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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

4.27 | 607 ratings
RUBYCON
Tangerine Dream
4.26 | 195 ratings
MIRAGE
Schulze, Klaus
4.17 | 543 ratings
PHAEDRA
Tangerine Dream
4.16 | 181 ratings
X
Schulze, Klaus
4.20 | 100 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.16 | 184 ratings
TIMEWIND
Schulze, Klaus
4.46 | 22 ratings
GREEN RAY
Zanov
4.09 | 115 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.48 | 18 ratings
CATCH WAVE
Kosugi, Takehisa
4.07 | 133 ratings
NEW AGE OF EARTH
Ashra
4.10 | 81 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.14 | 41 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.57 | 12 ratings
IN COURSE OF TIME
Zanov
3.97 | 317 ratings
FORCE MAJEURE
Tangerine Dream
4.22 | 27 ratings
LUCIFER RISING
Beausoleil, Bobby
4.03 | 80 ratings
BODY LOVE VOL. 2
Schulze, Klaus
3.94 | 215 ratings
ANOTHER GREEN WORLD
Eno, Brian
3.93 | 254 ratings
THE MAN-MACHINE (DIE MENSCH-MASCHINE)
Kraftwerk
3.93 | 220 ratings
TRANS-EUROPE EXPRESS (TRANS-EUROPA EXPRESS)
Kraftwerk
3.91 | 379 ratings
STRATOSFEAR
Tangerine Dream

Progressive Electronic overlooked and obscure gems albums new


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

TUSSILAGO FANFARA
Anna Sjalv Tredje
SYNTHESIST
Grosskopf, Harald
HELDON IV: AGNETA NILSSON
Heldon
WUNDERBAR
Riechmann, Wolfgang

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Latest Progressive Electronic Music Reviews


 Cosmic Furnace by POWELL, ROGER album cover Studio Album, 1973
3.64 | 5 ratings

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Cosmic Furnace
Roger Powell Progressive Electronic

Review by admireArt

3 stars A synth´s parade

Roger Powell´s credentials are impressive, arena Rock BIG.

Winged by the great Robert Moog, synth designer, musician, sound engineer, magazine columnist, programmer for Arp synths and later programmer for Apple, Roger Powell has that perfect balance between talent and showmanship. This same attribute brought him to play alongside "stage monster bands" like UTOPIA and Richie Blackmore´s RAINBOW as Meat Loaf, David Bowie and other stadium acts. Enough with the resume.

This 1973 first solo release goes by the name of "Cosmic Furnace" consisting of 2, 20+- minutes tracks, subdivided in 3 sections each, unconnected, musically speaking, but concieved as a project album.

Composition wise it takes different routes, some with better results than others. It travels the pulse/electronic Berlin school like route, as it can go the funky Jazz "a lá Jan Hammer" , other moments it takes the "Latin" path, also some slow paced piano solo meditations and here and there added up with slight touches of synth solos in the kind of arena Prog/Rock, of which he was one of the "keyboard player as frontmen", "litetarally speaking", pioneers.

Now the sad news. More than once his musical songwriting relies too much or solely on its super synths idiosincracies. He over saturates good musical ideas turning them into unattractive pastiches and at the same time making them sound totally predictable.

Disappointing in direct proportion with my expectations. But reality bites and music composition is all that really matters at the end of the day and this album in that regard is highly uneven.

What is great is solid great but what´s not is simply quiet boring. So dissecting this 6 song effort. I sadly report that it goes half and half , making it good but short of essential.

***3 PA stars.

  A Tapestry For Sourcerers  by FIVE THOUSAND SPIRITS album cover Studio Album, 1995
5.00 | 1 ratings

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A Tapestry For Sourcerers
Five Thousand Spirits Progressive Electronic

Review by admireArt

— First review of this album —
5 stars Like a world waiting to be discovered!

FIVE THOUSAND SPIRITS, a secret quiet well hidden in PA's archives, is by far one of my best findings in my recent search for "obscure" (meaning unavailable or really hard to find), Italian Prog/electronic albums. From the moment I played this 1995 " A Tapestry For Sourcerers", I immediately detected the unique and yet almost invisible touch of the talented Stefano Musso aka Alio Die.

Five Thousand Spirits is a music project/entity and in this, their first release, feautures the collaboration between Stefano Musso, Raffaele Serra, and Claudio Dondo (Runes Order), who abandoned the project after this release.

Runes Order's knowledgeable followers will also feel at home, but for any new comer, this is "virgin" territory and to be honest one of the best "prog/electronic" BANDS, I have heard in ages.

Sublime interactions between, vibrant, cosmic, highly creative and emotinally charged atmospheres, fusioned with both intelligent and experimental song writing, enhanced by a flawless performance of an almost all-electronic ensemble, consiting exactly as follows: Raffaele Serra playing synth, harmonium and samplers, Claudio Dondo on synth and electronics and Stefano Muso's samplers.

Trend setting, original as unique, rich in its musical ideas which never cease in offering all kind of creative and enchanting or obscure yet detached envirnonments, underlined strongly with masterful melody lines that simply sound and are GENIAL!

*****5 "MASTERWORK" PA stars!

 The Subliminal Relation Between Planets - Live In Archiaro by MARUTTI, ANDREA album cover Studio Album, 2008
4.00 | 2 ratings

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The Subliminal Relation Between Planets - Live In Archiaro
Andrea Marutti Progressive Electronic

Review by admireArt

4 stars Expansive and glorious!

Andrea Marutti's 2008, " The Subliminal Relation Between Planets - Live In Archiaro", carries on with the exploration of environmental music that is both like "modern" life itself, part machinery, part natural.

His musical language blends both sonic experiences, but unlike some contemporaries, the real deal here is the melody lines underlying always the subtle noise/music ambients, expansive and permanent slow paced transitions, enhancing the project's name & goal to its full potential.

A minimalistic but highly charged and emotional, four piece live performance, extending up to an hour and 14 minutes+-.

Each composition derives into the other, the intense and almost invisible melody lines are flawless in their magntetism, which kept me "hooked' all album long.

Massive, low keyed, slow paced, attractive and perfectly achieved "live" performance. In short flawless!

****4.5 PA stars. A "do not miss" project!

 Detrimental Dialogue (With Fausto Balbo) by MARUTTI, ANDREA album cover Studio Album, 2010
4.67 | 2 ratings

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Detrimental Dialogue (With Fausto Balbo)
Andrea Marutti Progressive Electronic

Review by admireArt

4 stars Eloquent encounter!

In my newly aquired prog/electronic findings, Andrea Marutti´s name shows up constantly. Going on by different "facades" like Amon, Never Known or Hall of Mirrors and his solo works as his collaborations with other electronic musicians like Aidan Baker, NIHM, among many others.

This 2010, "Detrimental Dialogue (With Fausto Balbo)" obviously is one of those collaborations.

Both musicians know their game, it shows and adds up to the clear counterpointing between both personal musical languages. Marutti´s idiom although it deals with noise like structures the same as Balbo´s, his lines still possess a close nature to music as we all understand it. On the other hand Balbo´s expressions are close in range to the raw electronic experimentation, like german electronic pioneer Conrad Schnitzler.

So, expect droning landscapes of swirling enchanting noises, deep unstructured and dirty frequency waves going back and forth between "strange and hypnotic" melody lines, some poignant basses here and there and lots of "blips", "beeps" and ¨tweeks".

Creative and diverse in its songwriting, a more than balanced performance like collaboration, a unique musical proposal and original in its raw-noise constructions. Friendly but not accessible in its musical composition results.

For Prog/Electronic, Krautrock and RiO followers and maybe some other curious cat!

****4 PA stars.

 Mectpyo/Blut by BIANCHI, MAURIZIO album cover Studio Album, 1980
3.00 | 1 ratings

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Mectpyo/Blut
Maurizio Bianchi Progressive Electronic

Review by admireArt

— First review of this album —
3 stars Merry Go Round music from Hell!

Electronic Noise composer Mauricio Bianchi's 1980 "Mectpyo/Blut"consists of two 40 minutes + - each, single compositions. Part A -" Maidanek Bakterium & Musique Bel", is an intense industrial "drone" like ride, that surely is the winner between both compositions. It carries the industrial experimental scope of Fripp & Eno's, 1973, "No Pussyfooting" and Lou Reed's first 1975 "Metal Machine Music" uncompromising noise like sublimination. This is the highlight, I repeat of this project.

On the other hand part B - "Mutant Brain & Mord Bahnhof", things get quiet boring. Maybe he was trying on the Conrad Schnitzler approach of raw experimentation, but unlike CON, who always applied the experimentation to his songwriting, MB stays short and proposes an over indulgent 40 minute long composition, dedicated to himself playing and recording his quiet boring, child like session of nothing relevant or original, composition wise of course.

UNEVEN, yet side A is a real no-frills, frantic, factory machine like, hypnotic, but consciously unappealing ride, well worth the waiting line.

Therefore ***3 "good but half short of essential" PA stars.

 D'ai primitivi all'elettronica by FUTURO ANTICO album cover Studio Album, 1980
4.00 | 7 ratings

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D'ai primitivi all'elettronica
Futuro Antico Progressive Electronic

Review by admireArt

4 stars Vanishing all borders!

Recently having aquired a modest but fruitful bunch of Italian prog/electronic albums (among others), I finally found this "overlooked and obscure gem" of the subgenre, FUTURO ANTICO's , 1980 "D'ai primitivi all'elettronica" (from primitive to electronic).

Consciously focused on the blend of "electronic" sounds and "primitive" percussions, Futuro Antico also dares to bend other rules in order to achieve a more composition wise wild adventure.

But let me brief you a bit on the members of this 3 record band (2 official releases + an unreleased live recording). This the one I review its their first studio release. Founded in Italy, between Walter Maioli and Riccardo Sinigaglia, Futuro Antico at least in this album and the live one, had the privileged collaboration of master and native musicians coming from India and Africa. Thus the true nature of the musical experimentation between Africa meets slightly India plus European electronics results.

So as I mentioned, one of the real thrills of this project aside from mixing instrumentation is the way this music moves coherently from electronic, native and even classical structures as freely and naturally, as if perfectly woven into a single intention.

The project as such is perfectly structured, composition wise, but then again surprisingly experimental. Therefore rich in creative ideas that work out in balance, subduing the inherent cliches and temptations that usually happen in this kind of fusions.

Better than that, each of the 5 compositions dares to take different routes, some more "primitive" ( Central African music comes to my mind), others more subtly-modern, but respectfully displaying their own characteristics without stepping in each others toes.

A sure hassle to find even in Italy, but worth the time and money.

****4.5 PA stars.

 Cosmic Ground  by COSMIC GROUND album cover Studio Album, 2014
3.44 | 14 ratings

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Cosmic Ground
Cosmic Ground Progressive Electronic

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

3 stars Homage

The German electronic scene was never the same again, after one Edgar Froese started fiddling about with the sequencer back in 1973 on Tangerine Dream's unicorn of an album 'Phaedra'. This enigmatic and strangely astral record somehow managed to pull people in from far and away - often folks who would never dream of purchasing a modern LP without drums and a certain whiff of the ol' rock energy. Phaedra then was the first of it's ilk to really connect with a larger audience. Through this newly won affection the ripples grew larger and larger - manifesting themselves in 100s upon 100s of copycat electrolytes out to set the controls for the heart of the sun, undertake space voyages and all those lyrical attributes that so often accompany this form of electronic music: The classic Berliner Schule.

Dirk Jan Müller, who normally sits behind the organs and synths of the neo Krautrock group Electric Orange, has here under the moniker of Cosmic Ground created a pendant to the early footsteps of the Berlin School. I'd even venture as far as to call this album an homage. With the following equipment extensively in use: Mu modular, 960seq. eurorack modular, fender rhodes, mellotron m4000d, moog sub phatty, philicorda, farfisa compact, farfisa professional duo, solina string ensemble, roland rs202, korg ms20, roland sh1000, hohner string melody II, elka rhapsody, nord wave, moog voyager, hohner clavinet, oberheim sem, korg mini-pops, leslie 760, hohner orgaphon - one could very easily be lead into thinking that this album indeed is a remnant of the analogue 70s. The print on the cd even goes out of it's way to underline the fact that NO midi tampering was employed during the recording.

To me this is both good and bad. I love how the synths sound, and they have that wobbly and authentic sheen to them that I often miss on modern electronic offerings. On here, and on most old analogue electronic albums, you're able to spot the small quivers of the human spirit forcing themselves through the robotics - what I'd call the flesh fingerprint. What it adds to the overall sound is a warmth and humanity - something to counterpoint the otherwise mechanical heartbeat of the sequencer. On the other hand, I can't escape the continuous stream of Tangerine Dream images my mind conjures up, whenever I pop this baby on the stereo. My eyes look at the alluring cover art of Cosmic Ground, but my ears keep hearing Rubycon revisited. Not a bad thing if you're out to project a certain TD era - at least it isn't Melrose or Tyger you're aiming for............but in my humble opinion the release as a whole suffers a tad from this lack of originality. Don't get me wrong, this is a very eloquently executed album that literally exudes warmth and something I'd like to call beep beep beauty - I can listen to this sort of music all day long - and all night for that matter, but for an album to really distinguish itself, especially in a style of music so well defined as this one, it has to have some umphh and personality on it's own - something that unequivocally screams uniqueness...and sadly that is the one thing that I'm missing here.

Even the beautiful wavering vapour-like presence of the backdraft has me thinking of Klaus Schulze and his unique brand of space ambient, no matter how much I adore it. It works wonders with the beeps and melodic synth spirals offering up a holy marriage of the intangibly floating and the more overt musical qualities, yet I still miss something that is entirely Dirk's creation. A red stork in my curry if you will.

The best thing about the album though is the level of immersion Dirk undertakes. His playing is deeply hypnotic and enchanting no matter what electronic device he is riding. Through interwoven surfaces of sound from ambient floating segments to almost stroboscopic light flickers of the sequencers, Dirk magically dreams up a vast satin black sky screen that pulsates and zooms - in and out - pulling you into the vortex of a dying star. For those of you who fancy Star Trek holidays and abstract albeit melodic electronic adventures, this album will be a real treat. For the mellotron and farfisa lovers alike - you too are going to salivate uncontrollably upon listening to this little rascal. For what Cosmic ground maybe lacks in originality, it (almost) trumps in sheer emotional delivery.

To the unenlightened who has never heard this kind of music, then imagine a liquid form of sound - a sonic oil dripping down Egyptian sand cathedrals - a lysergic soundtrack for astronauts and their unearthly home out beyond the infinite blueness of our skies. Out there among the stars and black matter, that's where this music really makes sense and takes on wings. 3,5 stars.

 Vanish by LAMBWOOL album cover Studio Album, 2014
4.00 | 2 ratings

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Vanish
Lambwool Progressive Electronic

Review by philippe
Special Collaborator Content Development & Krautrock Team

4 stars Among the major musicians to be signed on the excellent and innovative independent label OPN records, Cyril Laurent (aka Lambwool) figures among the new emblematic musicians of spaced-out synthscaping oddisseys from France. Richfully textured, heart-touchingly melodious and softly moving this latest album entitled Vanish is a beautiful meditative and restful synth-inflected excursion with reminiscence to the best offers in that field of sound experiments, notably from France with artists such as Bernard Xolotl or Didier Bocquet to name a few. If the past releases were surfing on more darkened ambient territories, this new release is an achieving ethereal ambient work with some deliciously evocative, immersive moments as in the magnificent self-title. A piece such as "Twisted" is more turned to ghostly post-industrial enthralling ambiences with deep bass drones, desperate echoing scintillations and detached piano touches. A few ravishing and impressionistic acoustic elements painted by the violin brings to the pieces a sonorous poetical flavour ("Closed door"). Vanish is a brilliantly sentimental, sweetly dream-like electronic ambient work that will unconditionally satisfy fans of the genre. An other delicate, emotionally charged and compelling cinematic ambient walk by this now unmissable project by a key personality of neo-kosmische musik and subtlly expressive drone ambient. Recommended.
 Bloodmoon Rising by ROACH, STEVE album cover Studio Album, 2014
3.91 | 2 ratings

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Bloodmoon Rising
Steve Roach Progressive Electronic

Review by admireArt

4 stars If you were not there!

On with his seemingly endless creative energy that has possessed Steve Roach this year, he goes back in time, "music composition wise" and renders a moving and astounding listening depiction to this astronomical event, which we know as "Blood Mooon".

Having had happened two nights ago, Steve Roach recorded and released almost simultaneously this project in able to be kept in the recent events collective memory.

Here are Steve Roach's written words about this release:

"This piece was created in these last few days leading up to the Blood Moon night of October 8th. So much of my work is born from the deep end of the night immersion. Staying aware of the moons many phases, from full to new has always been a part of my creative undercurrent so the opportunity to acknowledge this moment in time made this piece flow forth with out a question. Tuning into this Blood Moon feeling mixed with that sense of the seasons change in the air right now is inside this piece for me, and now I quietly offer it up to the moon and to you in this more spontaneous way only through Bandcamp. All my best Steve .- Evening of Oct 7."

A memorable, slow paced, ritual like depiction of this Moon´s uprising and fall. As close as being there could be, and a hypnotic listening experience, which scope is as "red" & "deep" as the art cover that portrays it. Slow paced electronic/acoustic music to delight on, again and again.

****4 "yes, another!" PA stars, project.

 Et Le Troisième Jour  by DIONNE - BRÉGENT album cover Studio Album, 1976
3.24 | 8 ratings

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Et Le Troisième Jour
Dionne - Brégent Progressive Electronic

Review by Progfan97402

4 stars Of the two albums Vincent Dionne and Michel Georges Brégent made together, it's clear that their debut together, ...Et le Troisième Jour (I guess that translates as "On the Third Day", but you can be sure they probably didn't get that title from ELO, but from the Bible) is a more difficult listen. I can't believe the kind of albums that Capitol once had on their roster, but I'm willing to believe the unbelievable mega success the label had with the Beatles in North America afforded them to take a few risks and take a chance on some artists that might have artistic merit but even they knew would never receive much commercial success (until the late '70s, that is). I don't know how well-known this duo is known in Quebec, but I can guarantee you that Capitol really took a big gamble. This is basically a fascinating combination of electronic, gamelan, opera and avant garde. I could imagine Joel Vandroogenbroeck of Brainticket liking this album, in fact it features a lot of the same kinds of percussion as early '80s Brainticket (Adventure, Voyage) even if there's a totally different approach here. The first side of the LP emphasizes the electronic side , "Chant D'espoir", for example has this theme played on synth from Brégent, with gamelan-like percussion from Dionne, and a male/female choir and the second half features operatic voice from opera singer Pauline Vallaincourt. The avant garde stared rearing its face with "Résurrection". Side two of the album emphasizes the avant garde side of things. A good portion of this side really has a scary and ominous feel, and for those put off by that, it's little wonder some prefer the more prog rock leaning second album called Deux. In Quebec, these two LPs don't seem to be particularly expensive, and if you collect vinyl, you should be able to get a copy for a reasonable price. It's quite a far cry from the more folk-dominated groups like Harmonium, Le Temps, Beau Dommage, Lougarou (Garalou), and I noticed Quebec didn't have a whole lot of electronic acts (but nether did the rest of Canada). Dionne/Brégent might not be for electronic purists, that's for sure. I really can't say which of the two I like better despite their very different approach, if you can't take Et le Troisième Jour you might like Deux. If you thought Deux seems a "bit generic" then go for this one instead.
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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
AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
ANNA SJALV TREDJE Sweden
ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ASCOIL SUN Finland
ASHRA Germany
ATOMINE ELEKTRINE Sweden
AUBE Japan
AUTOMAT Italy
AWENSON France
MARVIN AYRES United Kingdom
HARVEY BAINBRIDGE United Kingdom
AIDAN BAKER Canada
SIMON BALESTRAZZI Italy
BAFFO BANFI Italy
BASS COMMUNION United Kingdom
PETER BAUMANN Germany
BEAR BONES LAY LOW Venezuela
BOBBY BEAUSOLEIL United States
CARLOS BELTRÁN Mexico
LÁSZLÓ BENKő Hungary
PHILIPPE BESOMBES France
BETWEEN INTERVAL Sweden
MAURIZIO BIANCHI Italy
BIG ROBOT Norway
BIOSPHERE Norway
TIM BLAKE France
BLUE MOTION Switzerland
WOLFGANG BOCK Germany
DIDIER BOCQUET France
IAN BODDY United Kingdom
GASTON BORREANI Italy
ADAM CERTAMEN BOWNIK Poland
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
CALDERA United States
TOM CAMERON United States
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK United Kingdom
CHRISTINE 23 ONNA Japan
THE CIRCULAR RUINS United Kingdom
CLOUDLAND CANYON/LICHENS United States
COIL United Kingdom
COMA VIRUS Germany
PASCAL COMELADE France
COMPUTERCHEMIST United Kingdom
CONTRASTATE United Kingdom
COSMIC DEBRIS United States
COSMIC GROUND Germany
COSMIC HOFFMANN Germany
CRAWL UNIT United States
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRÀ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
DOLULUS Switzerland
HEINRICH DRESSEL Italy
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