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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

4.25 | 659 ratings
RUBYCON
Tangerine Dream
4.26 | 209 ratings
MIRAGE
Schulze, Klaus
4.15 | 580 ratings
PHAEDRA
Tangerine Dream
4.16 | 195 ratings
TIMEWIND
Schulze, Klaus
4.16 | 189 ratings
X
Schulze, Klaus
4.15 | 107 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.39 | 24 ratings
GREEN RAY
Zanov
4.51 | 17 ratings
CATCH WAVE
Kosugi, Takehisa
4.08 | 124 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.07 | 140 ratings
NEW AGE OF EARTH
Ashra
4.08 | 88 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.17 | 39 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.44 | 16 ratings
IN COURSE OF TIME
Zanov
4.06 | 81 ratings
BODY LOVE VOL. 2
Schulze, Klaus
3.98 | 334 ratings
FORCE MAJEURE
Tangerine Dream
4.22 | 27 ratings
LUCIFER RISING
Beausoleil, Bobby
4.35 | 18 ratings
AN ELECTRIC STORM
White Noise
4.25 | 22 ratings
BALLET STATIQUE
Schnitzler, Conrad
3.95 | 229 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.16 | 26 ratings
EDGAR ALLAN POE'S THE ISLAND OF THE FAY
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

TUSSILAGO FANFARA
Anna Sjalv Tredje
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico
WUNDERBAR
Riechmann, Wolfgang
HARMONIC ASCENDANT
Schroeder, Robert

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Latest Progressive Electronic Music Reviews


 The Last Inca by WAGNER, ADRIAN album cover Studio Album, 1978
1.00 | 1 ratings

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The Last Inca
Adrian Wagner Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
1 stars INCA my foot!

I have never been a fan of video games, when young the graphics and music were horrendous. Hell is Mario Brother's world!

Some of this Adrian Wagner, 1978, "The Last Inca" songs could have served that purpose, opening track, to make it worse and track 2 resemble a Mario Bro "dancing and dreaming with buttercups" first and second scene.

Patiently I listen to this "childish" (to put it lightly) experience. Track 3 opens the same but as an intro to a funkier tempo, however the melody is still as silly as the previous songs and its getting up front stupid.

Tack 4, for those who miss CASIO's calculators with pre-set rhythms styles. F...K!

Track 5 is dreamy and cheesy, my INCA Gods, what else can I ask for!

Track 6 closes side "A" ,with a "let's get serious and funky" as a forgettable highlight.

Side "B">

Track one, is far more mature than all side A. A jazzy-electronic feel with added cacophonies is the best that has happened yet, but the personal bar has not be proven to be that high!

Track 2, has its symphonic ambitions nevertheless stuck by its electronic instruments limitations and a quiet simplistic musical idiom.

Track 3 closes this dreadful sonic experience, with some artificial musicianship pretentions yet the only rescueable track of this release. Its flaws and its constant limitations outweight even its few proposals. So adding up........ (or substracting, being the case) .

*1.5 PA star, say no more.

 EARTHEN by ALPHA WAVE MOVEMENT album cover Studio Album, 2015
5.00 | 2 ratings

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EARTHEN
Alpha Wave Movement Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

5 stars Alpha Wave Movement at its best!

Keeping on with this 2015, great prog-electronic year, Gregory Kyryluk a.k.a. Alpha Wave Movement releases "EARTHEN", his proportional contribution to this "greatness".

Conjuring minimalism with expansion, EARTHEN above all is flawless, as far as music composition goes. It in fact blends all the best attributes of Kyryluk's electronic quest.

This album confirms his findings but mainly his own musical language. Without departing from the famous Berlin School's electronic canons, or the "Ambient" or "New Age" or "Dark" probable taggins, he makes it clear that he also has something to offer in return and not just novel "electronic sounds", he is talking about original electronic MUSIC COMPOSITION,.. small feat!

The catalogue of his personal musical discoveries runs all along the way, therefore this album is rich and diverse in textures, colors, tempo and environments, making it all a "never knowing what will happen next" perfect ride.

As far as the rating goes, not having heard yet his 2013 "Architexture of Silence", which has perfect (but anonymous) ratings here in PA, I will nevertheless rate it the same.

*****5 "flawless and original" PA stars!

 Blau - Monotonprodukt 02 26y++ by MONOTON album cover Studio Album, 2006
3.00 | 1 ratings

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Blau - Monotonprodukt 02 26y++
Monoton Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
3 stars Primitive in spirit but a bit sophisticated with the electronics.

Far away from the usual "cosmic" idiom found in this category, Monoton's (Konrad Becker, Austria) "Blau-MONOTONPRODUKT 02 26Y++", released in 2006, delivers a very personal effort, which relies mostly on its electronic drumming figures accompanied here and there with distant and attractive minimalistic melody or bass lines.

To offer some kind of referential, because by 2006, lots of musicians were already involved in this kind of electronic paths, let's go back to an early and clear starting point Conrad Schnitzler's own 1974 "Blau", without the random experimentation and roughness, but with the same careless "stardom" attitude.

A release which entire focus is low-keyed, minimalistic and detached, but good enough as to expect more, will certainly be hard to sound or rate beyond the infamous ***3 PA stars.

 Through The Rings  by VOLT album cover Studio Album, 2005
3.05 | 2 ratings

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Through The Rings
Volt Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

3 stars Dream on!

Coming from UK not Netherlands (I have been advised), Michael Shipway and Steve Smith conform VOLT, this 2005 "Through The Rings", as far as this prog-archive goes is their 3th release.

Dreamy and intelligent as in Tangerine Dream's 70s era, mild as in "close to corny" Tangerine Dream's 80s one, and beyond being perfectly studio recorded and offering a clean cut performance close to commercial "new age" music, well the T.D.'s 2000s like art cover does not help much either.

And to force things a bit, it also offers some kind of "tribute" to Michael Cretu's 80s ENIGMA project, which the TDs also did (shamelessly).

Impersonal and unoriginal at close range, for those who still crave for versions of the same old prog-electronic scene.

Nicely performed, some very attractive ambiences here and there, some catchy moments to remember but too "new agy and crytalline and TD like " for my taste.

***3.5 PA stars tops.

 Revelation by GUIRAO, CARLOS album cover Studio Album, 1982
2.22 | 4 ratings

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Revelation
Carlos Guirao Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

2 stars A catalogue of what went around.

I guess this is as close as ULTRAVOX will come to PA.

The infamous 80s. I do not know about you proggers, but electronic music wise, some great things happened (YELLO, Tuxedomoon, etc.). Yeah! I know half the music was polluted with squarish drum box sounds and everybody bought the same fu...g synths!

But back to this Carlos Guirao, 1982 "Revelation" review.

Well he combines laser gun shots, perfected as such, sound wise of course, by Jean Michel Jarre's, 1976, "Oxygene" which he imitates almost to low budget version perfection combined with Tangerine Dream and Klaus Schulze 70's musical language (oh what a surprise?!). He pulls it through moderately adding some "latin" percussions played by Jose Maria Ciria and Manolo Torres here and there, which turn out to be the only sign of originality in this album.

The 80s, I guess those synths were quiet expensive, Carlos Guirao plays a lot of them, that is clear. Sadly most of those synths were monotonal or pre-set and later in time mass marketed (I own a few and they make the same "electronic sounds", which is a downer!).

Some thrills but few opposite to the more "ready-made" borrowed music composition proposals.

Close to **2.5 PA stars with pity!

 Anthology Two 1992-1996 by VOICE OF EYE album cover Studio Album, 2011
4.00 | 1 ratings

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Anthology Two 1992-1996
Voice of Eye Progressive Electronic

Review by Dobermensch

— First review of this album —
4 stars An excellent compilation of odds and ends that seamlessly fits together on this double CD. All the hallmarks and traits of 'Voice of Eye' are at play throughout. Swooshing tidal waves of electronically manipulated sounds are evident from the outset. Some may call this tuneless, but in my mind - it's simply beautiful and tuneful though not in an ordinary way. It's all very atmospheric and dark with a whole lot going on in between. Real haunted house stuff...

The fact that each recording is taken from separate various releases only adds to my enjoyment of this recording due to the differentiation of sound.

There's a slight blip with 'Belladonna' which has an aura of sheer miserableness. It's enough to induce the listener into a comatose state of stupor . Maybe it's my age, but I just can't take sheerly miserable music any more. Happily things pick up with the very threatening and foreboding 'Zirkle' which displays that instantly recognisable 'Voice of Eye' sound with its circular hard percussion. It's very odd indeed, almost like a Crusaders call to arms. The electronics sound like the death throes of a harpooned whale.

'Musique Concrete' sounds follow with 'Bike' amongst a sea of distant female vocals. I wouldn't be at all surprised if the metallic sounds are actually parts of bicycles being struck. There's certainly a few spinning wheel sounds thrown in.

'Touch' re-invigorates the intensity of the album with what can only be described as 'Serial Killer music'. Deeply unsettling washes of vocal samples spray forth while metal percussion and all sorts of strange warblings occur all at once. One of the highlights on 'Anthology' is the very tuneful mediaeval sounding 'Fluvio Labenti' replete with 15th Century female vocals and an atmosphere that is very similar to 'Dead Can Dance's' 'Aion' recording.

Disc II kicks off with an unreleased track from '96 and at 19 minutes it's hefty in length. A few echoed cheesy flute sounds appear at the beginning before all sorts of twisted gadgetry mayhem breaks forth at the 3.30 minute mark. Every sound is so heavily manipulated by electronic effects that it's hard to get a grasp on just what on earth is happening. Unfortunately it outstays its welcome as it's a relentless slab of more 'Musique Concrete' - a never repeating sound collage of almost random noises.

A bizarre juxtaposition occurs next as a nice flute and pretty acoustic guitars frivolously play away in the style of Krautrockers 'Emtidi' and 'Bröselmaschine'. Lastly and triumphantly the highlight of this double disc rears its 44 minute long head. Despite being a Dress Rehearsal for a live show it has an immensity and depth of sound that eclipses all that has gone before. Like most 'Voice of Eye' classics - it's the lengthier ones that are the most successful. 'Sonic Works' can be taken as an isolationist masterpiece, or a slab of melancholic gloom with an atmosphere heavier than a Nuclear Winter. Once again certain elements are very similar to 'Steve Roach', but there's an underlying current of threat and malevolence that belongs solely to 'Voice of Eye'. I could listen to this stuff all day. It's perfect mountain top music as you look smugly down at tiny little human civilisations as if they were ants. After an airily grim 17 minutes the real deal begins with some the most beautiful vocal treatments you're likely to hear. This is followed by swathes of elongated chords and drones which add a sense of majesty and impending doom. For such a quiet track it really carries one hell of a punch. Great big horns, which may be some mutant form of clarinet, blasts out Tibetan Monastery style wails of displeasure. Creaks, groans and ghostlike vocals see us through to the end of this enormously long recording.

It's nearly a masterpiece folks, but is let down just once or twice throughout it's duration - only momentarily - by some cheesy flute sounds and just one track 'Belladonna'. Other than that, it's a superb recording and well worthy of investigation by the more adventurous.

 Cybotron by CYBOTRON album cover Studio Album, 1976
2.46 | 8 ratings

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Cybotron
Cybotron Progressive Electronic

Review by sl75

3 stars My impression of Cybotron's music has always been that they largely relied on what were then novel sounds to carry what were otherwise quite conventional compositions. This first album doesn't entirely dissuade me from that view - the harmonic language is almost consistently tonal (apart from a section in "Sonic Overide") and the rhythm reasonably conventional, it's generally failry conventional minimalist composition, though that's not necessarily a bad thing, minimalism at it's best has a hypnotic effect on this listener and that's often the case here, helped by the consciously cosmic sounds. The best tracks are the longer works on the second side, "Parameters of Consciousness" and "Sonic Overide". The CD re-release by Dual Planet has a completely unidentified sixth track which is also quite interesting. It's probably not that outstanding in the context of 70s electronic prog more generally, but if you're at all interested in that sub-genre you should enjoy this.
 Traces Of The Past Redux by PARSICK, STEPHEN album cover Studio Album, 2008
3.00 | 1 ratings

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Traces Of The Past Redux
Stephen Parsick Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
3 stars The past indeed!

2008 sounded like the future back then, so its fads, musical styles and fashion. Stephen Parsicks' "Traces of the Past", I suppose, understands the past as 1975 (which also seemed like the future back then), the year of Tangerine Dream's emblematic "RUBYCON".

This release in fact owes half its charm to TD's explorations, in its benefit it adds up a very contemporary guitar sound to these "old roads". Oddly volume wise this addition is subdued most of the time to the more orthodox keyboards and electronic sounds...strange?!

Anyway, music wise, as many others included in PA in this sub-genre, have been strongly influenced by the "Cosmic" (or sequencing) School" or Tangerine Dream's unavoidable language imposition, which in fact is the only way to be accepted in this prog "kingdom".

So let me stick to its own musical proposals which although creative and outbalanced by the "borrowed" musical idiom, add up some bricks to the prog-electronic wall.

Let me say ***3 "enjoyable and unpretentious "tribute" with bonuses" PA stars.

 Wrong Way Up (with John Cale) by ENO, BRIAN album cover Studio Album, 1990
2.72 | 31 ratings

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Wrong Way Up (with John Cale)
Brian Eno Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BRIAN ENO has worn many hats as producer, songwriter and designer but he was first and foremost a musician who embarked on many paths simultaneously since his first albums arose in the early 70s. Although he is most known for all the innovative ambient albums that he has released, he has also put out a ridiculous number of collaborative albums over the years as well beginning on "No Pussyfooting" with Robert Fripp back in 1973. WRONG WAY UP sees him collaborating for the second time with Velvet Underground legend John Cale (the first album was "June 1, 1971" with Nico). While you would expect two eccentric art rock and experimental pioneers in the musical world to create some highly original music that takes you somewhere completely new, it is not really the case on this one as it sounds somewhat like a lost Talking Heads album.

WRONG WAY UP is one of the more accessible albums by ENO and friends. The dominant focus is on catchy melodies accompanied by a huge assortment of instruments but only acting as subordinate entities never stealing the limelight. There is plenty of electronic art pop going on here but there are also lush string sections that include violin and viola. Other than the melodic pop song approach there is strong emphasis on percussion as well making this sound like an experimental 80s new wave style at times. The percussion list is long and includes dumbeks, Shinto bells, tablas and other Indian drums. The tracks are mostly mid-tempo but some like "Cordoba" are slowed down. The piano blues can also be heard on "Crime In The Desert." The finale "The River" sounds like it should be on a Chris Isaak album!

ENO's discography is a hit-and-miss collection of everything ranging from early experimental glam rock to bizarre ambient worlds so i was honestly expecting a little more from this one given John Cale's legacy as one who likes to go to new places as well. On WRONG WAY UP there is an ethnic flavor to many of the tracks given the instruments on board but the vocals and the overall sound really remind me of synth pop bands of the 80s like Level 42 or even Thomas Dolby. Not really a bad thing as the album comes off well and there really aren't any particularly bad tracks, but this album doesn't blow me away either and doesn't have enough hooks for me to want to return to it often despite the groovy rhythms, symphonic backings and passionate dual harmonies. I like it but don't love it.

 Intergalactic Trot by STARDRIVE album cover Studio Album, 1973
3.09 | 4 ratings

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Intergalactic Trot
Stardrive Progressive Electronic

Review by Progfan97402

3 stars Stardrive was the name of a custom-made synthesizer made by Robert Mason. It looks like a cannibalized ARP 2500 (in fact, he did cannibalize an ARP 2500, as parts of the synth are undeniably ARP 2500) with a bunch of unidentifiable stuff. Of course he was frustrated at the monophonic limitations of synthesizers in 1973, so he developed a prototype polyphonic synthesizer (of course, the synth industry had to pay attention, because polyphonic synthesizers started making themselves available to the public in the second half of the '70s).

I found a cheap copy of Intergalactic Trot, I was rather amazed how glossy the cover is for an American LP. Here Robert Mason hires some jazz musicians (Michael Brecker and Steve Gadd are the ones I recognize) and puts the Stardrive synth to work. The original material is nothing short of great. I've heard comparisons to Rundgren's Utopia, and I guess it does, minus vocals, as there are none to be found here. I could do without his take on "Strawberry Fields Forever", though, it sounds like one of those cheesy Moog takes on the song, although his take on "I Want To Take You Higher" is much easier for me to take in. I love how some of the music really soars, some of it a bit cheesy, no wonder one can easily dismiss this as a gimmick (showing off a home-made prototype polyphonic synth), but I'm glad to have bought this album.

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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
ALPHA WAVE MOVEMENT United States
AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
ANNA SJALV TREDJE Sweden
ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ARZATHON Sweden
ASCOIL SUN Finland
ASHRA Germany
ATOMINE ELEKTRINE Sweden
AUBE Japan
AUTOMAT Italy
AWENSON France
MARVIN AYRES United Kingdom
HARVEY BAINBRIDGE United Kingdom
AIDAN BAKER Canada
SIMON BALESTRAZZI Italy
BAFFO BANFI Italy
BASS COMMUNION United Kingdom
PETER BAUMANN Germany
BEAR BONES LAY LOW Venezuela
BOBBY BEAUSOLEIL United States
CARLOS BELTRÁN Mexico
LÁSZLÓ BENKő Hungary
PHILIPPE BESOMBES France
BETWEEN INTERVAL Sweden
MAURIZIO BIANCHI Italy
BIG ROBOT Norway
BIOSPHERE Norway
TIM BLAKE France
BLUE MOTION Switzerland
BLUE SAUSAGE INFANT United States
WOLFGANG BOCK Germany
DIDIER BOCQUET France
IAN BODDY United Kingdom
GASTON BORREANI Italy
ADAM CERTAMEN BOWNIK Poland
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
CALDERA United States
TOM CAMERON United States
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
CROP CIRCLES France
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRÀ 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
FASER Germany
FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
FHIEVEL Italy
FIVE THOUSAND SPIRITS Italy
FLAMEN DIALIS France
FOVEA HEX Ireland
FREE SYSTEM PROJEKT Netherlands
FRIPP & ENO United Kingdom
EDGAR FROESE Germany
PETER FROHMADER Germany
KEITH FULLERTON WHITMAN United States
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
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
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