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PROGRESSIVE ELECTRONIC

A Progressive Rock Sub-genre


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Progressive Electronic definition

Born in the late 60's after the expansion of avant-gardist, modern, post-modern and minimalist experimentation, the progressive electronic movement immediately guides us into a musical adventure around technologies and new possibilities for composition. As an author or a searcher, the musician often creates his own modules and electronic combinations, deciding his own artistic and musical action. The visionary works of Stockhausen, Subotnick, John Cage ("concrete" music, electro-acoustic experimentation), La Monte Young, Steve Reich, Terry Riley (minimal, micro-tonal music) express a vision of total reconstruction in the current musical world. Luminous works such as "A Rainbow in Curved Air" (1967) and "Silver Apples of the Moon" (1967) bring an inflexion on opened forms and new ways to explore the essence and the physical aspects of sounds (through time and space). "Static" textures, collages & long running sounds, the power of technology previously exposed in ambitious classical works will have a major impact in "popular" electronic music.

After the artisan & innovative uses of magnetic tapes, feedback, microphones, etc., the instrumental synthesis, the elaboration of global sound forms and the psycho-acoustic interactions will be sublimated thanks to the launch of the analog synth. A great improvement happened in 1964 with the appearance of the first modular synthesiser (Moog). This material (or "invention") brings the answer to the technological aspirations of many musicians, mainly after the release of the popular "Switched on Bach" (Walter Carlos) and Mother Mallard's portable masterpiece (pieces composed between 1970-73).

At the beginning of popular essays in electronica, the pioneering technologies (in term of recording and sound transmission) will not be abandoned. For instance, "Tone Float" (1969) by Organisation (pre-Kraftwerk), "Zwei Osterei" & "Klopzeichen" (1969-70) by Kluster and "Irrlicht" (1972) by Klaus Schulze will carry on the domestication of the electric energy and the use of refined harmoniums, organs and echo machines. During the 70's decade, European groups & musicians such as Eno, Kraftwerk and Tangerine Dream will make their name in the music industry thanks to an abundant use of analog synthesisers and original electronic combinations. After weird, mysterious experimentation on conventional acoustic & electric instruments, Kraftwerk enjoyed huge success in popular music thanks to "mechanical electronic pop music". "Trans Europe Express" (1977) and "The Man Machine" (1978) figure as two commercial classics. The German spacey electronic scene launched by Tangerine Dream with their outstanding "Alpha Centauri" (1971) and Cluster "I" & "II" (1971-72) will have echoes everywhere, starting from the Berlin underground electronic scene (the Berlin School) with Klaus Schulze ("Timewind" 1974), Michael Hoenig ("Departure from the Northern Wasteland" 1978), Ashra ("New Age of Earth" 1976), Conrad Schnitzler's buzz-drones and repetitive electronics ("Zug", "Blau", Gold" 1972-74) . After several innovations always from Germany we notice the dark, doomy atmospheric manifests of Nekropolis (Peter Frohmader) in "Le culte des Goules" (1981), Asmus Tietchens in his colourful and engaged "Biotop" (1981) and the semi-ambient "Hermeneutic Music" (1988) by Lars Troschen (sound sculptor and synthesist).

In France, the "hypnotic" and "propulsive" electronic essays of Heldon ("Electronic Guerrilla" 1974) and Lard Free ("Spiral Malax"1977) introduce an inclination for industrial, urban and post-modern sound projections. The French "avant gardist" Philippe Besombes takes back the inspiration of " concrete music" (Pierre Henry.) and mixes it to a hybrid rocking universe (published in 1973, "Libra" figures as a true classic). Bernard Xolotl in "Prophecy" (1981), "Procession" / "Last Wave" (1983), Zanov (Green Ray, 1976) and Didier Bocquet (Voyage cerebral, 1978) will follow the musical path anticipated by Klaus Schulze in his kosmische electronic symphonies.

At the end of the 70's until the debut of the 80's Albums as "ambient 1: Music for Airports" (Brian Eno), "Cluster & Eno", "Deluxe" (Hans Joachim Roedelius side project called Harmonia) will announce the emergence of the famous ambient movement, musically characterised by gorgeous shimmering atmospheric textures.

During the 80's, Maurizio Bianchi will be in search of the absolute industrial "post-nuclear" sound tapestry. His visionary musical experience is based on cyclical loops, abrasive concrete noises and vertiginous piano dreamscapes. ("Symphony for a Genocide" 1981 and recently the mesmerising "A.M.B Iehn Tale" 2005). Before M.B and the industrial-bruitist wave, the 70's Italian specialists of electronic experiments had been (among others) Francesco Cabiati (Mirage, 1979), Francesco Bucherri (Journey, 1979), and Francesco Messina for representative, lyrical and spacey orchestrations and also Futuro Antica (D'ai primitivi all'elettronica, 1980) or Telaio Magnetico (Live' 75) for tripped out minimalism.

In the early 1980s and after following the kosmische path of classic Klaus Schulze, The Bay Area / Los Angeles school of electronic created the so called "alchemical" / "Sacred" space music. The music offers a dynamic combination between ancient-traditional music of the West and synthesised sonic soundscapes. The most representative artists of this movement are Michael Stream (Lyra Sound Constellation, 1983) Robert Rich (Numena, 1987) and Steve Roach (Dreamtime Return, 1988).

In the early 80s Ian Boddy (Spirits, 1984 / Phoenix, 1986) and Mark Shreeve (Assassin, 1983 / Legion, 1984) unique spacedout synthesised sagas represented the british answer to the challenging Berlin kosmische school. Their music embodies timbral drone sequences, systematic arpeggiations and synth-pop textures.

Young contemporary bands and artists in electronic experimentation took their inspiration from the 70's "kosmische" analog synth psychedelica of Klaus Schulze, Conrad Schnitzler, Tangerine Dream, etc. In the spaced out synthesisers spectrum, modern Japanese artists as Yamazaki Maso (noisy avant garde experimentor who contributes to the Kawabata's projects named Andromelos, Christina 23 onna and Father Moo & the Black sheeps) or Takushi Yamazaki (Space Machine) are key figures. The minimal, moody / lysergic epic soundscapes of Omit (Clinton Williams), Cloudland Canyon, Astral social club or Zombi also contribute to the renewal of the "cosmic" synth genre. Many modern electronic artists have taken an original musical direction, surfing on post-krautrock ambient waves (Aethenor), on spherical "abstract" ambient minimalism (Pete Namlook, Biosphere, Robert Henke) or on trancey, (post) industrial drone hypnosis (Alio Die / Amon / Nimh for the italian side and Andrew Chalk with his respective projects Mirror, Monos and Ora).

To sum up things, the progressive electronic subgenre is dedicated to intricate, moving, cerebral, intrusive electronic experiences that get involved in "kosmische", dark ambient, (post) industrial, droning, surreal or impressionist soundscapes territories.

Philippe BLACHE

Current Team as at 09/06/2012

Philippe
Alex (Sheavy)

Progressive Electronic Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Progressive Electronic | More Top Prog lists and filters

4.25 | 708 ratings
RUBYCON
Tangerine Dream
4.26 | 213 ratings
MIRAGE
Schulze, Klaus
4.14 | 613 ratings
PHAEDRA
Tangerine Dream
4.44 | 29 ratings
GREEN RAY
Zanov
4.64 | 17 ratings
IN COURSE OF TIME
Zanov
4.16 | 202 ratings
TIMEWIND
Schulze, Klaus
4.19 | 107 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.14 | 194 ratings
X
Schulze, Klaus
4.56 | 17 ratings
CATCH WAVE
Kosugi, Takehisa
4.07 | 142 ratings
NEW AGE OF EARTH
Ashra
4.29 | 28 ratings
AN ELECTRIC STORM
White Noise
4.19 | 41 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.09 | 89 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.37 | 19 ratings
EARTHEN
Alpha Wave Movement
4.22 | 30 ratings
LUCIFER RISING
Beausoleil, Bobby
3.99 | 362 ratings
FORCE MAJEURE
Tangerine Dream
4.01 | 137 ratings
AMBIENT 4 : ON LAND
Eno, Brian
3.97 | 251 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.31 | 16 ratings
FILAMENTS
Rich, Robert
4.44 | 12 ratings
ABANDONED CITIES
Budd, Harold

Progressive Electronic overlooked and obscure gems albums new


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

DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
HARMONIC ASCENDANT
Schroeder, Robert
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico
SYNTHESIST
Grosskopf, Harald

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Latest Progressive Electronic Music Reviews


 Mono by LAMBWOOL album cover Studio Album, 2009
4.00 | 1 ratings

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Mono
Lambwool Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group Moderator

— First review of this album —
4 stars "Mono" is not a monotone.

LAMBWOOL's "Mono" released in 2009 is a conceptual album including two long tracks (Part 1 & 2) maybe for representing monotonous atmosphere just like the monotonous sleeve pic. But the content cannot be mentioned simply as above.

From just the beginning of the first track Part 1, I cannot avoid feeling theatrical improvement and continuous beauty brought up all of a sudden. Exactly more monotonous and more of fragility than his debut shot can be heard via this stuff, but not tiresome (of course!) ... beneath the monotonous sea, ambient musical therapy regulated with theoretical method for melody lines. Dramatic, suggestive and addictive sound cries here and there, based upon wavy freak-out drone background. Upon another moment, looks like I should swim in a cool lake surfaced by clear blue ice. The musical lake, veiled in a mysterious oxygenic water where an embryo lives safe and sound, has some capacity for every inner mind.

Part 2 sounds like a lullaby featuring heartwarming mother's touches and hallucinogenic movements. There are vacant moments filled with meaningful sound elements ... and amazingly every little vacancy should be a threshold into the next tonic occasion. As if he might make a strong resistance against an invisible wall, a mass of electronic bullets created via his synthesizer attack and hit against transparency. And ultimately the last 5 minute phrase is a dramatic epilogue containing a beautiful graceful melody trip that can be called as such an ambient Fantasia.

As a result, I cannot help considering that every electronic monotone would assemble together towards a music elixir otherwise.

 The Henge  by MOORE, STEVE album cover Studio Album, 2007
3.09 | 3 ratings

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The Henge
Steve Moore Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

3 stars An unexpected convergence of different influences gathered around a kind of cinematic musical language full of attractive melody lines, catchy hooks and creative arrangements.

Steve Moore's "The Henge", 2007, may refer you to Tangerine Dream, Vangelis, J.M. Jarre, Yello and Klaus Schulze. As such this release would not be that relevant, as many other prog/electronic musicians share the same line of influences, yet the real deal is , as mentioned, his surprising detours in style which enrich these same influences, as well as merge them into multi-dynamic single structures, perfectly threaded by its unique music composition.

The album opens up with a dramatic mode, close to Vangelis movie scores, yet from the start one can sense that his admiration for his influences has been well absorved and his ability as a composer overshadows mere repetition of those musical idioms.

From then on the display of of his songwriting turns on a fair share of highly emotional momentums and truly engaging electronics, as it turns toward different moods without losing his own perspective. My single objection for not rating this work full 4 stars will be its last composition "Cepheid" which first part really sounds like a TD copycat, although saved entirely by its second part which outshines and makes quiet irrelevant its prior section.

Anyway, do not miss, expect an above average, closer to essential aquisition.

3.5 PA stars.

  Fading Landscapes  by LAMBWOOL album cover Studio Album, 2005
4.00 | 1 ratings

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Fading Landscapes
Lambwool Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group Moderator

— First review of this album —
4 stars Amazing he has created such a rich, prolific landscape with inorganic, monotonous sound unification. His brilliant watery sound maze may get to be something like a hallucinogenic agent for our brain, I suppose.

Exactly just the beginning of the first track "Sylvhydres" excretes magnificent weirdness, that squeezes a large expectation into our memory. Can feel confident in his brilliance occasionally via theatrical, kaleidoscopic electronic development. In the following "Wake" (and one of my faves), gorgeous classical strings movements seasoned with downtempo suppressive percussion mysteriously via ears stimulate our inner mind. This phenomenon notifies us he has been enormously influenced by classical scene, but construct his original sound space not only with the scene but with various musical genres. In "On The Ceiling" massively percussive footsteps sound like a sutra cadence background in a religious rite, that drives us into psychological sublimation and some danceable phrases give us heartwarming palpitation. Exactly like the title, "Fragile" is really drenched in wet, tough auditory fragility blended with tragic strings or serious metallographic vibrations. A dark tribalism filled with floating flowery freakout flavour is the remarkable characteristic of "To The Marble Temple" as if in a temple or shrine obviously.

In "Stairs" are a bunch of organic organ-based orgasms along with electronic chorus occultism and simple monotonous rigid, rigorous sound edges. Cannot avoid feeling something of human fragility as the previous one. "Past Lives" sounds like a song of the previous life remembered clearly beneath our inner mind ... ethnic percussion should bring us mystic memory back long past. And wondering what the title "When I Was A Hero" means. Guess he had been heroic upon some starless underground scene where atmospheric ambience was launched here there everywhere. On the other hand, "Dahlia" or "Shaman", full of fantastic peculiar solemnness, might be expressed as his condition or his eternal musical target I imagine ... hypnotic repetitive phrases turn around like the guru's words especially in the latter track. The last "Reminiscence" should be blown away like the dead tree drawn upon the sleeve, namely the stereotype for electronic / drone / ambient. What a promising suggestion by him.

A splendid soundscape coloured apparently with over-genre-ish variations, not only drone nor ambient.

 Ecliptic Plane by BAKER, AIDAN album cover Studio Album, 2015
5.00 | 1 ratings

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Ecliptic Plane
Aidan Baker Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
5 stars Dream like Cosmic electronics, from a rarely pure prog electronic mastermind.

Electric guitar in hand, Aidan Baker released "Ecliptic Plane" in 2015. For ground breaking news as such, as told, this one can undoubtly be pinned down to its common address, yet Post/Math Rock, a newer genre, could well be mentioned. Main reason to do so, is that the electric guitar alongside flowing synths compositional structures are raw and sophisticated simultaneously as some Post/Math structures.

Anyway in this (un)controllable taggings, Aidan Baker's style has always stepped indifferently wherever his creativity leads on and the real deal about Ecliptic Planes goes beyond all this info.

Hypnotic, uninterrupted, strangely beautiful, addictive musical structures display shamelessly the altitudes Baker's self made musical idiom has reached and holds no quarter in doing so.

Rating this work on a purely Prog Electronic basis feels uncommonly satisfying and defying. Needless to say the droning/shoegazing electric guitar based compositions are mostly its main feature, which is quiet welcomed in a world where synths abound. And it is not only that all music structures found in each mili-second of this obscure masterpiece are totally inspired and perfectly threaded, but above all its inherent addictive nature certainly sets it above the highly respectable 4 stars rating alone.

***** 5 "small wonder" PA stars.

 Sixty Minute Zoom by ZOLTAN album cover Studio Album, 2014
3.13 | 4 ratings

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Sixty Minute Zoom
Zoltan Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

3 stars That retro feeling lingers on.

UK's ZOLTAN conformed by keyboardist Andy Thompson, bassist/keyboardist/guitarist Matt Thompson and drummer Andrew Prestidge, released in 2014 "Sixty Minute Zoom". This trio announces proudly its conection to film oriented music rootings but for us prog electronic followers, long gone HELDON's like style will turn out to be a close to home best reference. In fact if such a thing as a French Progressive Electronic sub-genre existed in this PA's electronic archives, this release certainly will fit in. Kind of strange and funny that a UK's band goes French.

Anyway, cinematic music, in my opinion, has got to have dossages of drama, yet be enticing and imageless at the same time. Too much ado about nothing certainly adds nothing. So let me introduce you to this work, Zoltan's second release (not counting a previous EP).

Music composition wise, as they advertise, do not expect a unique or detached from influences, musical language. Its creative energy is focused into performing already done ideas and blending these influences into an entertaining, unpretentious, somewhat innocent Electronic Rock trio album.

The good news is that now you privileged reader will know before aquiring this work if you find joy in a revival of retro-like 70s, early 80s French Electronic Prog nowadays. The bad news is that this band is on the making and it still sounds like that more than once. Meaning they still are not focused enough, music composition wise. as to really take a more experimental and daring dive as those HELDON guys did in their own life span, for example.

Nevertheless some amusing and creative sounds are found here and there, yet far from essential, it still promises a better release in some way or another.

***3 PA stars.

 Live in Tucson: Pinnacle Moments by ROACH, STEVE album cover Live, 2016
5.00 | 1 ratings

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Live in Tucson: Pinnacle Moments
Steve Roach Progressive Electronic

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

— First review of this album —
5 stars In addition to numerous studio recordings every year nowadays, veteran progressive-electronic/ambient composer Steve Roach releases several live performances, both recent and archived, much to the delight of his devoted loyal followers who blind-buy every release without hearing a second of music from it, and to the intimidation and frustration of newcomers unsure of which titles to explore first! Recorded live at Tucson's Solar Culture Galactic Center (now THERE's a place to visit just based on the name alone!), `Pinnacle Moments: Live in Tucson 02-14-2015' collects five mostly-new instrumental pieces full of a flowing energy, a showcase of a master of the above mention genres delivering one of his most focused and approachable live concert releases to date.

The performance opens gently with the two-part `Desert Eternal', at first a work of pure ambience of soothing synth caresses, whispering ethereal siren cries, tiny patterings of beats slowly rising around weeping spectral and subtle guitar strains over field-recordings of nature at night, all sounding like one slowly exhaling breath. The second passage moves into a darker droning veils, almost cinematic as they equally balance reflection and confrontation, lifting in groaning harshness at its climax. `Endorphin Dreamtime' ascends out of the shadows into reassuring heavens, skittering beats bouncing around chilled-out synth breezes. Heady electronic drowsiness and liquid trickles wrap around the senses in `Going Gone', embracing the ancient world of old with looping tribal drums and wafting flute before morphing into a run of slinking twitchy beats and sly bass murmurs over glacial drones.

But it's the final two tracks that takes the performance to a whole other level. Initially sounding like a throwback to Roach's`Empetus' era, `Skeleton Passage' reveals itself to be relentless and addictive sequencer-driven meltdown, with waves of searing Mellotron-like washes weaving around the maddening beats, sounding like a lost Tangerine Dream piece from the defining Seventies period (prog fans, it also vaguely recalls the electronic/'Tron passages on Norwegian band Smell of Incense's `A Floral Treasury' off their `From the Gates of Deeper Slumber' psych stunner from 1997, but that's likely a complete coincidence). It seamlessly merges with the placid `Spiral Passage', undulating beats racing and slowing with expert precision behind the most beautifully joyful chiming loop before joining with the shadows to fade into eternity once more.

There is no doubt that Steve Roach constantly puts out a steady series of releases, and it can be quite confusing for potential new listeners to know which albums to choose from to begin with. `Pinnacle Moments' would be an ideal starting point, as although as a live performance it's still full of spontaneity and liveliness, the constant percussive elements that eventually show up give this soundwork a more accessible grounding, so it avoids the outright formless and more vague elements of many of his more challenging concerts. It's also the sort of performance that's easier to replay and revisit more often, working both as a sumptuous background listen or an exciting carefully evolving soundtrack to take up your full attention.

`Pinnacle Moments' is a first-rate immersive live document of a veteran progressive-electronic composer at the peak of his abilities effortlessly blending a variety of styles both old and new, whilst also sounding more relevant and vital than ever in our modern era, and even somewhat effortlessly cool at the same time.

Five stars for a perfect Steve Roach release.

 Shape Shift by ZOMBI album cover Studio Album, 2015
2.67 | 14 ratings

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Shape Shift
Zombi Progressive Electronic

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars This all instrumental duo cites TANGERINE DREAM, GOBLIN and RUSH among their influences, and they manage to blend all of these into a somewhat original style. Synthesizers abound and generate mellotronish soundtrack atmospheres, nowhere better than on "Interstellar Package". However, by the end of the disk it is clear that they have no idea how to nurture an idea. Every track promises more than it ultimately delivers; even GOBLIN soundtracks compensate atmospherics with dramatic flourishes, and both TANGERINE DREAM and PINK FLOYD know better how to envelope the listener in one mood here and another there. The ZOMBI sound suffers, not just from an excruciating lack of variety and development, but from an overly intense and yet unimaginative rhythm section, which defeats the very purpose of this type of music by insisting upon itself, drawing all manner of attention, only to further highlight a dearth of substance. Sometimes influence and inspiration are but two shiftless shapes that pass in the night.
 Tangram by TANGERINE DREAM album cover Studio Album, 1980
3.88 | 228 ratings

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Tangram
Tangerine Dream Progressive Electronic

Review by fudgenuts64

4 stars Where can I start with this one. Tangerine Dream was in a transitional part of their career, and given the circumstances Tangram turned out really well. What we have is a record that looks back and forward at the same time but never feels like this clashes with the record. From what I can hear, this album is broken up into segments on each track. For example, Set 1 will start with a 4-5 minute piece that leads into a 2-3 minute piece working off the rhythm of the prior piece, then by the 8th minute it starts to slow down and switch moods and sound entirely. It reminds me greatly of something Jean Michel did on Equinoxe, only, on that record the tracks were separated and not meshed into two long tracks. This isn't a bad thing, however, as that record is best listened to from beginning to end anyway.

Now, as for the music itself, we have a lot of focus on melody like the prior record had, while at the same time, the sequencers and ambient pieces bleed through seamlessly with the more upfront melodic bits. The synth pallet is on the whole nice, but, some of the synths do sound a bit meh - something uncommon for Tangerine Dream, but thankfully the guitar playing is great and for the most part it all works when listened to from the beginning. Johannes Schomoelling definitely shows his presence here, and while some fans might not like his input I feel it was a needed change if the band wanted to progress past Force Maejeure. He certainly made this record sound distinct.

So, for a rating, I'll give it four stars. If you enjoy the late 70s Tangerine Dream albums, you'll love this. It's got enough focus on melody to keep it from being complete mood music but restrains itself when it needs to which makes it a very good listening experience. Definitely a favorite of mine, and overlooked often by many fans.

 Documents 1975 by HARMONIA album cover Studio Album, 2015
4.90 | 2 ratings

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Documents 1975
Harmonia Progressive Electronic

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars In the '90's, long after their heyday, and shortly after the close of the post-punk era in which they were first deified, the krautrock bands found themselves the darlings of various music collectors as well as EDM producers looking for inspiration. It was this climate that saw, for one, Harmonia getting their day in the sun, with "Tracks and Traces" dropping in '97, finally allowing their sessions with Brian Eno to be listened to by hordes of hungry fans. Surprisingly, though, it would take longer for some of their other archival material to surface - a collection of live recordings only surfaced in 2007, and only now have we this collection. These tracks represent the carefully recorded and preserved high quality tapes of a one Asmus Tietchens, a massive fan of tapes, Cluster, Neu, and Harmonia from Hamburg who recorded two live shows Harmonia did with Mani Neumeier of Guru Guru on drums in 1975 at different clubs in that city, and who also got his hands on rare tapes of Harmonia studio tracks from the same year. They have now been released in limited amounts to the listening public.

The first studio track, "Tiki-Taka", is a unique beast in the Harmonia discography, a dark track filed to the brim with skittering instruments, including a never before or since used by them nagoja harp. This alone makes "Documents" a revelatory release, showing a never before seen part of the supergroup's creative consciousness. Its studio cousin is "Proto-Deluxe", a standard though as usual fun and relaxing cut of theirs. The other revelations come from the live cuts, which merge their electronic styles and experiments with psychkraut jamming that compares to live Floyd and the first Ash Ra Tempel album. This is another very different side of the band. Altogether, this is a revealing and excellent little collection, proving once and for all the varied, versatile, and enduring creativity of these legendary musicians.

 Baumann/Koek by BAUMANN/KOEK album cover Studio Album, 1978
4.00 | 1 ratings

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Baumann/Koek
Baumann/Koek Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group Moderator

— First review of this album —
4 stars A celebrated fantasia electronica. Pretty happy to meet such an obscurity, a premature delivery.

Their view and opinion on electronic music (obviously inspired by Berlin School) is extensive and depth-psychological. Sound itself recorded upon the two sides of lp can be really felt as simplicity but the sound structure should not be simply repetitive, convoluted masses of sound mixture but also philosophical "beep after beep" movement and stillness. From the beginnig "Yarabbim" we can make a connection with such a dreamy, hearty, dim, and a tad bitter multi-coloured psychedelia.Exactly suitable for the opening of their spiritual world. "TD-Mem" is the favourite track for me, featuring subtle 1/f vibration, plus larger tonic ironic catastrophic paragraphic kinesis. This combination as above mentioned is stimulatively impressive. Cool, clear, incisive phrases fly over my brain again and again. On the other hand, some tribal beats and ear-achy pressures around warped synthesizer sound basis can be heard via the first track upon B-Side "Gamabol", that reminds me of another creation by Zendik. "Where" is in the same vein like melodic Mittelwinternacht '71. Not flat like this electronic vanguard but very colourful and developing. The last "Sequencer-Roll" might be created as a rock and roll-like joke by the two creators of genius, I suggest. Laugh and dance upon the last stage, quite interesting.

In conclusion, let me say as follows. This creation should be dedicated to all Progressive Electronic freaks. An excellent (and obscure in future) shot by Bureau B. Bravo.

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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
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
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
DALLAS CAMPBELL 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 BALLROOM Ireland
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
CREMATOR United Kingdom
CROP CIRCLES France
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRÀ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
NICOLAS DICK France
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
DOLULUS Switzerland
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
FASER Germany
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