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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

4.25 | 837 ratings
RUBYCON
Tangerine Dream
4.26 | 254 ratings
MIRAGE
Schulze, Klaus
4.52 | 31 ratings
CATCH WAVE
Kosugi, Takehisa
4.21 | 246 ratings
TIMEWIND
Schulze, Klaus
4.19 | 130 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.14 | 716 ratings
PHAEDRA
Tangerine Dream
4.37 | 29 ratings
IN COURSE OF TIME
Zanov
4.12 | 222 ratings
X
Schulze, Klaus
4.25 | 46 ratings
GREEN RAY
Zanov
4.23 | 49 ratings
AN ELECTRIC STORM
White Noise
4.53 | 16 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.55 | 14 ratings
LONG LOST RELATIVES
Syrinx
4.23 | 34 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.19 | 40 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.14 | 49 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.03 | 166 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.85 | 8 ratings
DECONSECRATED AND PURE
Alio Die
4.01 | 170 ratings
NEW AGE OF EARTH
Ashra
3.98 | 424 ratings
FORCE MAJEURE
Tangerine Dream
4.93 | 7 ratings
THE HIDDEN SPRING
Alio Die

Progressive Electronic overlooked and obscure gems albums new


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

SYNTHESIST
Grosskopf, Harald
TIME REPLICATED
Bownik, Adam Certamen
HARMONIC ASCENDANT
Schroeder, Robert
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico

Latest Progressive Electronic Music Reviews


 Clouds by GIRÓN album cover Studio Album, 2017
4.00 | 2 ratings

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Clouds
Girón Progressive Electronic

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

4 stars Spanish performer Tomás Fernández Girón returns in 2017 with his third full-length work, `Clouds'. The talented artist released a fragile and sadness-flecked Berlin school-modelled electronic gem back in 2014 with his debut album `Forest', incorporated warmer and more carefully melodic pieces on the follow-up `Stones' a year later, and `Clouds' now sees the artist adding even more variety. Be it heavier dramatic moments or even unexpected dance elements this time around, Girón's impeccable skill and great musical taste permeates every second of `Clouds', and it's another beautifully floating atmospheric electronic work that grafts classic prog-electronic vintage equipment sounds with a modern sensibility.

Opener `Stratus' is an unhurried dreamscape of serene ambient approaches, gurgling rise-and-falls, jangling sequencer beats and those beautiful weeping electronic tendrils that have become one of Girón's signature sounds. Spectral Mellotron choirs groan majestically, pulsing beats raise mysterious tension, and everything ultimately (and surprisingly!) melts into a chasm of groaning heavy unease. The meditative stillness drifting through `To the Inner Temple' is lifted by bouncing beats, spacey wavering slivers and deep bleeding electronic melts, and `Blow' holds both reflective and loved-up trilling themes (some of which might be among the most romantic to date from the artist), plus jangling crystalline chimes that are rippled with a psychedelic playfulness.

The gently melancholic `Between the Clouds' unveils lightly mournful tones full of longing and resignation over spacey droning washes that teem with the hope of new life and rebirth. `Cumulonimbus' takes a welcome up-tempo turn to give the album a quickened boost with skittering sequencer patterns and clipping trance-like dance beats around lush Jean-Michel Jarre-like pillowed touches, and the low-key and subdued closer `Through the Air' unfurls with seeping reverberations over sustaining ambient wisps and lethargic klaxon-like ebbs.

Traces of the vintage masters still remain, but Girón has forged plenty of his own identity over his three studio works to date. All the pieces on `Clouds' flow beautifully and have specific destinations so never drift aimlessly, and all the individual little ideas and sounds that pervade all of Girón's albums now seamlessly blend together into a weighty whole. Far from insubstantial airy New Age music that the placid title might suggest, `Clouds' is another sublime Berlin-School/Kosmische Musik/ambient masterwork from one of its most exciting young composers, and once again Girón's latest release can emerge as one of the standout prog-electronic works of 2017.

Four stars.

 Ethereal by SEQUENTIA LEGENDA album cover Studio Album, 2017
4.90 | 2 ratings

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Ethereal
Sequentia Legenda Progressive Electronic

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars Laurent Schieber has done it again! Just when you think the Berlin School sound has been played out, Laurent releases something new that just keeps upping the ante! The second of these three epics of progressive electronic music may be my favorite Berlin School song ever made!

1. "Stratums of Seraphic Voices" (26:28) a variety of Moog Modular-sourced chords weave together for the first three minutes of this one. The plasticized percussive sounds MIDI-ed within the "drum" and rhythm sequence track (reminding me very much of the sounds produced from Blue Man Group music) that develop and establish themselves throughout the bulk of the song. (Love the tabla sound integrated in there, as well!) As a matter of fact, one might conclude that the percussives are the real lead track here with the synths playing second fiddle--though the song would be far from as effective without them and their steadfast swirling and spiraling. The addition of 80s sounding Western drum machine percussion sounds is well-integrated by this point. A key change at 17:38! What an unexpected surprise! And then back at 19:15. Back up again at 20:55. And another higher shift at 22:30. Bursts of Star Warsian space-spitting noises join in the soundscape during this last four minutes. A final downward key shift at 24:50 finds the music joined by Mellotron choir voices. Nice. (9/10)

2. "Around the Second Moon" (22:45) opens with some very interesting slowly sliding note "arpeggi" beneath which some sequential percussion/bass lines try to establish themselves. As the treble sounds thin and disappear, the "bubbling," "squirting" sequencer lines become more interesting, hypnotic, captivating, and then foundational, even melody holders. In the fourth minute, they are the only music placeholders before some synth washes sneak in from behind. The chord choices of the synths add so much to enhance the sequencing. It's not until the middle of the seventh minute that the first percussive sound arrives and begins to elbow its way into the mix. By now the bass and synth lines have wormed their way into your subconscious in a kind of Edgar Alan Poe way while syncopated, intermittent percussives make it sound like Madeline Usher trying to break out of her casket in the basement. This is SO COOOL!!! New upper octave sequence sneaks in during the twelfth minute before a wave of a cymbol crash signals the achievement of full sound. Simply brilliant! So cool that the free, or improvisational instrument is a kind of large, kodo-like drum--until the seventeenth minute when percussives fade out. By the beginning of the eighteenth minute, all of the original instrumental sounds and sequences have pretty much faded into the distant background save for the synth washes--which now seem augmented by Mellotron choir voices. Staticky-rainstick-fly noises pan quickly across the soundscape while all three of the dominant sequential tracks slowly reassert themselves, if still in the background. A little PETER GABRIEL Passion: Music for the Last Temptation of Christ soundtrack can be felt at the end. (10/10)

3. "Elevation" (20:36) very steady, even, and subtly uneventful over the first half, the second half sparks to life but then drags on without enough development, resolution, or dénouement. (8/10)

Were I more familiar with Klaus Schulze's work of the second half of the 1970s I might find more to compare and critique, but, as is, I can only find praise. The clarity and fullness of modern sound is so pleasant and fulfilling to the ear and soul than the often thin and scratchy stuff of recordings from the 70s that, as with the Master's 2007 release, Kontinuum, I am filled with only praise and joy.

Five stars; a minor masterpiece of progressive rock music and one of the 21st Century's shining examples of stellar Berlin School revitalization.

 Shh! by SPERM album cover Studio Album, 1970
3.33 | 8 ratings

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Shh!
Sperm Progressive Electronic

Review by Heyfordian

1 stars This is not music. This is noise Did I miss something? How could anyone give a 4 start rating to a noise? There is nothing special in this record to make it worth having in your collection. It's quite an oddity, I would give it this, but it's not a masterpiece, far away from this. And rather high rating makes it misleading for those who look look some rare gems of 60s and 70s.

if you like MUSIC and not just strange noise - stay away from this, it's waste of time and money, if you decide to buy a CD. It's totally unlistenable

 Cyborg by SCHULZE, KLAUS album cover Studio Album, 1973
3.68 | 136 ratings

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Cyborg
Klaus Schulze Progressive Electronic

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

4 stars The whole reason KLAUS SCHULZE had broken ties with two of the most innovative Krautrock bands, Tangerine Dream and Ash Ra Tempel was very much because of the wasted time in the democratic process of compiling ideas, hashing them out and bringing them to fruition. While there are pros and cons to being in a group lineup or going alone, SCHULZE opted for the latter as his restless free spirit and creative visions weren't finding actualization in the group process and were becoming watered down at best. Despite the compromise games that did come into play with many of the early Krautrock bands, the majority of these groups did not experience much success or recognition at the time when they were recording all those classics. Instead it would take the public many years to catch up to the visionary sounds laid down during those days. Despite drifting even further into the clouds and ever more distant from any possible instant gratification in terms of the world of financial success, SCHULZE was literally driven to create unthinkably long and alienating soundscapes that seemingly materialized in his head.

While most of the German scene was gravitating toward a more rock oriented style of kosmisch psychedelia, SCHULZE was much more ambitious in scope and followed more in the footsteps of minimalist composers such as Terry Riley, Steve Reich and even Stockhausen and Varčse than Pink Floyd which led him to create sounds with an emphasis on sustained drones, repetitive phrasing and the complete meltdown of barriers that usually segregated rhythms from melodies and timbres from tempos. Like most of the early pioneers, SCHULZE was limited by his financial ability to buy the best equipment for his visions and was forced to improvise the best he could with the low budget machinery he had access to and adapt his limitless imagination around a finite display of recording equipment to carry it out. After his departure from the aforementioned bands, SCHULZE immediately recorded his debut "Irrlicht" and experimented with modifying broken amps that would cause feedback, tremolo and sound effects and with ample amounts of ingenuity created one of the strangest albums the world had ever heard.

On his second album " CYBORG, " the money situation hadn't changed one bit and neither had the state of his battered equipment including his one VCS3 synthesizer which cranked out the eerie and surreal soundscapes on the debut. For his second album he added a lot more organ sounds and synthesized percussion through a Revox tape machine loop. In the same vein as the debut SCHULZE also once again solicited the helping hands of students at the Colluquim Music Orchestra whose rehearsals he recorded in order to splice and dice with a razor blade to physical change their very dynamics in terms of running time and delivery which as you could imagine was a painstaking process that required the patience of saint to administer. But patience was a virtue he had mastered and not only did KLAUS manage to record four lengthy behemoth electronic tracks that would emerge as a double album but also had so much extra material that he would eventually release a box set of bonus tracks in the future. With music this so far removed from reality it's utterly amazing that SCHULZE managed to create four unique tracks that float off into the cosmos but never lose their true identity.

The opener "Synphära" is the most traditional sounding track of the lot that utilizes a church organ to slowly lure the listener into the more esoteric tracks that follow. Embellished by a pulsating drone, a Gothic organ repeats a simple melody throughout its run while extraterrestrial synth swirls bubble up from nowhere and usurp control as if the Crab Nebula's spectral signature had suddenly been transcribed into musical notation. Similarly "Conphära" follows a similar journey to the stars with an even stronger pulsar sort of drone with a stronger staccato presence and more richly layered atmospheres that do some sort of cosmic dance as they hypnotize like ice sculpture ballerinas in the vacuum of space. "Chromengel" adds a more earthly vibe with heavy use of violins and cellos that reverberate while fluttering helicopter type blade sounds launch the track even further toward planet Lysergia. The string section gives it a bit of a classical soundtrack feel bit the spectral sounds of the synthesizer effects keep it floating far from the clutches of Earth's gravitational field. The loops of sounds take on lives of there own as if the listener has entered a cosmic aviary with strange sonic birds flapping around from all directions. "Neuronengesang" or what i call "The Haircut Clipper Song" is dominated by a buzzing sound that reminds me of having my head sheered as a child with a buzzsaw sound effect that approaches my ear, passes by and then moves away. This is the basis of the track while ethereal sound effects build into dense cloud forests of sound with some droning, some pulsating and some flittering about aimlessly.

" CYBORG " was way too far ahead of its time for most of the music buying public but it did receive significant praise from top music critics. The nuanced multi-layered sonicscapes were the soundtracks of dreams where freeform hypnotizing sound effects coalesced into myriad compilations of bombinating assonance that find an orgy of oxyphonic pitches merge with raucous yet haunting tautophonic assemblies of empyreal surrealism. " CYBORG " takes a monumental step past the terrifying frigid nature of "Irrlicht" and explores a miraculous layout of merging musical forces with none of the limitations that rock music can impose with segmented percussive beats. Otherworldly and almost knocking on heaven's door, " CYBORG " has a less alienating feel than the debut and demonstrated the limitless possibilities of the human ingenuity with the scarcest of resources. I recommend the 2006 remastered version with the bonus track "But Beautiful" which showcases yet another stunning track only with SCHULZE performing all his sound effect magic in a live setting. The track clearly demonstrates that SCHULZE was no studio dependent junkie and effortlessly created order out of a seemingly untamable assortment of disparate sound palettes. Despite this massive undertaking, SCHULZE would continue to produce some of the most surreal sounds ever laid down to tape with great prolificacy. While some of the later albums are more accomplished, " CYBORG " is not one to be missed.

 Jonathan  by JONATHAN album cover Studio Album, 1978
2.95 | 6 ratings

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Jonathan
Jonathan Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

3 stars JONATHAN were a duo out of Germany who released this lone album back in 1978. Without question an Electronic recording with the former member of EULENSPYGEL adding drums while the other member adds a variety of keyboards including minimoog, synths and electric piano. We do get a couple of guests helping out including another keyboardist adding much of what the other keyboardist plays but also grand piano. He's on three songs while we get some guest bass on the one track called "Funky's Visit" and yes what is Funk without bass. This clocks in at a tidy 35 minutes over the seven tracks.

"Li Song" gets us started and it's drums we first hear as they slowly beat away before some growly synths arrive slowly pulsing then some spacey synths. I like this until another synth comes in over top leading and I just don't like the tone of it at all. Kind of ruins the song for me.

"Raising Winds" opens with sounds that hum as we get this sad cry from the synths I believe. A beat before a minute along with some twittering sounds. This is laid back and exotic sounding as it gets louder 1 1/2 minutes in. It kicks in fairly heavily before 2 1/2 minutes and the tempo picks up. Drums and synths lead the way. It's okay.

"Funky's Visit" is funky believe it or not but first we get an experimental intro that is brief. Then an active beat with growly synths and other synths take over. When the bass kicks in it becomes somewhat jazzy. I do like the bass here a lot. "Waters" opens with um water sounds. Synths join in with this catchy melody. An okay track.

"Moved Earth" is my favourite and I wish the rest of the album was more like this. We get some nice deep synths as grand piano and atmosphere join in. This is really good. I like the depth of sound. The drums kick in and before 2 minutes I'm head banging. This is like Space Rock. Interesting that it starts to wind down before 5 minutes as you'd think the song was done but after some brief silence it starts up again but now it's much different as drums and sampled thunder take over. I really like this idea especially with such a good drummer. Another change before 7 minutes as synths, cymbals and keys end it.

"Stormy Days" opens with the atmosphere rising as the synths and rumbling drums join in. Soon we get a steady sound of synths and drums around a minute. It turns experimental as drums and synths continue around 3 minutes in. Back to the previous soundscape but the synth tone changes as this plays out. A pretty good tune.

Melotary" ends it and it opens with drums as atmosphere and keys join in. The drumming seems to be random and marching-like. It kicks in rather heavily and the tempo picks up before 1 1/2 minutes. Great sound here, impressive like the song "Moved Earth". It does settle back down like the beginning 3 minutes in.

This might be obscure in part because the only re-issue was in 1993 but I also wonder how much demand there would be for it. A pretty good album overall and I really like that album cover.

 First Stage Zoltan  by ZOLTAN album cover Studio Album, 2012
4.00 | 5 ratings

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First Stage Zoltan
Zoltan Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

5 stars The biggest shock for me when I started to check out the background of this band and album was that Andy Thompson the owner and operator of the Planet Mellotron site that has been an invaluable resource for me for many years was actually part of this band. I knew Andy was in LITMUS but I had no idea that ZOLTAN was his current band with his brother Matt who many will know as being a founding member of GUAPO plus his many side projects. We also get Andrew Prestidge on drums. You should see the picture of the array of keyboards in the liner notes, or just check out Andy's site under the review for this album. They list 16 different items including Andy's M400 mellotron of course. This isn't a mellotron album by the way, oh it's on 4 of the 6 songs but Andy tried not to go overboard on it.

I have to say that the mood of this album fits my tastes perfectly. Tons of analog synths and electronics, sequencers, clavinet, rhodes, arps, roland, moog and on and on. The bass is in my face the way I like it and man there's some nasty synths on here that you'd think was fuzzed out bass and of course the atmosphere is ground shaking at times. It's dark, melancholic and powerful. This will go down as one of my all time Electronic albums no doubt. Cool album cover as well.

So 6 tracks and 41 minutes worth of pleasure right here. "Pilman Radiant" and all the titles of these tracks are from popular culture. And again I'm just trying to describe what I hear and with all the gear I'm sure I will make many mistakes. It opens with sounds that pulse as other electronics, and synths join in, mellotron too. A change after a minute as we get synths along with drums and a heavy sound. This is great! It settles back around 2 minutes and check out the mellotron before it kicks back in. Back to the previous soundscape as contrasts continue. I can't express how much I dig this. Synths and drums lead after 3 minutes then after 4 minutes we are back to our regular programming. What a way to start the album!

"Krollspele" starts with sequencers which is kind of cool as cymbals help out. Soon other synths swell and recede. Then a deep synth line kicks in with drums. Oh my! Synths start to cry out of this heavy rhythm. Spacey synths and bass follow. Love that bass but also those spacey synths. Check out the refrain 2 1/2 minutes in. No words! RUSH comes to mind here. Again just an incredible sound here with the bass and synths. That refrain is back after 5 minutes. So good that I'm moved. The sequencers from the start are back before 6 minutes followed by a powerful sound.

"Canali Replica" opens with powerful synths and soon drums are pounding away as growly synths join in. Some nice drum work here and I like the way the flavour changes slightly throughout with repeated themes. It settles back with bass and drums after 3 minutes as synths start to get inventive. Incredible! This song and the previous one are the only two without mellotron.

"Windowless Monad" opens with deep synth lines with electric piano and more as we get this repetitive sound out of the darkness. I like when the spacey synths and mellotron join in just before a minute. Suddenly a change after 1 1/2 minutes as we get pulsating sounds with spacey synths and mellotron. The synths almost swirl after 3 minutes.

"The Tall Man" opens with electric piano raining down as we get outbursts of bass, synths and drums. Mellotron after a minute as the drums and bass become more constant. Mellotron flute after 1 1/2 minutes then themes are repeated. Electric piano only before 3 1/2 minutes then check out that mellotron!

"Black Iron Prison" ends it and it's the longest by far at 14 1/2 minutes. Some static as it begins in a dark atmosphere as a sinister synth line joins in. Some suspense before 2 1/2 minutes then the bass and drums kick in around 3 minutes. Synths follow. I really like this stuff with that dark mood and repetitive beats with spacey synths coming and going. So good! The beats stop before 8 minutes as we get spacey sounds and lots of atmosphere. Drums return. Sequencers kick in just before 9 minutes. The sequencers and drums stop after 11 1/2 minutes as it turns avant. The sequencers are back around 12 1/2 minute along with the drums and synths.

A masterpiece of Electronic music right here and I can't wait to get my hands on their second studio album called "Sixty Minute Zoom". My kind of music and this went straight up to number 4 in my 2012 album list.

 Transmitter by KOEPPER, JEFFREY album cover Live, 2017
3.95 | 2 ratings

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Transmitter
Jeffrey Koepper Progressive Electronic

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

4 stars With over ten full-length releases since his debut `Etherea' in 2003, American prog-electronic artist Jeffrey Koepper has slowly built a strong reputation as a skilled composer of Berlin School-modelled music for the modern era. Jeffrey uses a variety of analogue synthesizers and sequencers to create deeply immersive electronic music in the manner of Tangerine Dream, Klaus Schulze, Steve Roach and Jean-Michel Jarre, and his latest release is the sublime `Transmitter', his second work for this year after `MantraSequent' arrived in June 2017. Recorded live for WXPN's Star's End Radio in June 2016, the seven fully instrumental pieces on offer move between pure ambient and percussive-driven pieces, yet they all form a continuous unhurried flow of beautiful hypnotic atmospheres.

Opener `Whirl' groans with an ebbing and flowing electronic hum that encases a trilling little crystalline loop teeming with magic and contentment. It maintains throughout `Ions' and its jangling low-key sequencers dancing back and forth and carries on into `Tides', growing more upfront before retreating once more. But it's when the album morphs into the eleven minute cosmic drift `Quasar' that it soars to another level altogether, taking on Klaus Schulze-like fizzing electronic washes over ringing aggressive Tangerine Dream-flavoured sequencer patterns and the large scale atmospheric aural soundworlds of so many legendary Berlin School artists. There's an aching, almost choral-like moan that flits in and out of parts of the piece and a constant momentum surges the piece ever onwards before culminating in a placid come-down of swirling dreaminess stripped of all percussive traces.

Another longer piece at over fifteen minutes, `Darkness' descends into just that, diverting into a brooding canvass of maddening gurgling loops with a gently stalking restlessness and twisting into mysterious hypnotic electronic pools lapping around dramatic pulsing themes weaving through the climax. `Halo' abandons the rhythmic elements again as it floats with rapturous pure-ambient bliss and softly embracing affectionate caresses that call to mind parts of Ashra's `New Age of Earth', and after the opening few minutes swell with bubbling machine hum that reminds of the early Adelbert von Deyen LP's, `Clouds' lifts the disc higher one final time with its carefully clanging sequencer contemplations.

Many modern prog-electronic artists look to the past of the genre for their own inspiration, but there's a classic Berlin School purity here with Jeffrey's album, perhaps because he avoids diverting into uneventful static drones or lazily falling into dance/trance elements that some modern electronic albums do. It helps make `Transmitter' something extra special, a wondrous work that carefully unveils sweeping sonic canvasses and balances it with the lurking darker edges of all the finest space music electronic albums with immense environments, and it proves to be one of the standout prog-electronic releases of 2017.

Four and a half stars.

 Cascata by CADIMA, SAMUEL album cover Studio Album, 2017
4.00 | 2 ratings

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Cascata
Samuel Cadima Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars What the hell, such a great electronic album by such a great electronic creator is just around me. This is one of the most fantastic discoveries this year for me. Samuel CADIMA is a promising electronic musician / multi-instrumentalist, and at the same time our prog mate in Progarchives. Cannot help getting happy such a electronic fantasy was released, inspired by lots of progressive electronic vanguards respecting Berlin School.

Actually his soundscape is just like his gentle character and terrific, powerful efforts for digging, grabbing the mind of the audience out. Slow, smooth but hard-edged development of melodic polarity. As if we would get intoxicated with expensive bottles of wine filled with long, comfortable aftertaste, we can get completely immersed in his inner space. Not weird nor queer but gorgeous and attractive melodic repetitions of his creation remind me of an Italian delightful electronic obscurity 'Midnight In Space' by Hydrus.

My favourite track (and maybe one of his longest masterpieces) has electronic variation ... dark, bubble-bobbled, clear and catchy (leaning towards Yellow Magic Orchestra or so), dissected (but pretty matured), or crazy disappearing (like the last chord of 'A Day In The Life') ... even only this track should be purchased, and should make us look forward to his next creation. Yeah hell what!

 Bridge To Imla: The Radiant Sea by BRÜCKNER, MICHAEL album cover Studio Album, 2017
5.00 | 1 ratings

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Bridge To Imla: The Radiant Sea
Michael Brückner Progressive Electronic

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

— First review of this album —
5 stars The duo of modern German prog-electronic composers Michael Brückner and Hans-Dieter Schmidt have been creating music together on and off over the last seven years, but 2017 brings what will hopefully be the first of a recurring new venture under the Bridge to Imla project name, `The Radiant Sea'. The press release boasts that `It presents an original theme of ecological concern, being a contemplation on the current pollution of the Pacific ocean by radiation and man's indifference to nature, but it also praises the beauty of Earth's largest body of water as it struggles to restore balance and maintain its beauty and dignity'. The fifteen pieces on offer form a continuous 74 minute journey that seamlessly crosses over between ambient, prog- electronic and gently experimenting avant-garde fragments, with brief spoken passages, light world-music flavours and field recordings of nature filtered through as well, and the album has been given a sublime and lavish production thanks to the mastering efforts of defining modern ambient music composer Robert Rich.

Of the absolute highlights, undulating electronic waves lap forwards and gracefully retreat over and over between spoken word voice snippets throughout moody opening `Prologue: The Kuroshio Current', and we get the first traces of the pristine and achingly beautiful piano reflections that pop up frequently on Brückner's projects. `Shatsky Rise' dreamily floats with pulsing electronics twinkling around graceful violin reaches, while both `The Aleutian Current' and `Hikurangi Plateau' take on a low-key soundtrack-like cinematic power. `Mariana Trench' bristles with danger laced to its moodier dark synth backgrounds over haunting piano ruminations and ultimately morphs into a howling and nightmarish icy drone, `Louisville Ridge' joyfully dances with spiralling and freed spacey synth soloing, and `The California Current' holds faraway ethereal voice- like shimmers.

Taking the album even deeper, `Richards Deep' is a cavernous sound-collage of eerily bleeding electronic twitches and groans and pattering percussion that drifts closer to a Popul Vuh sound, `Raukumara Plain' almost takes on a serene Kitaro-esque dignity in between its ringing synth noodling and Robert Rich-styled trickling programming loops, and both `Emerald Fracture Zone' and `Fobos-Grunt' are comprised of crystalline shards and disorientating hallucinogenic caresses. Meditative flute flits around `The Humboldt Current's humming ambient ebbs teeming with life that could have popped up on a Deuter album, clockwork-like chimes click in and out of `Galathea Depth's darker drones, and closer `Epilogue: Ring of Fire' is sobering and dramatic but lifts with carefully buoyant programming to ensure a seamless balance of lighter and darker thoughtful flavours to end this journey on.

This first Bridge to Imla album can be considered among some of the very best works of both Mr Brückner and Mr Schmidt to date, being an impeccably performed and captivating long-form atmospheric piece that never loses momentum or ceases moving in different directions, and it always retains great humanity and genuine emotion. Made even more special by the luxurious fold-out CD packaging that intelligent ambient music label Winter-light adorns all their fascinating releases with, `The Radiant Sea' is superior prog-electronic and ambient music storytelling at its very best, and this deeply immersive and constantly evolving soundscape can rank up there with the best releases in the above-mentioned styles of 2017.

Four and a half stars.

 Meio-Dia by JOBIM, GUSTAVO album cover Studio Album, 2017
4.00 | 1 ratings

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Meio-Dia
Gustavo Jobim Progressive Electronic

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

— First review of this album —
4 stars Young synth player and electronic manipulator Gustavo Jobim hails from Brazil and has been releasing a stream of fascinating and experimental prog-electronic discs for many years now, and like much of his back catalogue, 2017's `Meio-Dia' takes little traces of vintage Berlin School elements and twists them with all sorts of unpredictable style and direction changes in both modern and retro ways. It's an experimental work that is constantly full of colour, movement and liveliness, and one that likes to move between buoyant energy and eerier danger, as well as allowing a Krautrock-like scuzzy wildness to seep in.

Twenty-two minute opener `Meio-Dia' (Noon) offers a blistering array of runaway electric piano, reflective organ solace, imposing Mellotron confrontations and hypnotic prog-electronic drifts all given a relentless push forwards by constantly up- tempo peppy beats, bouncing programming and fuzzy melting soloing.

There's a lightly unhinged psychedelic danger and driving Kraftwerk/`Autobahn'-like momentum permeating `Piramide' (Pyramid) with its undulating sequencing popping in and out of swirling and hazy ambient washes, grumbling electric guitar samples and unceasing pattering beats before it splinters into distorted breakdowns and feverish computer glitching soloing.

Despite opening and closing with eerie reflective reaches, the shorter album closer `Eterno Retorno' (Eternal Return) bristles with lurking darker jangling sequencing, with just a touch of Klaus Schulze infiltrating the droning heaviness and lush panoramic ambient synth expanses rising and falling throughout.

With a diverse and eclectic body of work behind him, `Meio-Dia' is a good middle ground for newcomers - light retro touches that call to mind the vintage prog-electronic masters but given a unique sampling of Gustavo's own personality. It also runs a welcome vinyl length (someone PLEASE release this on vinyl!) and best of all, there's a real sense of fun through parts of the album that never become lightweight or silly! If you're a listener that likes their prog-electronic sprinkled with a Krautrock seasoning, `Meio-Dia' might be just for you, and it easily makes a case for being one of the most striking electronic releases of 2017.

Four stars.

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Progressive Electronic bands/artists list

Bands/Artists Country
12 FOLLOWERS United States
6LA8 Pakistan
ACI Germany
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AFTERLIFE United States
ILDEFONSO AGUILAR Spain
PEKKA AIRAKSINEN Finland
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ALBERGO INTERGALATTICO SPAZIALE Italy
ALIO DIE Italy
ALLEGORY CHAPEL LTD United States
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ALPHA WAVE MOVEMENT United States
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ARC United Kingdom
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EDWARD ARTEMIEV Russia
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AUBE Japan
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AWENSON France
MARVIN AYRES United Kingdom
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SIMON BALESTRAZZI Italy
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BASS COMMUNION United Kingdom
PETER BAUMANN Germany
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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
BREIDABLIK Norway
OLIVIER BRIAND France
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
SAMUEL CADIMA Portugal
CALDERA United States
TOM CAMERON United States
DALLAS CAMPBELL United States
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK United Kingdom
JOHN CHRISTIAN United Kingdom
CHRISTINE 23 ONNA Japan
CHURCH OF HED United States
THE CIRCULAR RUINS United Kingdom
CLOUDLAND BALLROOM Ireland
CLOUDLAND CANYON United States
CLOUDLAND CANYON/LICHENS United States
COIL United Kingdom
COMA VIRUS Germany
PASCAL COMELADE France
COMPUTERCHEMIST United Kingdom
CON HERTZ Germany
CONTRASTATE United Kingdom
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CRAWL UNIT United States
CREMATOR United Kingdom
CROP CIRCLES France
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRŔ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
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NICOLAS DICK France
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
DOLULUS Switzerland
DR. SPACE'S ALIEN PLANET TRIP Denmark
HEINRICH DRESSEL Italy
E-MUSIKGRUPPE LUX OHR Finland
EARTHSTAR Multi-National
EDEN France
ELEKTRIKTUS Italy
ELICOIDE Italy
EMERALDS United States
J.D EMMANUEL United States
ENDOPLASMIC FLOW Multi-National
BRIAN ENO United Kingdom
ENVENOMIST United States
EXPO 70 United States
F.G EXPERIMENTAL LABORATORY Switzerland
FRANCO FALSINI Italy
FANGER & SCHÖNWÄLDER Germany
FARBFELDE United States
FASER Germany
FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
FHIEVEL Italy
FIVE THOUSAND SPIRITS Italy
FLAMEN DIALIS France
FORMA United States
FOVEA HEX Ireland
FREE SYSTEM PROJEKT Netherlands
FRIPP & ENO United Kingdom
EDGAR FROESE Germany
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
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HEADSHOCK United Kingdom
TIM HECKER Canada
HELDON France
HEMMELIG TEMPO Norway
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JACK HERTZ United States
MICHAEL HOENIG Germany
HOLLAN HOLMES United States
HORSE PALACE Canada
HARUOMI HOSONO Japan
PETER HOWELL & THE RADIOPHONIC WORKSHOP United Kingdom
EPPIE E. HULSHOF Netherlands
HYDRAVION France
HYDRUS Italy
GIUSEPPE IELASI Italy
INVOLVED United States
IVERSEN Norway
JAZZCOMPUTER.ORG France
JESDAT Spain
JIHEL France
GUSTAVO JOBIM Brazil
EDDIE JOBSON United Kingdom
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ARIEL KALMA Australia
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KASHMIR Switzerland
KHA - YM France
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MIHA KRALJ Yugoslavia
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IGOR LEN Russia
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KEN MOORE United States
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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
NAZI UFO COMMANDER Italy
NEMESIS Finland
NEPTUNE TOWERS Norway
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NEVER KNOWN Italy
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NIMH Italy
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NISUS Belgium
NODE United Kingdom
NUMINA United States
OMIT (CLINTON WILLIAMS) New Zealand
OÖPHOI Italy
OSCILLOTRON Sweden
OSE France
P'COCK Germany
PALADIN United Kingdom
STEPHEN PARSICK Germany
PEAK Australia
PETER M. Italy
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RICHARD PINHAS France
CHRISTOPHE POISSON France
POLE France
BRENDAN POLLARD United Kingdom
TJ PORTER Canada
COLIN POTTER United Kingdom
NIC POTTER United Kingdom
ROGER POWELL United States
DAVID PRESCOTT United States
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DAVID PRITCHARD Canada
PROPELLER ISLAND Germany
PRZEMYSLAW RUDZ Poland
PULSE EMITTER United States
PYTHAGORON United States
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QUARKS Chile
RADIATION Russia
RADIO MASSACRE INTERNATIONAL United Kingdom
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NIK RAICEVIC United States
RAINBOW GENERATOR Australia
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RAISON D'ETRE Sweden
RAPOON United Kingdom
REALTIME Germany
TOM RECCHION United States
REDSHIFT United Kingdom
JONAS REINHARDT United States
ALEJANDRO VILLALÓN RENAUD Mexico
ROBERT RICH United States
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ROGUE SPORE Ireland
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SAB Japan
SAFIYYA United States
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SAYER United States
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SCHLOSS TEGAL United States
CONRAD SCHNITZLER Germany
EBERHARD SCHOENER Germany
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SEQUENTIA LEGENDA France
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SHOGUN KUNITOKI Finland
MARK SHREEVE United Kingdom
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SIJ Ukraine
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SOFTWARE Germany
SONISK BLODBAD Multi-National
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SPERM Finland
STARDRIVE United States
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SUBINTERIOR Italy
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MATTEO UGGERI Italy
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JOEL VANDROOGENBROECK Switzerland
PATRICK VIAN France
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VOLT Netherlands
ADELBERT VON DEYEN Germany
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IGOR WAKHEVITCH France
WAVEMAKER United Kingdom
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PHILLIP WERREN Canada
WHITE NOISE United Kingdom
PATRICK WIKLACZ France
TERJE WINTHER Norway
WINTHERSTORMER Norway
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
ZALYS France
ZANOV France
ZED France
ZOLTAN United Kingdom
ZOMBI United States
ZORCH United Kingdom
ZOVIET FRANCE United Kingdom
ZYGOAT United States

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