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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 | 281 ratings
MIRAGE
Schulze, Klaus
4.26 | 873 ratings
RUBYCON
Tangerine Dream
4.23 | 271 ratings
TIMEWIND
Schulze, Klaus
4.17 | 754 ratings
PHAEDRA
Tangerine Dream
4.39 | 35 ratings
IN COURSE OF TIME
Zanov
4.18 | 146 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.12 | 237 ratings
X
Schulze, Klaus
4.76 | 12 ratings
DECONSECRATED AND PURE
Alio Die
4.44 | 22 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.20 | 62 ratings
AN ELECTRIC STORM
White Noise
4.26 | 36 ratings
CATCH WAVE
Kosugi, Takehisa
4.41 | 20 ratings
LONG LOST RELATIVES
Syrinx
4.07 | 178 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.16 | 54 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.45 | 17 ratings
THEY GROW LAYERS OF LIFE WITHIN
Alio Die
4.18 | 44 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.00 | 445 ratings
FORCE MAJEURE
Tangerine Dream
4.11 | 53 ratings
GREEN RAY
Zanov
4.22 | 29 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
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

WUNDERBAR
Riechmann, Wolfgang
SYNTHETIK 1
seesselberg
HARMONIC ASCENDANT
Schroeder, Robert
NEKROPOLIS: MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter

Latest Progressive Electronic Music Reviews


 Live at Bam Balam by PINHAS, RICHARD album cover Live, 2019
4.00 | 1 ratings

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Live at Bam Balam
Richard Pinhas Progressive Electronic

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

— First review of this album —
4 stars You'd think growing older might mellow an artist out, or that they'd prefer to play things nice and safe, but not so French musician Richard Pinhas, founding member of legendary Seventies electronic project Heldon. His LP contribution to Record Store Day 2019 is `Live at Bam Balam', recorded on two separate dates between 2016-18 in Bordeaux, France, and it's home to two side-long, fully improvised pieces of guitar, electronics and delay, all twisted together into a feral drone of delicious stormy noise.

Churning electric guitars snarl into sucking vacuums of wicked distortion, chiming electronics spiral into the heavens, and jagged shards of crystalline beauty slice the senses. Fleeting moments break into Robert Fripp-like splintering pierces and the cluttering violence of the wilder Seventies King Crimson improvisations, and even ambient reflections are laced with a subdued trace of dangerous unease. Slow to unfold and constantly evolving, the two long-form pieces here reveal endless dark mystery and a scuzzy contemplative atmosphere.

Audiophiles beware - this recording comes close to an `Official Bootleg' kind of sound quality, so those wanting pristine recordings of a modern standard should keep well away. But the sonic murk gives the performances a tough and honest grit, and it helps make `Live at Bam Balam' a welcome Record Store Day release, and another fascinating addition to the eclectic and daring discography of Richard Pinhas.

Three and a half stars, but four for Heldon/Pinhas freaks.

 What A Blast - Architecture In Motion (OST) by TANGERINE DREAM album cover Studio Album, 1999
3.42 | 22 ratings

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What A Blast - Architecture In Motion (OST)
Tangerine Dream Progressive Electronic

Review by 2dogs

4 stars Explosive entertainment . . .

Most of the tracks on this album were used in the 35 minute video 'What A Blast: Architecture In Motion', a documentary of sorts stringing together many clips of building demolition in which much of the music is accompanied by massive explosions and soundbites such as 'You just don't go in and throw pieces of dynamite all over the place - it's long, hard work'. It's well worth a look if still on YouTube, the overdubbing sometimes adds an interesting layer to the music, especially on 'Forced To Surrender' and 'Silver Siren'.

The first five compositions on the album are by Edgar Froese and probably the most interesting. They're also available by themselves in the compilations 'Silver Siren Collection' and 'The Electronic Journey'. 'Stoneyard' isn't used in the video but would make an excellent title theme for a TV series with its funky bassline, percussion loops, dramatic synth and male voice sounds. 'Silver Siren' starts with some quite dark sounds leading to a rich, deep bass line over which female voices and a melody line float accompanied by several layered mechanically rhythmic drum loops. The looped, repeated and distorted vocal clips on the video make it an interesting alternate mix. 'Beauty Of The Blast' has a nice ticking beat to it and quite a lot of layers interweaving with plenty of bass and some older sounding synths. There are great kaleidoscopic effects on the video for this one. 'Dream Sculpture' has a very strange juxtaposition of sounds, opening with New Age like choirs until joined by unexpected twangs, drums, sequencers, jet aircraft and (shock) industrial electric guitar rhythms. Edgar has definitely not gone for any conventional style on this album and it feels like he had a lot of fun putting something together to fit the producer's brief. His final contribution, 'Last Trumpet On 23rd Street' was also omitted but is again very dramatic and rhythmic with more deep bass and classic shrieking synths.

Jerome's tunes complete the album. Only a short excerpt of 'Art Of Destruction' was used for the film's closing credits but it's relatively long on the album. In contrast to his father, Jerome has gone for totally conventional elements of electronic dance music here but by progressing through virtually every cliche one after another the track actually becomes quite varied over its full length and the overall composition works pretty well. 'Forced To Surrender' races along at a breakneck speed with a thumpy bass drum and a load of electric guitar samples producing an effect not a million miles away from early 90s Ministry. The voice clips on the video make it a bit less monotonous but even more reminiscent of 'Jesus Built My Hotrod'. The final two tracks, 'Timesquare' and 'Jungle Journey' are further remixes of the remixes on the first two 'Dream Mixes' albums, quite similar but with a few extra sounds and notably beefed up in the bass to fit in better with the other tracks. I'd say they were improved although these do get the largest number of loud bangs in the film.

Overall I was pleasantly surprised just how good this was for a mere video soundtrack and would agree with one of the experts appearing in the film - 'It actually has a rhyme and a reason for everything that's done'. A great example of how a creative and open minded musician such as Edgar Froese can change their style and embrace new techniques and technology. 4 stars.

 See Through  (Aidan Baker / Faith Coloccia / Jon Mueller) by BAKER, AIDAN album cover Studio Album, 2019
3.00 | 1 ratings

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See Through (Aidan Baker / Faith Coloccia / Jon Mueller)
Aidan Baker Progressive Electronic

Review by admireArt
Prog Reviewer

— First review of this album —
3 stars Once you give birth to an original sound you have to nourish it.

A good collaborative release: See Through (2019), which if taken as a first project between these 3 musicians - Aidan Baker (guitar), Faith Coloccia (vocals & efx) & Jon Mueller (drums, percussions) and finding out how easily they construct an original electro/acoustic musical language sure makes up for a promising listening experience.

But music composition is a mean and demanding muse whose secrets are well kept even if you are lucky enough to find her. And this trio sure has found her but now they need to explore every layer of what they have created thus expanding its possible forms and make them go beyond mere findings and very good ideas floating around to masterpieces.

As for now this party is just starting.

***3 PA stars.

 Transsiberia (OST) by TANGERINE DREAM album cover Studio Album, 1998
2.56 | 29 ratings

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Transsiberia (OST)
Tangerine Dream Progressive Electronic

Review by 2dogs

3 stars Sit back and enjoy the ride . . .

Edgar Froese and son Jerome have created here a very pleasant, undemanding electronic soundtrack for an epic railway journey. Nothing particularly adventurous but entirely appropriate for a travelogue and I can easily imagine myself sitting on the train looking out at the passing scenery.

The first three tracks feature the heavy, on the beat thumping drum loops one would expect for the concept, departing Moscow's 'Yaroslav Station' full of energy and optimism, slowing the pace through 'Smoky Karlow', then picking up speed again heading towards 'Siberian Lights'. The longer, slower song in the middle of these three is the more tuneful and varied with some nice piano and organ parts, the other two focus on the various drum loops dropping in and out accompanied by minimal synth sequences and dramatic pads.

This steady progress is unexpectedly interrupted by the 'Jenissei River', a beatless composition with a vaguely spiritual feeling like an organ piece preceding a church service, flowing at its own steady pace at right angles to the railway. Once across though an even more metronomic rhythm resumes with 'Baikal Sunrise', an unvarying two beat drum loop and one note sequence underlying some more unusual and echoing synth sounds suggesting the magical appearance of this immense lake in the middle of Asia, and continues with the relaxed, blissful window gazing of the medium paced 'Samowar Juri' with a melody carried by several contrasting keyboard sounds.

The beat is now dropped entirely for the next three tracks. Some exotic and almost eerie sounds accompany the entrance to the far off city of 'Ulan-Ude' but rapidly morph into a more pastoral atmosphere before changing again to a 19th century classical structure as if the Russian colonists were celebrating the establishment of European culture in this alien place. Moving on into darkness, the super soothing, ambient 'Chingan Night' with its hesitant synth lead and backing choral sounds lulls the traveller into a deep sleep, to dream of the 'Russian Soul' whose weirdly distorted voices perhaps evoke the spirit of this vast landscape, its animals and ancient indigenous peoples rather than the modern inhabitants and western civilisation.

Finally the beat returns but at an almost funereal pace as the journey nears its end at the 'Golden Horn' of Vladivostok on the northern Pacific coast. This idea is only reinforced by the steady tolling of a bell suggesting the end of the line or maybe European society. The experience is over and it is time to return to the everyday world, although with new memories and possibly a few fresh insights picked up along the way.

Overall a worthwhile album, some thought obviously went into the compositions which grew on me with repeated listens and gradually stimulated ideas and images. There was however no progression other than that of the train towards the east. 3 stars.

 Urga (OST) by ARTEMIEV, EDWARD album cover Studio Album, 1991
3.46 | 7 ratings

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Urga (OST)
Edward Artemiev Progressive Electronic

Review by admireArt
Prog Reviewer

3 stars Movie music for soundtrack lovers.

There is no mystery that music for movies is conformed to fit movie audiences´ taste which usually has to to do more with the movie´s director or plot or/and visuals than the music itself. Sadly after looking under the rocks for this Edward Artemiev -Urga (1990), reality hit the fan and well this is quiet disappointing as far as the listening experience alone goes.

It withholds many of the 90´s movie music cliches and its parallel expressions in the New Age/World music genres, in those same years, and they have inevitably dated from overexposure .

No big news or surprises music composition wise neither beyond the criss/cross between "electronic" and "native/acoustic" elements in the clean cut environment of mainstream´s soundtrack standards.

So go to the real sources if you dig the, then and still overexploited, native music and chantings or get the movie itself.

Well I´ve heard better , much more better, same styled, OSTs.

***3 tops PA stars.

 The Unreleased Themes For Hellraiser by COIL album cover Singles/EPs/Fan Club/Promo, 1987
3.51 | 3 ratings

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The Unreleased Themes For Hellraiser
Coil Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Coil's infamously rejected dark ambient soundtrack work for Hellraiser has been released in various forms over the years - first as a highly abbreviated EP, then with further bonus material from other soundtrack jobs added, then as tracks on the Unnatural History series of compilations.

The best release of the material so far is the 2015 one - reverting to the title The Consequences of Raising Hell (a subtitle used for some earlier releases of The Unreleased Themes For Hellraiser), it includes the 9 surviving Hellraiser tracks, a series of short pieces produced for commercials to pay the bills, and a clutch of untitled tracks which represent early instrumental working versions of pieces that ended up on Gold Is the Metal.

On the whole, it's as good a collection of Coil's mid-1980s soundtrack and similar instrumental work as we're likely to get. A little reminiscent of Nine Inch Nails' soundtrack to Quake in places, the Hellraiser material is just as spooky as the movie demanded; meanwhile, the remaining tracks explore other moods, with the advertising jingles offering a sort of interval before the more disquieting material creeps in on the concluding untitled tracks.

 Replica by ONEOHTRIX POINT NEVER album cover Studio Album, 2011
3.95 | 2 ratings

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Replica
Oneohtrix Point Never Progressive Electronic

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

4 stars Daniel Lopatin has gone by many aliases (Chuck Person, Dania Shapes, Kaoss Edge, KGB Man) but is best known for his most famous alter ego ONEOHTRIX POINT NEVER, which he adopted in the mid-2000s when he began releasing a series of synthesized- based experimental electronic recordings. While sporadically releasing albums under versions of the newly adopted moniker (Magic Oneohtrix Point Never, Total System Point Never, OPN), Lopatin settled into his best known artist name with the success of his 2009 compilation album "Rifts".

His fifth album REPLICA released in 2011 was a departure from his primarily synthesized creations prior. This release explored various different approaches including sample-based composition and MIDI production which some have called one of the nascent examples of vaporwave however this stylistic hodgepodge of sounds is mostly described as an ambient plunderphonics album that utilizes healthy doses of glitch, hypnogogic pop as well as classic 70s progressive electronic which makes this one of the more innovative electronic albums of the new millennium.

Like the vaporwave that followed, REPLICA was produced by a series of sampling effects in this case from various VHS compilations of television commercials from the 1980s and 90s. The timbres, tones and myriad sonic treasures were then teased out into a series of harmonic manipulations and forced to perform strange rhythmic gymnastics. The result was a completely new methodology for crafting electronic based music with emphasis on not only the ambient textures but the strange pauses and incidental sounds as well. So successful was this experiment in its obfuscation of original material that it would be practically impossible to discern that these sounds for the most part came from TV commercials of yore.

Despite the attempt to create electronic song cycles that delivered loops of sound that spiral around on a blank canvas, the album surprisingly has an overall accessible feel as the vignettes display ambient glides that form catchy melodic hooks while the chaotic swirls of sound rhythmically pulse, flutter around and repeat. The album was lauded by critics by taking the world of electronic psychedelia beyond the Boards of Canada stylistic approach and by creating a glitchy ambient art pop styled of music that has been called hypnogogic pop but due to the heavy sampling is also cited as a key player in the development of the sample heavy genre called vaporwave that really took off in the 2010s.

Electronic music is always the most difficult to convey through words in a review. It offers a purely subjective experience that will inevitably vary from one listener to the next and even offer completely different experiences for a single person depending on the mood and circumstances when listening. The album cover gives away the intent. The skull gazing back in the mirror reflects the impermanence of everything especially our own temporary lives on this planet in our current form. Likewise REPLICA is no one trick pony and takes several journeys into a variety of ambient based sounds. While certain tracks like the herky jerky "Sleep Dealer" excel in bombastic percussive bloops and bleeps and designed to be unnerving, much of the album a la "Remember" also delves into dreamy ambience that drifts aimlessly like a zephyr wind lulling and pacifying.

Far beyond the 80s pop revival of Ford & Lopatin, ONEOHTRIX POINT NEVER took revolutionary steps on REPLICA that created tight loops out of samples sounds with the intent of creating textures free from the confines of linguistic reactions. Clever and against the grain, REPLICA was the innovative next frontier in electronic music that gave permission to dust off all those classic repositories of sound from the past and transmogrify them into something completely new. While plunderphonics in general was nothing new, the practice was more known for relishing in the avant-garde rather than craft easy to digest and emotionally fulfilling packets of sound that resulted in pointillistic melodies. This album works passively as a zone out album but also has a enough intricacy to engage the music nerd who relishes the subtle touches. Great album!

 Green Ray by ZANOV album cover Studio Album, 1976
4.11 | 53 ratings

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Green Ray
Zanov Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Electronic artist Zanov hops on his shiny new VCS3 and issues forth a cold, chilly brand of electronic music on this debut album. Green Ray clearly owes a significant debt to the Berlin School, with Tangerine Dream and particularly Klaus Schulze's shadow hanging over things. This puts Zanov a little out of step with many of his French contemporaries, who like Jean-Michel Jarre were blazing a somewhat different trail through electronic territory, though at the same time I do detect the odd flash of Heldon in the more direct and aggressive moments here.

What saves the album from being mere pastiche is that Zanov's understanding of his influences clearly isn't shallow; he really knows how the Berlin School works, inside and out, and is able to credibly produce a piece which sits next to other Berlin School material nicely.

 The Sessions IV by TANGERINE DREAM album cover Live, 2018
3.86 | 5 ratings

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The Sessions IV
Tangerine Dream Progressive Electronic

Review by TenYearsAfter

4 stars "FIRST REVIEW OF THIS ALBUM"

'Wow, top notch electronic music!'

Info. "The Sessions IV (total time 1.04.24) contains instant 2018 live compositions from the current Tangerine Dream line-up featuring Thorsten Quaeschning (synthesizer, piano and sequencers), Ulrich Schnauss (synthesizer and sequencers) and Hoshiko Yamane (electric violin and viola). The first track Persepsjonstransformasjon was recorded from the Oya Festivalen in Oslo, Norway. It was Tangerine Dream's first show ever in Norway and they were welcomed like good old friends. The crowd was very much on fire and inspired the band for a wonderful piece of music. The second track Four Degrees Parallax was recorded during their performance at the Internet Festival in Pisa, Italy. Tangererine Dream performed at the famous Teatro Verdi - very close to the Leaning Tower of Pisa - and mesmerized an especially very young audience. The band members are very much enjoying their new respectively revived concept of performing a so-called real time composition session at the end of their concerts. We hope that you will enjoy these spontaneous and exceptional live tracks - inspired by the location and a great audience at the same time."

1. 10.32pm Session ' Persepsjonstransformasjon (26.35) : The intro delivers soaring keyboards, then Mellotron choirs and violins (from the Memotron), blended with percussive sounds and dreamy violin. Now the distinctive sequencers join (the crowd clearly shows its appreciation), beeps and bleeps, the sound of water, this is Old School electronic music, with obvious echoes from 1974-1980 Tangerine Dream. The wonderful music turns into more lush featuring a Mellotron flute, fat synthesizer drops and a pleasant variety of keyboards sounds. Halfway an accellaration with pulsating sequencers, majestic Mellotron choirs and spacey synthesizer flights, at some moments it's like I am on the unsurpassed Encore album, this is top notch electronic music, goose bumps! Then a catchy beat with fat sequencers and even more fat beeps and bleeps, and inventive work on keyboards and synthesizers, more modern sounding. In the final part the music slows down with pleasant piano play, a tight beat and mellow synthesizers and dreamy violin, finally blended with Mellotron flutes and spacey synthesizers, wonderful and hypnotizing, this is what electronic music is about!

2 .11.27pm Session - Four Degrees Parallax (37.24) : A long mellow first part with dreamy synthesizers and a variety of Mellotron sounds. Then a shifting mood into more dynamic with sensational sequencers, slowly coming from the background, and then blended with fat synthesizer flights and soaring Mellotron flutes, again evoking the unsurpassed 1974-1980 Tangerine Dream sound, wow! Now the music focus on the exciting sequencer sounds, very fat and hypnotizing, blended with beeps and bleeps, this is the best electronic music I have heard in a long time! In the final part more spectacular and fat sequencer sounds and synthesizer drops, very propulsive, then blended with tender piano runs and intense violin play, this is trademark new Tangerine Dream, and I love it. Finally first the fat and propulsive sequencer and synthesizer sounds (with hints from 1974-1980 Tangerine Dream but with an own, very tasteful touch) and in the end a dreamy sound with violin and synthesizers, and the Mellotron choir, simply beautiful. A big hand for this new Tangerine Dream.

P.s.: If you like 1975-1980 Tangerine Dream these bands or artists are worth to discover: Free System Project, Rudy Adrian, Gert Emmens & Ruud Heij, the trio Pollard/Daniel/Booth, Red Shift, Volt, Rogue Element, Radio Massacre International and Ron Boots.

 Tussilago Fanfara by ANNA SJALV TREDJE album cover Studio Album, 1977
4.22 | 29 ratings

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Tussilago Fanfara
Anna Sjalv Tredje Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars A progressive electronic project from Sweden producing spacey synthesiser burblings in the style of classic Tangerine Dream and Klaus Schulze - shiftting gears towards the sounds of Ashra when the fuzzed-out guitar gets involved. There's touches of world music too on Inte Utanfor Tiden and Tusen Ar & Sju Timmar - not as much as Popol Vuh, but enough to keep things varied. Pretty decent, all round, and proof that the freaked-out improvisational approach of the early Krautrock/Berlin School scene was still knocking about in 1977, even if you had to go to Sweden to find it. Dreamy, introspective, and mystical, much like the strange cover art, Tussilago Fanfara is a delicious trip.
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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
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