 'Elevations' moves on swells that ebb and flow, becoming slightly louder each time as if light is bringing more life with each breath. A high pitched, almost vocalized effect brings back a more melodic style. 'Meridian Resperation' begins with percussive tones and a minimal drone. Later, a tribal flute effect comes in to carry it all home.

The entire album could be considered ambient and minimal, using tones and sounds and quasi-melodic lines to move things forward slowly. This music is best for meditation, relaxation, maybe even sleeping to. The use of microtones in various places make the music seem more naturally made than man-made. It is difficult to just sit and listen to because it moves along so slowly, but it is also beautiful and, used in the right context, enjoyable. But you have to be ready for it knowing that changes are sometime quite subtle.

 Trans-Europe Express [Aka: Trans-Europa Express] by KRAFTWERK album cover Studio Album, 1977
3.94 | 315 ratings

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Trans-Europe Express [Aka: Trans-Europa Express]
Kraftwerk Progressive Electronic

Review by TCat
Prog Reviewer

5 stars By the release of 'Trans-Europe Express' in 1977, the most popular line up of Kraftwerk had been established and they were making their mark on the pop and electronic scene. The two founders were there, Ralf Hutler and Florian Schneider, and they were part of the well-established band along with Wolfgang Flur and Karl Bartos. Even though this line up had worked on previous albums which centered more around Krautrock, TEE moved towards a more melodic sound, and that sound fit in quite well with the upcoming new wave movement. The very famous first single, the title track, would propel them to world- wide fame.

The music would also end up influencing many artists to come, including modern day electronic artists. Their simple, synth- heavy music would pave the way for rave, ambience, and all types of electronica music. Even though the music was simple, the band was meticulous in making sure all of the sounds and textures were perfect and it usually took a lot of time and effort to finalize the tracks. Also, on this track, processed vocals were used quite extensively through the entire album.

'Europe Endless' was their theme to Europe and introduced their melodic and danceable sound to the masses in a 9+ minute track. With an unrelenting rhythm and a mysterious European sound, people were attracted to the simplicity, yet complexity of the music, the new sound that did not utilize any guitars, only synths, and the repeating themes and vocals only helped to propel the music to popularity. Towards the end of this track, you hear the main theme from TEE make its first appearance on the album.

The next two tracks, 'The Hall of Mirrors' and 'Showroom Dummies' continued with the simple, catchy and repetitious textures and lyrics, but moved more towards a more minimalist feel, and thus ambient dance music was born. Of course, there is the centerpiece of the album 'Trans-Europe Express' which emulates the sound of a train and the incredibly, and quite successfully, transmits to the listener the feel of traveling by train in Europe. I remember riding a train in Italy for close to 24 hours, and the soothing sounds of the train on the tracks and watching the full moon illuminate the country side as the train moved along. Shortly after, I heard this track for the first time, and was amazed at how perfect the feeling was captured in this track. Now every time I hear this track, even many years later, those memories come back so vividly, just like it happened yesterday, and I feel I am back on that train.

'Metal on Metal/Abzug' continues the theme of TEE by expanding it more and making it more ambient feeling as the train continues on. On some editions, the title 'Abzug' is left off even though the music is still there, and the total minutes are added to the Metal on Metal track. After this, 'Franz Schubert' follows with a more peaceful and soft melody accompanied by a simple repeating riff. 'Endless Endless' is tacked on to the end of this track and acts as a short coda or epilogue to the album.

This album is so simple, yet so beautifully and meticulously played, almost to the point of perfection. Nevermind the slightly tacky looking album cover that makes the band members look like a 50s or 60s doo-wop group like 'The Four Lads' or what have you, the music is quite daring for its time, and the fact that the world welcomed this sound and was inspired by it only strengthens the fact that this album and this band was immensely influential and still continue to be. This is definitely an essential album, especially when it comes to progressive electronica and the use of it in popular music through out the world.

 Unnatural History III: Joyful Participation in the Sorrows of the World by COIL album cover Boxset/Compilation, 1997
4.00 | 2 ratings

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Unnatural History III: Joyful Participation in the Sorrows of the World
Coil Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars COIL's third collection of stray tracks that found their way onto various formats including limited edition releases, various artists comps and B-sides. UNNATURAL HISTORY III: JOYFUL PARTICIPATION IN THE SORROWS OF THE WORLD collected another ten tracks and was released in 1997 and essentially captured the last of the odds and sods of the first fifteen years of COIL's existence. As with all COIL material, the core duo of John Balance and Peter Christopherson were responsible for the development of the tracks but a few friends such as Chris Carter, Cosey Fanni Tutti, Drew McDowall, J.G. Thirlwell, Andrew Poppy, Bill McGhee and Martyn Phillips contributed here and there and added their personal touches.

Once again, UNNATURAL HISTORY III displays a wealth of forgotten mind trips that didn't make it onto the official album releases and honors the wealth of diversity that COIL implemented as they transcended the boundaries of ambient, darkwave, industrial and the avant-garde to create sound collages unlike any other. While the material is surprisingly diverse in its approach, a few factors carried on from the previous UNNATURAL HISTORY compilations. Firstly, the love of lazy mid-tempo almost trip hoppish beats that provide the basic groove for all the wild and woolly experimental touches to swirl upon and a healthy love of bizarre multi- dimensional trips that incorporated various sound samples. "First Dark Ride" displays this perfectly as a big fat beat allows chimes and other bizarre synthesized sounds to compound around.

Danny Hyde aka Aural Rage is credited for writing some of the tracks and his stylistic approach appears on tracks like "Baby Food" which eschew an overt beat and instead implement an overlapping series of bizarre musical scales with different timbres. Sort of like alien church organs on a world with a helium based atmosphere. It's also one of the band's more known tracks as it appeared on the 1993 compilation "Chaos In Expansion" which appeared on the underground Sub Rosa label. "Music For Commercials" sounds unlike anything COIL had done before. It's perhaps the most cheery and uplifting music they ever could have imagined. While originally the B-side of the "Hellraiser 10," the short run of various melodic developments that change it up often were supposedly used in real TV commercials.

Tracks like "Panic 12" Version" show perfectly how COIL was starting to scrape the bottom of the barrel with these stray tracks as it is somewhat weak. It's essentially the Dionysian remix of the B-side of their single "Tainted Love." It's basically a boring industrial beat with some screams and cheesy synthesizer sounds thrown in. Skinny Puppy without the inspiration so to speak. One for the dance floor but not one that matches their high quality musical marksmanship. "Neither His Nor Yours" is a cool Japanese sounding track that mixes some cool polyrhythms. It was donated to raise money for AIDS projects in New York City. It's also quite industrial with a heavy percussive drive and bleak atmosphere. "Feeder" is one of many avant-garde classical sounding tracks. Sort of like John Cage with a slight beat and random sound effects.

There are many more industrial beats on UNNATURAL HISTORY III: JOYFUL PARTICIPATION IN THE SORROWS OF THE WORLD compared to the previous compilations. While i've always considered this third installment of the trilogy the weakest of the three, this is by no means a bad collection of disparate material existing side by side. While some tracks are filler and could've been left in the vaults, the majority is a killer mix of the usual surreal intricate compositional constructs with that unmistakable Balance / Christopherson mix of lunacy while some of the tracks that imbibe the industrial nectars were clearly intended to be one offs for various projects that wouldn't be associated with COIL's main body of work. While all tracks are not created equal the first side is as good as anything on the other comps and nothing on the second side is bad per se, just not as OMG exceptional either.

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Here is the extensive UNNATURAL HISTORY III (JOYFUL PARTICIPATION IN THE SORROWS OF THE WORLD) of each track's previous release:

Third in a series of anthology discs collecting tracks that originally appeared on various compilations and limited edition releases.

"First Dark Ride" was originally released on the Coil vs. The Eskaton 12″ "Nasa Arab". "Baby Food" was originally released on the compilation Chaos in Expansion. "Music for Commercials" originally appeared on the 10″ & cassette versions of The Unreleased Themes for Hellraiser. According to John Balance, "Panic" was mislabeled in the CD booklet as being the 'Dionysian' remix, commenting, "But then again, isn't everything Dionysian."[1] "Neither His nor Yours" was originally released on the compilation A Diamond Hidden in the Mouth of a Corpse. "Feeder" was originally released on the album Core - A Conspiracy International Project by Conspiracy International, a label run by Throbbing Gristle members Chris & Cosey. "Wrong Eye" and "Scope" were originally released on the 7" single "Wrong Eye/Scope". These two songs were released along with "Meaning What Exactly?" on the compilation The Portable Altamont in 1993. "Lost Rivers of London" was originally released on the Ptolemaic Terrascope benefit compilation Succour. The song was later remade and released as "London's Lost Rivers" on the vinyl release of the Black Light District album A Thousand Lights in a Darkened Room.

 Unnatural History II (Smiling In The Face Of Perversity) by COIL album cover Boxset/Compilation, 1995
3.95 | 3 ratings

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Unnatural History II (Smiling In The Face Of Perversity)
Coil Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Once COIL established itself as a viable act in the underground world of musical oddities, the synergizing combo effect of John Balance and Peter Christopherson along with a few friends here and there proved to be quite prolific as the albums started cranking out, however there was also a wealth of loose fodder that didn't quite make it onto full albums per se but found themselves on 7" singles, B-sides, various artists comps or remix EPs. Enough of this material was compiled to release three stuffed to the gills compilation albums and none were better than the UNNATURAL HISTORY trilogy. While the first edition focused on the short timespan of COIL's nascency from 1983-86, this second edition with the clever title UNNATURAL HISTORY II (SMILING IN THE FACE OF PERVERSITY) captured a larger chunk of time covering 1985-1996 which found the noise worshippers evolve from relatively non- musical mind trips to the world of more melodic ambient, industrial, darkwave and extremely experimental electronica.

UNNATURAL HISTORY II (SMILING IN THE FACE OF PERVERSITY) is not only a much more diverse compilation than its predecessor but also features a wealth of different projects that weren't meant to be but didn't quite make it, such as the tracks from "The Unreleased Themes For Hellraiser" which include "The Hellraiser Theme," "The Main Title" and "The Box Theme" which appeared on an EP that due to its obscurity has been all but impossible to find. This compilation also contains three unreleased tracks ("In Memory of the Truth", "Unquiet Rest", "Wait, Then Return") which were recorded during the Hellraiser sessions. This collection also displays COIL's evolution through a decade's time which showcases how COIL became the masters of creating organic emotional responses from their errant devious displays of darkened robotic and detached synthesized sonic terror. While the recurrence melodic loops was a staple sound early on, beginning in the mid-80s where this comp begins, the Balance / Chistopherson formulaic approach of dubbing over the repetitive motifs began to incorporate a wealth of sound samples, guitar riffs and eerie processed musical pastiches.

While many of the tracks revolve around the repetitive industrial themes that add layered elements, the Hellraiser tracks are less rhythmic and based in more eerily macabre settings as if a more depressed version of Goblin's cranked out a soundtrack in depressed somnambulation. In fact, much of COIL's music on their compilations revolves around a very gloomy despondent pessimism and stark doleful resignation through pure escapism. The unreleased track "In Memory Of The Truth" is downright scary as ghostly voices haunt the horizon while a synthesized violin and whirled dark ambient backdrop casts a darkened overcast where the light finds a continuous diminishing return. "Unquiet Rest" another unreleased track takes it even further as the percolating background static seems is struggling to keep a lugubrious melodic series of synthesized notes from coalescing into something even remotely cheerful. "The Box Theme" is super creepy as it captures the innocence of a child's music box and creates a sonic storm of depression to suppress any chance of happiness from emerging into the world. Another gift from the Hellraiser tracks and a perfect example of how COIL could juxtapose the disperse elements of youthful innocence with a darkened overcast.

Perhaps the strangest moment on this album is when the final track 
"Theme From Blue II / The Hills Are Alive" starts off with as disco funk but then quickly shifts into a dizzying reverberation of audio effects but brings back da funk periodically. This perfectly demonstrates COIL's uncanny ability of obfuscation, how these guys can doctor up a recognizable style and distort it into a bizarre concoction of unrecognizability. UNNATURAL HISTORY II (SMILING IN THE FACE OF PERVERSITY) is another excellent collection of disparate free floating tracks of COIL's ridiculously productive 80s and 90s run. Overall, this second phase of the band's existence embraced more melodic principles albeit drenched in melancholy and darkness. While the earlier material was brilliantly composed, the tracks on this show a clear sign of increased sophistication that augments COIL's ability to tackle the synthesizer and mixing effects like Mozart dominating the piano. While personally i prefer the first UNNATURAL HISTORY comp to this as it's more surreal and detached from reality, for those who want a thread of melodic musicality, then this one will suit you better. It's hard to believe that an album this good was constructed of free radical tracks that bounced from one underground reality to the next but thankfully they were all compiled to create one of experimental electronica's most memorable moments.

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Here is the extensive UNNATURAL HISTORY II (SMILING IN THE FACE OF PERVERSITY) of each track's previous release:

This is a compilation of tracks that have previously been available elsewhere plus some unreleased tracks.

"Red Weather" - From the 1983 release "Bethel". Power Focus / Datenverarbeitung limited edition cassette. "Theme From Blue I & II" originally released 1993 as a Threshold House 7" single (LOCI S1). 1000 numbered on blue vinyl, and 23 signed and numbered on canary yellow vinyl. "Airborne Bells" was the B side to "Is Suicide Solution?" - a 1993 Clawfist 7" single release. An edition of 1400 copies. (XPIG22) "Another Brown World" was featured on "Sinople Twilight In Catal Huyuk" on the Belgian Sub Rosa label (LP - SUB 33004, CD - SUB CD007) "Contains A Disclaimer" - was released on the Pathological Compilation. (Cat no. Path 1) - 1989. (LP/CD) "The Unreleased Themes For Hellraiser" (aka "The Consequences Of Raising Hell") - "The Hellraiser Theme", "The Box Theme" & "The Main Title" were originally released on Solar Lodge Records as a 10" 1987 (Coil 001). The original pressing was on black vinyl, with a second pressing on coloured vinyl (500 clear and 500 pink). The CD release with additional tracks - "The Hellbound Heart", "No New World", & "Vanishing Point" (originally called "Attack Of The Sennapods") - was released in 1990 on Solar Lodge / Torso (Torso CD161). "In Memory Of The Truth", "Unquiet Rest" & "Wait, Then Return" are previously unreleased pieces recorded at the same sessions and subsequently lost until now. Track 15 contains the hidden track "The Hills Are Alive" (15.3), taken from the compilation Macro Dub Infection Vol. 1. Track 15.1, "Theme From Blue II", lasts for 2:17 before a period of silence.

 Optical Race by TANGERINE DREAM album cover Studio Album, 1988
2.68 | 107 ratings

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Optical Race
Tangerine Dream Progressive Electronic

Review by fenman

4 stars However many Tangerine Dream albums have I got - I think I stopped counting when I got to 70. I first encountered them around the time of Alpha Centauri (a bit too "experimental", shall I say, for me), saw them come into focus when they signed to Virgin, saw them lose some of that focus after they left Virgin in the early 1980s. It was several years before I made contact again, having bought a Private Music sampler CD entitled "Some Music Is Private Music", which included tracks by such figures as Andy Summers, Eddie Jobson, Jerry Goodman - nothing second rate here. The third track was the longest on the CD - 8 Minutes 17 seconds of "Marakesh", from "Optical Race." Boy, were things back in focus, boy did they kick up the dust. I was back on board. I had to go back to catch up on "Underwater Sunlight", the first with Paul Haslinger.

There's a lot of snobbery around when it comes to Tangerine Dream. The supposed "Golden" Virgin years weren't all golden (Cyclone", anyone?) and the later years have too often been dismissed too lightly. "Optical Race" showed them starting to rock - no more "noodling and doodling" - it was loud and in your face.

I love this record. "Rubycon", "Stratosfear", "Force Majeure" had wonderful tracks, but I loved "Marakesh", "Mothers Of Rain" and "The Midnight Trail" as well. I carried on loving them well into the 21st century and the sudden loss of Edgar Froese affected me more than the loss of many of his contemporaries. Some of the later albums were better than others, but there was always something to inspire, something to make me want to listen.

"Optical Race" and its follow up "Lily On the Beach" are albums I often return to, both part of the wonderful journey that was Tangerine Dream.

 Unnatural History: Compilation Tracks Compiled by COIL album cover Boxset/Compilation, 1990
5.00 | 2 ratings

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Unnatural History: Compilation Tracks Compiled
Coil Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars Perhaps one of the strangest and most experimental electronic acts ever to have emerged was the English duo of John Balance and Peter Christopherson, better known as COIL. While initially started as a solo project of Balance while he was in Psychic TV, the project got more sophisticated once former Throbbing Gristle member Christopherson got involved. The project officially began in 1982 but the duo didn't release their first album until "Scatology" was released in 1984, however before the debut came out the two not only crafted the more dance friendly industrial music that was included on the first release, but they were also busy creating some of the most bizarre sonic experiments ever attempted. Most of these tracks never appeared on their albums but were scattered about all over the place. Some on mini-LPs, some on splits, some as singles, some as limited edition releases and others on compilations of various artists releases. Another interesting note is that early pressings are susceptible to disc rot due to some sort of outbreak in the 1990 period. There have been other "performers" who have joined in for a track here and there but basically this was the Balance / Christopherson show.

After COIL released three official albums they started to compile some of all the loose fodder scattered about and the first release of this disparate material appeared in 1990 in the form of UNNATURAL HISTORY: COMPILATION TRACKS COMPILED. The tracks were recorded during the 1983-86 timeline and include not only the classic Balance / Christopherson mind bending electronic surreality as COIL but also include three tracks with Boyd Rice when they were known as Sickness of Snakes which released one EP titled "Nightmare Culture." For anyone who is familiar with the bizarre musical (or not so much so) adventures of COIL, then nothing on this COMPILATION will be overly shocking however this collection provides a interesting historical glimpse into how Balance and Christopherson evolved from making phantasmagoric electronic mind trips that focused on non-melodic or even non-musical experiments with industrial, psychedelia and the avant-garde elements, to how they eventually added bleak and forbidding melodic components.

Much of this should be considered pure noise with tracks like "The Pope Held Upside Down" sounding like a day in hell where demons are having a conversation with Satan in electronic format. Tracks like "Sicktone" have an underlying ambient flow but underneath it sounds like an airplane taking off. Some tracks like "His Body Was A Playground For The Nazi Elite" mix experimental noise pitches that oscillate between notes accompanied by an ominous military march type of percussive drive. "Homage To Sewage" displays a more bleak industrial vibe but makes bands like Einstürzende Neubauten sound like a Disneyland attraction whereas some like "Here To Here (Double Headed Secret)" engage in a minimalist melodic development with the experimentation taking place in freaky echo effects and chilling timbres of the synthesized sounds. While utterly alien in nature none of the tracks exceed the five minute mark with the sole exception of the closing "How To Destroy Angels (mono version)" which at almost seventeen minutes comprises a quarter of the album's running time. This is an alternative version of the track that has been included many other places over time.

I have to give credit to a now deceased friend who turned me on to the bizarre and alienating world of COIL. This COMPILATION was not only my introduction to this unique but daunting experimental artist but was also my gateway drug into the greater world of industrial, dark ambient, drone, noise and experimental electronic music in general, however i have to admit that i really started with one of the most surreal albums i've ever heard even to this day so most music that falls under the umbrella term electronica sounds quite tame in comparison. Even much of COIL's discography is more structured than this freeform assault on the senses that is designed to startle and dismay as it forces you to question the whole notion of what exactly constitutes music in the first place. Perhaps encountering this in the modern era won't prove as awe inspiring since such sound collages have been replicated ad infinitum however even to this day, nothing scratches that avant-garde electronica itch like this first installment of the three UNNATURAL HISTORY COMPILATIONS.

If you by chance are seeking something that has musical and non-musical elements and takes you down the rabbit hole into a darkened tenebrous sonic universe that incorporates aspects of droning, tape loops, minimalism, glitch and chaos all conspiring to create an occult soundtrack into some very bizarre initiation ritual, then you cannot go wrong with this collection of sonic demons that will make you trip without using drugs. COIL utilized some of the craziest methods for conjuring up these sonic entities. They were famous for ritual drug abuse, sleep deprivation, lucid dreaming, granular synthesis and reading tidal shifts as well as implementing occult practices such as scrying, SETI synchronization and chaos theory as their methodology for constructing these very, very weird sonic wonders. This may or may not be something that appeals to your sensibilities but one thing is for sure, you probably have never heard anything like the mesmerizing sequence of sonority that takes place in these thirteen tracks. This is perhaps my most treasured COIL album, not only because it was the first but also the best in its sheer ability to alter my consciousness even after the gazillionth spin.

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< o >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Here is the extensive UNNATURAL HISTORY of each track's previous release:

Tracks 1, 2 & 3 were originally released as one half of the Nightmare Culture Mini-LP on LAYLAH Anti-Records (LAY 14), under the group name Sickness Of Snakes. This consisted of John Balance, Peter Christopherson, and Boyd Rice, to whom we owe many thanks for his co-operation and collaboration. Track 4 was originally released on the German Ohrensausen compilation LP in a limited edition of 1000 (500 black, 500 white vinyl) (DOM V77-03). It was recorded at the same 9 hour session as tracks 1, 2 & 3 and also features Boyd Rice. Track 5 was included on Life At The Top, a compilation on Third Mind Records (TMLP07). The track is an out-take from our Scatology sessions. Track 6 was released on a Nekrophile Records compilation cassette called The Beast 666 (NRC03). The track dates from 1983. It also formed the musical base for the Zos Kia song "Rape" which was released as a 7" on All The Madmen Records. Track 7 first appeared on The Elephant Table Album (A Compilation Of Difficult Music) album, a double compilation LP, released by X Tract Records (XX001). Track 8 appeared on a compilation cassette called Peyrere in 1986. It is an early demo track from around the Scatology era. Track 9 was recorded at home by John Balance in 1983. It previously appeared on the limited edition cassette Raw Like Sewage (not in the database yet) on the Premonition label. Track 10 forms part of the soundtrack to Derek Jarman's film "The Angelic Conversation". It first appeared on a cassette called Less Than Angels, a release limited to 100 copies. Track 11 released on a limited 7" single on the Shock 45 (SX002) label. Actually, the track does not appear on Wrong Eye / Scope. Track 12 was previously released on the LAYLAH Anti-Records compilation The Fight Is On. Track 13 is available as a one-sided LP on LAYLAH Anti-Records: How To Destroy Angels (LAY5). It is "Ritual Music For The Accumulation Of Male Sexual Energy"

 Box Set by BASS COMMUNION album cover Boxset/Compilation, 2014
4.00 | 1 ratings

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Box Set
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

— First review of this album —
4 stars By now, most people know this is Steven Wilson's experimental/ambient/minimal/electronica/avant-garde project. I always find this music somewhat soothing when it isn't too abrasive, beautiful at times and other times too minimal. It is nothing like Porcupine Tree, Blackfield or SW's solo albums. It is not accessible at all. These are soundscapes, however, of the highest caliber, sound paintings.

There have been many albums and EP's released under the moniker of Bass Communion. This collection is simply known as 'Box Set', but it contains 4 CDs, most of it is rare material that has only been available on vinyl, or unreleased material. If you are a Bass Communion fan, then this collection is a must have. I'm going to do this review a little differently however. BC fans will want to know if they have already got this material on other albums, so that is the basis for this review, to let you know the other ways that these tracks are available. If you want information on the actual makeup of the tracks, then check out the reviews (many of them I have already done, or will be doing soon) on each specific album.

Disc One of this collection is called 'Vajrayana/Indicates Void'. The first two tracks (Vajrayana and Aum Shinrikyo) are previously available on a 7' vinyl released in 2004, however they are in edited form. On this collection, they are released for the first time in unedited form. 'Ghosts on Magnetic Tape - Outtake' was previously only available on the 2006 2LP vinyl version of the 'Ghosts on Magnetic Tape' album. 'Indicates Void I-IV' were all previously released on a limited edition (300 copies) vinyl LP in 2005.

Disc Two is named 'Pacific Codex' and is only made up of one 40 minute track. This is taken from source material recorded by Theo Travis and Steven Wilson with the instruments being metallic statues only. This was released in a limited edition (1,000 copies) CD/DVDA box set in 2008.

Disc Three is named 'Reconstructions'. These are all remixes of previously released BC tracks and most of them have been made available on other vinyl releases. The first one is 'After Dark' which is a remix of 'Darkroom' from 2003 previously released on a CD-R as the 'DAC Remixes' in 2004. 'Mousehill' is a remix of 'Use of Ashes' which was released on a 10' vinyl in 2008. 'Behind These Silent Eyes' is originally from Theo Travis' album 'Slow Life' released as a 2 LP vinyl in 2007, however, the version on this collection is an alternate version not available anywhere else. '537171NR848492C' is a reconstruction of 'Andrew Liles' released in 2007 on the CD 'Black Sheep'. 'Wvndrkmmer' is a reconstruction of 'Pyramids' and was originally available on the 'Wvnderkmmer' 5 cassette box set.

Disc Four is called 'Litany/Temporal'. The first two tracks are 'Litany 1 and 2'. They were previously released on the 'Litany' 12 inch vinyl single in 2009. 'The Flight of Song' is a reconstruction of '3 Seconds of Air' released on the 'Flight of Song' vinyl LP in 2009. 'Temporal A and B', the last two tracks, are previously unreleased tracks. These tracks are inspired by Harrison Birtwistle's piece 'Chronometer'. The tracks consist of sounds derived by clocks and other time keeping devices.

This collection definitely has some atmospheric material on it that works well for chilling out, relaxing, meditation or background noise. Unless you are already a BC fan, I would recommend you start with one of the other BC recordings to see if this is something you would be interested in. The music/soundscapes won't make much sense unless you already understand what this type of music is. If you are just starting out with Bass Communion, I would recommend getting Bass Communion I, II, or III before venturing beyond. As far as this collection goes, however, if you are a fan then you can decide for yourself if it is worth it to you or not, but since the original editions are mostly hard to find if you don't already have them, then it is definitely a valuable collection worth the price.

 Green Ray by ZANOV album cover Studio Album, 1976
4.13 | 52 ratings

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Green Ray
Zanov Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars ZANOV is the pseudonym of the Paris born musician and computer engineer Pierre Zalkazanov who learned to play piano at the tender age of six but was taught under the stern threat of harsh punishment if when he made unfortunate mistakes and therefore learned to loathe the instrument altogether and ultimately took up the guitar in his teen years. Despite the musical freedom associated with the popular six stringed instrument, ZANOV was bored by its limitations and sought out the musical means that would create the most expressive spectrum of sounds possible which led him to the wonderful world of electronica. While a late bloomer in the burgeoning field of the synthesizer rich world, he would soon find his first VCS3 in his hot little hands and nothing would ever be the same.

While only purchasing his new love in 1975, he rushed home and immediately started cranking out ideas for his debut album GREEN RAY that would emerge the very next year. After realizing the complexities of recording such music, he dived in head first and submerged himself until he mastered the learning curve. The music on GREEN RAY is a logical successor to the Berlin School sound so popular in Germany by this time. A rhythmic dance of electronic pulses in the vein of Tangerine Dream sprawled out into the three lengthy tracks that make up this debut album but in the end GREEN RAY was entirely composed on his newly purchased VCS3 with no help from others. ZANOV quickly learned that he had to master the techniques so that they would become second nature and allow the emotional drive to dictate the musical outpourings.

While the French scene was hot on the heels of the Berlin School world of Klaus Schulze, Tangerine Dream and Edgar Froese, most of the early pioneers eschewed the blatant copycatting and instead created more visceral and surreal electronic offerings. Heldon, Jean Michel Jarre, artists from the Pôle label and others such as Lard Free and Igor Wakhévitch put France on the map for the world of progressive electronic but very few followed in their German contemporary's footsteps in terms of style. ZANOV on the other hand dives head first into a complete Berlin School immersion where his Tangerine Dream fetish is on full display. Perhaps even subliminally hinted upon by a bright tangerine colored album cover and the final track sporting the last word "Dream."

GREEN RAY contains three tracks. The first two hover around the ten minute mark whereas the third almost makes a twenty minute hypnotic space wandering head trip. The tracks are fairly repetitive and consist of lengthy parades into mini sequenced pulsations of sound that find counterpoints erupting like fractals all around them. The musical output is subtle as it consists of a rhythmic percussive drive and an atmospheric swoosh and swirl effect that adds other elements that emerge from beneath the surface unexpectedly. The drive mostly plods on mid-tempo and the spaced out atmospheric runs find soft and sensual gurgles build into more intense pockets of fully fueled freakery duking it out for domination. Each track takes it time to reach some sort of crescendo with the closer "Running Beyond A Dream" taking its sweet time to endlessly build the tension before the closing array of juxtaposed electronic effects.

ZANOV was quite unique for the time as a Frenchman for imitating the German scene but others such as Didier Bocquet would follow and thus ZANOV started a sort of cross-pollination of the two nations that would continue to blur as time went on but as far as this debut GREEN RAY is concerned, if you didn't know any better you could swear that this was just another Tangerine Dream album as there are really no identifiable features to give any hint that this was a Parisian newbie who had fallen for his VCS3 synthesizer and spent the next several months in a love affair. While ZANOV proves he could master this puppy like the best of the German crowd, what he fails to display is any sort of creative avenues that take the listener to totally new electronic soundscapes that had never been experienced before. The template is basically what had been going on for several years at this point. Nevertheless, ZANOV cranked out a pleasant enough debut that fits right into the Berlin School style of the era and for that reason he should be remembered for his contributions, it's just that i'm not as blown away by this release as many seem to be.

3.5 but rounded down

 Mother Earth's Plantasia by GARSON, MORT album cover Studio Album, 1976
3.71 | 13 ratings

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Mother Earth's Plantasia
Mort Garson Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Now here's a bizarre little artifact of recorded music that seems to have an equally weird reputation that matches it's unorthodox content. MORT GARSON was one of the unsung heroes of early electronic music. After graduating from the Juilliard School of music in the 60s, he quickly discovered the Moog synthesizer and after years of crafting pop hits for the likes of Doris Day and Mel Tormé amongst others, he found his own niche similar to Walter Carlos in the world of electronic music and in his case the newly perfected Moog synthesizer of the era. While spending the 60s crafting hippie inspired electronic albums that covered every sign of the zodiac as well as cover tunes from the musical "Hair," GARSON also was responsible for countless commercial jingles as well as the soundtrack for the 1969 Apollo Moon Landing.

The 70s found his Moog synthesizer career branching out into completely different directions with 1971 finding his Lucifer alter ego cranking out the creepy "Black Mass," however one of his strangest and most unique creations has to be the 1976 album MOTHER'S EARTH PLANTASIA album which was designed to be played for plants! Yes, this album all about plants was created specifically to help plants grow and become more harmonious with their environment. The album was allegedly sold at mattress stores as well as being distributed as a freebie with the purchase of plant food, however i'm not convinced that these claims are accurate and it would hardly be a viable method for exclusive distribution, however a gimmick that sounds utterly brilliant if it was so the case.

Unlike albums like "Black Mass" that were designed to be creepy and utterly psychedelic, MOTHER EARTH'S PLANTASIA exudes a pacifying warmth that displays GARSON once again as a one-man Moog orchestra with ten tracks that celebrate the magnanimous nature of the plant kingdom. With such titles as "Symphony For A Spider Plant," "Ode To An African Violet" and "Music To Soothe The Savage Snake Plant," one simply becomes mesmerized by the subtle quirky synthesizer sounds that slink and slide into light hearted compositions that turned out to be quite influential for video game soundtrack music. "Concerto For A Philodendron" was a major blueprint for "Zelda's Lullaby" whereas the tones and timbres that coalesce into bloops and bleeps were fertile pickings for the 8-bit Nintendo video games that emerged the following decade. I can't place it but "You Don't Have To Walk A Begonia" has a distinct bass line that permeates the early soundtrack world of video games.

MOTHER EARTH'S PLANTASIA is another short album which clocks in at under 30 minutes, a formula that GARSON seemed to be most comfortable with. The tracks are short and straight to the point and as expected with such subject matter exude a rather childish innocence that offered the perfect template for secondary attention span music such as video game soundtracks. Anyone familiar with GARSON's style will find that MOTHER EARTH'S PLANTASIA very much continues the interesting layering of synthesized sounds that conspire to create vivacious counterpoints, electro-beats and various timbres however this album is all about gentleness and flows along in a nonchalant pastoral manner that fits in with the idea of nurturing fragile beings into complete happiness. Dated yes, but a pleasant sort of album that could only exist in a particular era.

While GARSON started out sounding much like what bands like Tangerine Dream and Goblin would eventually become famous for, he never stood still for too long and with MOTHER EARTH'S PLANTASIA he created a little slice of musical reality that had never been attempted before. As far as i'm aware no one had constructed music for and about plants with the idea of playing the music to them so that they could find perfect plant happiness! How's that for true hippie idealism! While not as far out as some of his strangest albums in terms of musical freakery, this one is probably one of the most unique of his entire career and despite never really taking off in its own right didn't go unnoticed as Stevie Wonder followed up his magnum opus "Songs In The Key Of Life" with a suspiciously similar concept album called "Stevie Wonder's Journey Through The Secret Life Of Plants" which too was a progressive electronic new age journey a mere three years after the release of GARSON's tribute to plants.

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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
ASTRAL TV Denmark
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
BOYS OF SUMMER Ireland
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
JAVI CANOVAS Spain
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
DEATHCOUNT IN SILICONE VALLEY United Kingdom
DEUTSCHE WERTARBEIT Germany
NICOLAS DICK France
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
SERGEI DJOKANOV Bulgaria
DOLULUS Switzerland
DR. PHILTER BANX Canada
DR. SPACE'S ALIEN PLANET TRIP Denmark
HEINRICH DRESSEL Italy
DROKK United Kingdom
DSR LINES Belgium
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
ENVENOMIST United States
EXPO 70 United States
F.G EXPERIMENTAL LABORATORY Switzerland
FRANCO FALSINI Italy
FANGER & SCHÖNWÄLDER Germany
FARBFELDE United States
FASER Germany
FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
FHIEVEL Italy
FIVE THOUSAND SPIRITS Italy
FLAMEN DIALIS France
FORMA United States
FOVEA HEX Ireland
FREE SYSTEM PROJEKT Netherlands
FRIPP & ENO United Kingdom
EDGAR FROESE Germany
JEROME 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
GIRÓN Spain
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
PHILIPPE GUERRE France
CARLOS GUIRAO Spain
BRUCE HAACK Canada
HALL OF MIRRORS Italy
PETER MICHAEL HAMEL Germany
HARMONIA Germany
STEVE HAUSCHILDT United States
HEADSHOCK United Kingdom
TIM HECKER Canada
HELDON France
HEMMELIG TEMPO Norway
ROBERT HENKE Germany
JACK HERTZ United States
MICHAEL HOENIG Germany
HOLLAN HOLMES United States
HORSE PALACE Canada
HARUOMI HOSONO Japan
PETER HOWELL & THE RADIOPHONIC WORKSHOP United Kingdom
EPPIE E. HULSHOF Netherlands
HYDRAVION France
HYDRUS Italy
HYPNOSPHERE Germany
GIUSEPPE IELASI Italy
INVOLVED United States
IVERSEN Norway
JAZZCOMPUTER.ORG France
JESDAT Spain
JIHEL France
GUSTAVO JOBIM Brazil
EDDIE JOBSON United Kingdom
JONATHAN Germany
ARIEL KALMA Australia
JÜRGEN KARG Germany
KASHMIR Switzerland
KHA - YM France
BERND KISTENMACHER Germany
KITARO Japan
KL(AÜS) Australia
KNITTING BY TWILIGHT United States
JEFFREY KOEPPER 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
LAOZI Georgia
TEDDY LASRY France
STÉPHANE LEMAIRE France
IGOR LEN Russia
FRANCO LEPRINO Italy
LEROUGE France
NED LAGIN & PHIL LESH United States
CECIL LEUTER France
LIGHTWAVE France
LIIR BU FER Italy
LILIENTAL Germany
JOHN LIVENGOOD France
LOGIC GATE United States
LONG DISTANCE POISON United States
LOOM Germany
BERTRAND LOREAU France
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
MAKO Austria
ERIC MALMBERG Sweden
MARIBOR Italy
RUNE MARTINSEN & ØYSTEIN JØRGENSEN Norway
ANDREA MARUTTI Italy
MEERKAT Italy
METATAG Norway
EMERSON MEYERS United States
MICKIE D'S UNICORN Germany
CLAUDIO MILANO Italy
DIETER MOEBIUS Germany
MOKSHA United Kingdom
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
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