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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

4.26 | 649 ratings
RUBYCON
Tangerine Dream
4.26 | 206 ratings
MIRAGE
Schulze, Klaus
4.14 | 572 ratings
PHAEDRA
Tangerine Dream
4.16 | 194 ratings
TIMEWIND
Schulze, Klaus
4.16 | 188 ratings
X
Schulze, Klaus
4.15 | 106 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.39 | 24 ratings
GREEN RAY
Zanov
4.51 | 17 ratings
CATCH WAVE
Kosugi, Takehisa
4.07 | 140 ratings
NEW AGE OF EARTH
Ashra
4.08 | 123 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.08 | 88 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.17 | 39 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.06 | 82 ratings
BODY LOVE VOL. 2
Schulze, Klaus
3.98 | 333 ratings
FORCE MAJEURE
Tangerine Dream
4.22 | 26 ratings
LUCIFER RISING
Beausoleil, Bobby
4.35 | 17 ratings
AN ELECTRIC STORM
White Noise
4.26 | 21 ratings
BALLET STATIQUE
Schnitzler, Conrad
4.21 | 23 ratings
EDGAR ALLAN POE'S THE ISLAND OF THE FAY
Tangerine Dream
4.39 | 14 ratings
IN COURSE OF TIME
Zanov
3.94 | 223 ratings
ANOTHER GREEN WORLD
Eno, Brian

Progressive Electronic overlooked and obscure gems albums new


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

SYNTHETIK 1
seesselberg
WUNDERBAR
Riechmann, Wolfgang
ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico

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Latest Progressive Electronic Music Reviews


 Formen Letzter Hausmusik by TIETCHENS, ASMUS album cover Studio Album, 1984
3.00 | 1 ratings

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Formen Letzter Hausmusik
Asmus Tietchens Progressive Electronic

Review by progadicto

— First review of this album —
3 stars Asmus Tietchens is one of the most underrated eletronic music pioneers in mid 60's. He starts his career making concrete music and experimenting with electronics until Peter Baumann (from Tangerine Dream) compromises with Asmus to produce an album.

Since that moment, Tietchens has released over 40 albums of irregular quality perhaps this one, "Formen Letzter Hausmusik", is a remarkable achievement into his career.

Noisy, experimental, almost avant garde. Reminds me some Peter Frohmader "Nekropolis" electronic imporvisations or an insomniac Klaus Shulze but a little less inspired perhaps there are some intentioned ambiguous and morbid atmospheres based on dark dense and minimalistic keyboards and synthesizers and fullfilled with almost annoying distorted metalic effects; in fact, more than be labeled as an "electronic" artist I dare tos ay that you'll heard on this album some of the most dark avant garde experiments of the mid 80's.

Perhaps it's a very uniform album which fluctuate between intentioned mysterious atnmospheres and very hard experimental effects there ar some highlights to mention such as "Hydrophonie 1", "Kammermusik 1" and "Studie Über B-A-C-H". Not one of the top electronic avant-garde pieces of all times but at least a very enjoyable experimental album.

 Digilogue by ZOVIET FRANCE album cover Studio Album, 1996
3.00 | 1 ratings

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Digilogue
Zoviet France Progressive Electronic

Review by Dobermensch

— First review of this album —
3 stars By 1995 Zoviet France were past their best. Gone are the industrial loops and ritual percussion and most of the of vocals. This is due to the departure of stalwart Robin Storey (1980- 92, now of 'Rapoon').

I, like most, prefer the analogue approach they once inspiringly maintained for so many years, creating many wonderfully weird albums. Recordings that were so dark and unusual that you could imagine the band looking like they'd just escaped from a collapsed mine-shaft on it's completion.

Now things are digital. Clinically processed and if truth be told... somewhat forgettable. The opener 'Alchemagenta' is a repetitive loop that you can easily envisage being created on a Mac computer. It's too clean, too precise and ultimately sterile. You can almost see the 'iceberg' graphics floating from right to left across the computer monitor. The only saving grace on this lame 13 minute opener is an unusual horn that is played over the top of the recording.

Sadly, this is their only album that appears to have been in wide circulation.

'Haze Polder' continues in this fashion and sounds like you're hearing someone's car alarm go off 3 streets away. It's too precise and without the feel of human hands behind it.

My listening abilities become strained by the time I reach 'Soft Helion' which displays big tubular blasts of swirling air which meld into what sounds like someone crushing a broken accordion.

Things improve with the 8 minute 'Another Soft Helion' which sounds like it belongs on 'Shadow, Thief of the Sun'. Long drawn out drones have what might be extremely distorted human vocals over the top - but they're so over processed it's difficult to tell. Still, this is far better than anything that's gone before. This is the kind of creepy sound I was hoping for when I bought this upon it's release in '96. Gone is the clean surgical white sound, to be replaced by an altogether more malevolent darkness, helped enormously by unintelligible voices.

Angel's Pin Number' has a multitude of reversed sounds under swirling swathes of drones atop high pitched vocals similar again to 'Shadow Thief of the Sun'. Stamped with a trademark 'Zoviet France' seal of approval. Excellent stuff.

I'd forgotten how much better the longer this progresses. From the dreary beginning, things have improved dramatically and I'm much happier now reviewing another LP by my all time favourite band. The final track 'Init' is a 13 minute ethereal, floating oddity with vocals that sound like audio-tape cut up cats whining. There's that unmistakable background swirl that leaves you in no doubt as to who's playing.

All of a sudden I'm happy again. I thought this was heading for a miserable two stars, but there's been an upsurge in proceedings. Whilst not tuneful in the normal sense of the word, 'Digilogue' does what it says: mixes the digital with the analogue, where the analogue is the clear winner. I'd still recommend anything from '86-'87 for newcomers, but this is actually pretty good if you can get your head around the shift in sound that the band introduced at this time.

Oh, and beware the last 5 seconds... I almost jumped through the roof with fright!

 Fog Music 35 by BRÜCKNER, MICHAEL album cover Studio Album, 2015
4.00 | 1 ratings

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Fog Music 35
Michael Brückner Progressive Electronic

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

— First review of this album —
4 stars Founded by Jack Hertz in 2012 to support music that defies category, Aural Films is an internet net-label that publishes `soundtrack albums for movies that do not exist', releasing all kinds of engrossing music and sound works ranging from ambient to experimental. Most distinctive of all is a series entitled `Fog Music', a 35 volume (to date) collection by alternating artists that seek to interpret the weather condition known as fog. Light and dark, wet and dry, it's a great source of inspiration for sound artists from around the world, and Hertz aims to publish 24 complete hours of these recordings. If you enjoy ambient music, this is a series well worth investigating, each volume offering something completely different to the last.

It was a huge thrill to learn recently that German electronic artist Michael Brückner would be contributing to a future volume of the `Fog Music' series, and the talented composer has released a varied, intelligent and frequently challenging contribution. An artist of immense variety over a wide range of electronic/ambient styles both modern and vintage, Brückner here offers three long-form twenty-plus minute pieces, all full of haunting atmospheres while daring to take some darker and more experimental risks.

Opener `Vagueness - part 1' is a constantly evolving electronic sound-scape that balances moments of darkness, hope and mystery throughout. Completely devoid of any percussive elements, endless slow-moving washes of synths lap around the listener, some sounding like a groaning chasm of isolation, others taking on a spectral organ-like quality or vacuum-like intensity. It's gloomy without ever being pitch-black, and eventually more hopeful uplifting strains start to break through as if sunlight, but the piece always maintains a mystifying and ethereal quality. There are many moments scattered throughout that will instantly remind of Tangerine Dream's dark ambient masterpiece `Zeit', and if you're a listener who responded well to that divisive work, you should connect with much of this one as well.

The most challenging part comes with the second track `Memory'. A very minimal avant-garde experimental work, careful and subtle electronic drones rise and fall around adult and children's voices drifting in and out, sometimes cut up, other times played backwards and highly distorted. It creates a very disorientating and overwhelming sensation, and it's one of the most eerie, unsettling sound-collages Bruckner has released to date.

Thankfully, the first few minutes of `Vagueness - part 2' bring back a little hope and warmth, full of more soothing and gently enveloping lulling ambient washes. In many ways comparable to the modern music of ambient musician Steve Roach, those who like expansive and slowly revealing and unfolding atmospheric landscapes will enjoy this. But then completely out of the blue (or should that be out of the fog?!), chilly piano creeps in sounding like an outtake from one of the darker chamber prog bands like Univers Zero and Present, instantly bringing great unease and panic. From this point, the two moods fight back and forth against each-other, and Michael seems to be taking a kind of manic glee in the contrasting comforting/terrifying duel!

Although available to listen to free of charge via the Aural Films Bandcamp page, listeners who prefer to own a physical copy of their music can purchase two DVD volumes covering the first 26 volumes for a very affordable price, and ambient/electronic/drone listeners will find hours of endless fascinating material contained on those two discs. You probably won't love every single release, but all are inspired, unique and challenging electronic works that deserve to be heard.

As for Michael Brückner's personal volume here, it's further evidence of his musical creativity, taste and skill, but it's also quite difficult and confronting in parts. It's certainly not the place to start if you're just beginning to want to look into his work - newcomers should investigate his colourful "R is for Rocket, "S" is for Space' or his immersive double album `In Letzer Konsequenz' first. But those already convinced by his talent and with great patience to listen carefully will be rewarded the most here, and those who appreciate darker ambient and drone music will find this a hugely fascinating and rewarding title to explore.

Four stars.

 The Ancestor Circle (with Jorge Reyes) by ROACH, STEVE album cover Studio Album, 2014
3.95 | 3 ratings

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The Ancestor Circle (with Jorge Reyes)
Steve Roach Progressive Electronic

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

4 stars Defining ambient artist Steve Roach has a long history of tribal-infused atmospheric music throughout his thirty-plus year career, and one of his latest releases is another subdued and hypnotic mix of ancient and future sounds weaving together. The basic elements of this work were recorded back in 2000, with Roach unearthing the original tapes again in 2013. `The Ancestor Circle' is another joint effort with fellow ambient artist, the late Jorge Reyes, the pair having collaborated numerous times since the early Nineties right up until his passing in 2009. Tribal elements seamlessly blend with modern electronics here, sounding like a mix of both future and past. Don't expect much in the way of melodies or anything resembling obvious tunes - `The Ancestor Circle' presents a slowly unfolding selection of hypnotic instrumental soundscapes and immersive tribal drones, deeply atmospheric and meditative, with little welcome traces of darkness and edge emerging in a few moments as well.

With a huge inhaling gasp of air, `The Circle Opens' takes in all manner of heady potions and natural hallucinogens, a concoction of mellow synth washes weaving around deep-throated groans. A trickling loop peppers the background, sighing synths float like a gentle stream and spectral voices spiral into infinity. Darker elements try to take control throughout `Espacio Escultorico', a constantly building tribal drum-beat pounding behind quivering wordless vocal cries, abstract sheets of electric guitar feedback and forceful electronic walls of synths trying to consume and dominate. There's a breathless, almost maddening and intimidating quality here, as if you're hearing bad spirits barely being kept at bay by positive forces. Low-key electronics slink alongside reflective flute throughout `Spirit, Stone and Bone', ancient past and promising future collide with subtle hypnotic grooves and gentle psychedelic strangeness on `Procession of Ancestors', and the electronic strums filled with purpose on closer `Temple of Dust' effortlessly turn reassuring and freed, like a lost spirit joyous in finally earning peace.

But it's the ambitious `Memories Unsuspended' that leaves the biggest impression. A twenty-four minute extended composition, it's a hugely confronting and emotionally exhausting mix of unceasing heartbeat-like cold machine robotic loops duelling with fragmented vocal reverberations. It's as if the cold, busy, hedonistic and Godless modern world is trying to dominate and violently attack the spiritual ways of old. Bombarded with temptation and selfishness, those machine hisses move up and down in tempo to raise the pulse, sometimes transforming into slinking grooves around restrained cinematic-like swells and ethereal wisps of guitar strains. It's a haunting, deeply moving piece, and the brief darker strains of the final few minutes remind that those temptations and negative elements are always there, but you have the ability and self-belief to defeat them on every occasion.

Only time will tell if further unfinished or unreleased collaborations between Roach and Reyes will emerge, but if this turns out to be the last of their work together, then the late artist would be very proud of the finished results. There are occasional accusations that some of Roach's albums show repetition or have a similar sound, but it's best to simply approach each individual release and view it on its own merits. Each album released by the artist has its own unique identity, and it's up to fans and listeners to discover which ones mean the most to them. But in this case, `The Ancestor Circle' achieves a frequently perfect unity of tribal elements and subtle electronics, and for his final release of 2014, Mr Roach still maintains his incredible and consistent recent streak of superb ambient releases, so once again just let his music wash over and completely envelop you.

Four stars.

 A Thousand Lights In A Darkened Room (released under the name Black Light District) by COIL album cover Studio Album, 1996
2.00 | 1 ratings

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A Thousand Lights In A Darkened Room (released under the name Black Light District)
Coil Progressive Electronic

Review by Dobermensch

— First review of this album —
2 stars I don't know why they bothered dropping the 'Coil' moniker for this album. It sounds just like...Coil. And looking at the sleeve notes reveals that it is the full Coil lineup.

Amusingly this was recorded at 'Slut's hole' in London. Where in the name of God do they get these names? The cool sleeve was created by Mr 'Nurse With Wound' Steve Stapleton - a long term collaborator of these recidivists.

This kicks off with some discordant stabs of piano reminiscent of John Cage - tuneless - but nice enough. There's plenty of mutated electronic deviousness going on from beginning to end, but on the whole it seems a bit disjointed and patchy. 'Red Skeletons' is chock full of digital bleeps and chopped up tapped telephone recordings. 'A Thousand Lights...' is a bit minimal for a Coil release. It's very experimental but not all that engaging if truth be told.

'Die Wölfe Kommen Zurück' is a slowly evolving, vocal free and somewhat dreary dronefest with repetitive but unusual percussion. I just don't get this album - it doesn't sit right at all in their discography, which is probably why it's categorised under the name 'Black Light District'.

You'd really have to be in a particular frame of mind to listen to this from beginning to end. I'm finding it really irritating at the moment. It's all so staccato. 'Green Water' has wobbly twangy bass with bird song and undulating sequencers at the fore. This is far better than what's gone before but is all over too soon. A multitude of reversed electronic sounds make up the 9 min 'Cold Dream Of An Earth Star'. It's icy cold and emotionless and quite frankly instantly forgettable.

The unforgettable follows with the fantastic 'Blue Rats' - a throbbing electronic sleaze bag of sound with John Balance sounding like a demon rodent from hell, amongst, for once, a tune you can hold on to.

It's back to the forgettable with the finale 'Chalice'. Here samples of religious Christian music is interspersed with odd chugging and slashing electronic beats, but it's of no real interest to any other than Coil die hards.

A strangely disappointing album that promises so much when listened to randomly one track at a time. It suffers from a stilted one dimensional approach that wears off after 15 minutes. Only the superb but simplistic creepiness of 'Blue Rats' saves this mediocre album

 Vespers  by VOICE OF EYE album cover Studio Album, 1994
4.00 | 2 ratings

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Vespers
Voice of Eye Progressive Electronic

Review by Dobermensch

4 stars This highly original album begins off sounding like 'Lustmord' with large swathes of sweeping drones. However, unlike most "Drone' bands Voice of Eye are tuneful... in my mind anyway. The excellent opener 'Waking' reminds me a lot of that very creepy point in the film 'Kill List' where there's a 'Wicker Man' ritual being performed that ends in human sacrifice.

Voice of Eye have an instantly recognisable sound - which is some feat considering the wealth of similarly classed bands who more often than not sound non-descript.

''Breathing' continues the vibe nicely with very bizarre instrumentation that reminds me of 'The Empirical Sleeping Consort'. What resembles wailing cats and dogs are compressed through various filters creating an alien and unworldly atmosphere.

'Blooming' delves into ritual percussion 'Steve Roach' style, only this sounds more intense and less laid back mainly due to what might be horns being blown.

Like all of these tunes they meld into one another creating what could really be just one very long track. 'Waning' delivers that classic Voice of Eye sound with its ominous dread, where strangely stretched out horns and strings create a really dark atmosphere, but is enlivened by hand held percussion instruments.

'Melting' displays some seriously weird distorted percussion and drones, the origins of which I'm at a loss to even guess. There's some elongated human vocals in there somewhere, but this sounds like it was recorded on a planet that orbits Sirius.

'Drifting' utilises extreme phasing on female vocals which pitter-patter amongst droning elecronics and acoustic perky percussion.

The best is left for last - the whopping 19 minute 'Dreaming'. There's so much space between each sound on this recording. Voice of Eye hold the tools and know not to overload every instance with unnecessary intrusions. This is a cold, shivering, floating piece of music which flutters about like ghosts in a Victorian mansion. It' s got that odd 30 second dropout of sound that 90's bands seemed to favour when you think it's finished, only for multiple looped female vocals re-appear in a 'Rapoon' manner which brings this excellent album to a close.

With 'Vespers' you get the usual superb production values you'd expect from this band. Next to 'Transmigration' it's probably their best album. They were at their creative peak around this time (1994-96), recording albums that sound timeless 21 years later.

 Simbiosis by RENAUD, ALEJANDRO VILLALÓN album cover Studio Album, 2013
4.00 | 3 ratings

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Simbiosis
Alejandro Villalón Renaud Progressive Electronic

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Mexican composer and musician Alejandro Villalon RENAUD is, from how I read his sparse biographical information, a guy who stumbled into the field of music more by accident, due to a need to create music for photo and video installations that weren't given restrictions in use due to copyright issue. "Simbiosis" is his debut album, and was released through Azafran Media and Musea Records in 2013.

Electronic progressive music with a distinct cosmic vibe is the type of music Mexican composer and musician Alejandro Villalon Renaud has assembled on his debut album "Simbiosis". References to Tangerine Dream, Vangelis and to some extent Kitaro can be made, and while this isn't a production that comes within the confines of Berlin school, this isn't a soft new age affair either. Edgier and harder sounds are liberally used, giving these compositions a firmer and more vibrant tinge than your typical new age artists, and I'd describe those who are equally fond of Tangerine Dream and Vangelis as a presumed core audience for this disc.

 Filaments by RICH, ROBERT album cover Studio Album, 2015
4.64 | 6 ratings

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Filaments
Robert Rich Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

5 stars In a perfect world, Tangerine Dream would have ended sounding this good!

Robert Rich-Filaments, 2015, is Progressive Electronic to the core, Berlin School in its bones, Contemporary Classic in its heart and environmental or Cosmic more than the usually misunderstood Ambient tagging, in its soul.

Perfection coming from a quiet unknown musician, even among the PE crowd. (Business as usual). Although it is quiet understandable, considering the inherent thinness and transparency of his musical structures from album to album, which will never outcome the disadvantage of a world of fast-noise.

Filaments consists of nine THICK individual musical structures. Each one travels its own route and direction. Each song is unique in its language and Robert Rich's personal style evolves between poles of electronic or contemporary music influences (TD & Steve Reich´s ones are quiet notable) , BUT transmuting them to his own self constructed musical idiom. The results are overwhelming opposite to my expectations. Speechless!

I have to confess, I was just expecting another Robert Rich's environmental album, to play along while I painted. I was completely wrong, this work deserves full attention to understand why it rates for me *****5 Masterwork PA stars.

 Eolian Reflections by ALPHA WAVE MOVEMENT album cover Studio Album, 2014
4.00 | 1 ratings

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Eolian Reflections
Alpha Wave Movement Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars An original blend between "New Age" , "Cosmic ", and "Ambient" music.

ALPHA WAVE MOVEMENT, was recently inducted in PA's highly loved Progressive Electronic sub-genre. So, in order for this privilege to be noted, before it falls into oblivion in most prog-head's forgetful minds, I aquired his 2014 "Eolian Reflections", knowing absolutely nothing beforehand about this artist, so here it goes!

SLOW PACED, so almost all prog-heads will skip into the next review. Steve Roach's influence could turn out to be the best example of the tenor of this work. Therefore the other half of the average prog-heads, can do as above.

Now that we are alone, let me kind of explain, why this work deserves 4 PA stars.

It has a very personal feeling, all way through. Its electronics are highly refined yet true to "Cosmic" or Berlin's school canons and all of these electronics are part of a bigger picture like the before-mentioned S. Roach's environmental works. Its New Age "sacredness" does reach high altitudes the same as the very "earthly" (again a la Roach) firm and refined "primitiveness", combined with simplicity and with hypnotic-attractive songwriting, but never ceasing to turn to different musical ideas and directions, which actually sets it apart of Steve Roach's compositional style and offers in return a new focus or picture of its own "New Age" , "Cosmic ", and "Ambient" music roots.

No dark or eerie places found here, so to whoever ends up reading this review, I can bet you would not be disappointed to add this work to your "friendly" PE music collection.

****4 PA stars.

 Architexture of Silence by ALPHA WAVE MOVEMENT album cover Studio Album, 2013
5.00 | 1 ratings

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Architexture of Silence
Alpha Wave Movement Progressive Electronic

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

— First review of this album —
5 stars For over twenty years now, Gregory T. Kyryluk's Alpha Wave Movement has been offering a variety of sublime progressive-electronic music that can incorporate everything from New Age delicateness, gentle psychedelic touches, restrained world elements and Berlin School expanse. Through over twenty albums to date, the Alpha Wave Movement always delivers albums that are beautiful, reflective and deeply emotional, the very opposite of the cold and clinical sound that consumes many lesser electronic works. No more is this evident than on the 2013 album, `Architexture of Silence', comprised of five distinctive `Movements', each offering ambient inner and outer space atmospheres and constantly evolving lengthy instrumental soundscapes.

The opening section introduces blissful serene synth washes that lap at your feet and retreat back to the cosmic ocean over and over. Wavering vibrations envelop, levitating spheres of bliss spin, aquatic loops bubble with purpose and exploding aural arcs stretch their tendrils across infinite space. Electronic strums chime over and over in the second passage, placid hypnotic waves dancing joyfully and playfully as little traces of darkness try to creep in only to be consumed by reborn light. Metallic whipping percussion and The Orb-like pulsing patterns then briefly try to take hold over emerging celestial choirs. Delicate and prettily sombre, electric raindrops softly patter a cooling ambient pool through the third movement, a precious little looped beat trickling along the backdrop like clockwork, quickening in pace behind slinking dark bass murmurs, dazzling crystalline chimes and restrained reaching Mellotron groans.

`Movement IV' is one of the more reassuring and almost even carefully romantic pieces on the album. Crying electronic drones swirl alongside shimmering electric piano tip-toes and soothing lulling washes of ambient synths like a running stream offering renewed life and love. The closing section is a cosmic garden of angelic Mellotron choirs, translucent chimes, soothing ambient New Age washes and dazzling precious spiralling aural flowers unfolding and bursting to life. It's deeply meditative, with almost the tiniest of oriental themes emerging as well, before robotic looped patterns of sequencer-like beats and pulsing phasing strains aim straight for deepest space.

`Architexture of Silence' is respectful in acknowledging the vintage masters of electronic and ambient music like Tangerine Dream and Steve Roach, but not for a second does it ever come across as an uninspired or lazy imitation. Gregory mixes the old and modern styles in a way here that sounds like the future and past colliding together to form something vital and new. Newcomers would find an ideal introduction to this project by starting with this one, then explore the numerous other worthwhile Alpha Wave Movement discs, as well as Kyryluk's other projects such as Thought Guild, Within Reason and Open Canvas. Personally speaking, I cannot explain how much this album has meant to me, a constant source of solace and peace in my life, and I cannot recommend it enough to ambient/electronic listeners.

Five stars.

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Progressive Electronic bands/artists list

Bands/Artists Country
12 FOLLOWERS United States
6LA8 Pakistan
ACI Germany
AEON France
AETHENOR Multi-National
AFTERLIFE United States
ILDEFONSO AGUILAR Spain
PEKKA AIRAKSINEN Finland
AIRSCULPTURE United Kingdom
ALBERGO INTERGALATTICO SPAZIALE Italy
ALIO DIE Italy
ALLEGORY CHAPEL LTD United States
DAEVID ALLEN MICROCOSMIC United Kingdom
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
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
EDDIE JOBSON United Kingdom
JONATHAN Germany
ARIEL KALMA Australia
JÜRGEN KARG Germany
KASHMIR Switzerland
KHA - YM France
BERND KISTENMACHER Germany
KNITTING BY TWILIGHT United States
KOROIEV Spain
KÖSMONAUT United States
TAKEHISA KOSUGI Japan
ESA KOTILAINEN Finland
KRAFTWERK Germany
MIHA KRALJ Yugoslavia
KLAUS KRÜGER Germany
RICHARD LAINHART United States
LAMBWOOL France
PASCAL LANGUIRAND Canada
TEDDY LASRY France
STÉPHANE LEMAIRE France
IGOR LEN Russia
FRANCO LEPRINO Italy
LEROUGE France
NED LAGIN & PHIL LESH United States
CECIL LEUTER France
LIIR BU FER Italy
LILIENTAL Germany
JOHN LIVENGOOD France
LOGIC GATE United States
LONG DISTANCE POISON United States
RÜDIGER LORENZ Germany
LORQ DAMON United States
LULL United Kingdom
LUNAR MIASMA Greece
TOR LUNDVALL United States
LUSTMORD United States
LYDHODE Norway
BJORN LYNNE Norway
IAN MACFARLANE Australia
MAEROR TRI Germany
MAGINA Portugal
PEPE MAINA Italy
MAJEURE United States
ERIC MALMBERG Sweden
MARIBOR Italy
ANDREA MARUTTI Italy
MEERKAT Italy
METATAG Norway
MICKIE D'S UNICORN Germany
CLAUDIO MILANO Italy
DIETER MOEBIUS Germany
MOLNIJA AURA Italy
CLARA MONDSHINE Germany
MONOTON Austria
GEN KEN MONTGOMERY United States
MOORE / MYERS United States
KEN MOORE United States
STEVE MOORE United States
MORA-TAU Japan
SCOTT MOSHER United States
MOTHER MALLARD'S PORTABLE MASTERPIECE CO. United States
MOUNTAIN OCEAN SUN Japan
MOUNTAINS United States
THE ALMAN MULO BAND United Kingdom
MUSHY Italy
IAN NAGOSKI United States
PETE NAMLOOK Germany
NAUTILUS Germany
NEPTUNE TOWERS Norway
NEURONIUM Spain
NEVER KNOWN Italy
NEWCLEAR WAVES Italy
NIMH Italy
NIMH + M.B Italy
NODE United Kingdom
NUMINA United States
OMIT (CLINTON WILLIAMS) New Zealand
OÖPHOI Italy
OSCILLOTRON Sweden
OSE France
P'COCK Germany
STEPHEN PARSICK Germany
PEAK Australia
PETER M. Italy
PHROZENLIGHT Netherlands
RICHARD PINHAS France
COLIN POTTER United Kingdom
NIC POTTER United Kingdom
ROGER POWELL United States
THE PRESENT MOMENT United States
DAVID PRITCHARD Canada
PROPELLER ISLAND Germany
PRZEMYSLAW RUDZ Poland
PULSE EMITTER United States
PYTHAGORON United States
QUARKS Chile
RADIO MASSACRE INTERNATIONAL United Kingdom
LUTZ RAHN Germany
NIK RAICEVIC United States
RAINBOW GENERATOR Australia
RAINBOW SERPENT Germany
RAPOON United Kingdom
REALTIME Germany
TOM RECCHION United States
REDSHIFT United Kingdom
JONAS REINHARDT United States
ALEJANDRO VILLALÓN RENAUD Mexico
ROBERT RICH United States
RICHARD WAHNFRIED Germany
CHRISTIAN RICHET France
WOLFGANG RIECHMANN Germany
STEVE ROACH United Kingdom
HANS JOACHIM ROEDELIUS Germany
ROGUE SPORE Ireland
THOMAS RONKIN United States
RUNE MARTINSEN & ØYSTEIN JØRGENSEN Norway
SAB Japan
SANGIULIANO Italy
SATAN ALFA BEEL ATEM Japan
SAYER United States
GÜNTER SCHICKERT Germany
SCHLOSS TEGAL United States
CONRAD SCHNITZLER Germany
EBERHARD SCHOENER Germany
ROBERT SCHROEDER Germany
KLAUS SCHULZE Germany
SEESSELBERG Germany
SHOGUN KUNITOKI Finland
MARK SHREEVE United Kingdom
SIJ Ukraine
SIL MUIR Italy
SINIAALTO Finland
SOFTWARE Germany
SONISK BLODBAD Multi-National
SPACE ALLIANCE Italy
SPACE ART France
SPACE MACHINE Japan
SPACECRAFT France
SPARKLE IN GREY Italy
SPERM Finland
STARDRIVE United States
MICHAEL STEARNS United States
SUBINTERIOR Italy
SYRINX Canada
JUTA TAKAHASHI Japan
TANGERINE DREAM Germany
TANGRAM Hungary
TELAIO MAGNETICO Italy
DR. FIORELLA TERENZI Italy
THOUGHT GUILD United States
THREE SUNS Austria
THROBBING GRISTLE United Kingdom
ASMUS TIETCHENS Germany
TIPU SABZAWAAR Multi-National
TOMUTONTTU Finland
TONTO'S EXPANDING HEAD BAND United Kingdom
TOTAL STATION Russia
TRANQUILLITY Germany
TRANSPARENT ILLUSION United Kingdom
ROLF TROSTEL Germany
UDDER MILK DECAY United Kingdom
MATTEO UGGERI Italy
URNA Italy
VAKO Spain
VANDERSON Poland
JOEL VANDROOGENBROECK Switzerland
PATRICK VIAN France
VIDNA OBMANA Belgium
VIETGROVE United Kingdom
VOICE OF EYE United States
VOLT Netherlands
ADELBERT VON DEYEN Germany
VON HAULSHOVEN Netherlands
ADRIAN WAGNER United Kingdom
IGOR WAKHEVITCH France
WAVESTAR United Kingdom
PHILLIP WERREN Canada
WHITE NOISE United Kingdom
PATRICK WIKLACZ France
WO0 Serbia
BERNHARD WÖSTHEINRICH Germany
RENÉ VAN DER WOUDEN Netherlands
X-TG United Kingdom
XIU Italy
BERNARD XOLOTL France
YELLOW MAGIC ORCHESTRA Japan
YEN POX United States
YETI RAIN United States
YOU Germany
ZA SIÓDMA GÓRA Poland
EDWARD M. ZAJDA United States
ZANOV France
ZED France
ZOLTAN United Kingdom
ZOMBI United States
ZORCH United Kingdom
ZOVIET FRANCE United Kingdom

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