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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 | 599 ratings
RUBYCON
Tangerine Dream
4.27 | 193 ratings
MIRAGE
Schulze, Klaus
4.17 | 535 ratings
PHAEDRA
Tangerine Dream
4.16 | 182 ratings
X
Schulze, Klaus
4.20 | 100 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.16 | 181 ratings
TIMEWIND
Schulze, Klaus
4.37 | 25 ratings
GREEN RAY
Zanov
4.10 | 114 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.48 | 18 ratings
CATCH WAVE
Kosugi, Takehisa
4.08 | 129 ratings
NEW AGE OF EARTH
Ashra
4.10 | 81 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.14 | 41 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
3.98 | 311 ratings
FORCE MAJEURE
Tangerine Dream
4.22 | 27 ratings
LUCIFER RISING
Beausoleil, Bobby
4.03 | 80 ratings
BODY LOVE VOL. 2
Schulze, Klaus
4.55 | 11 ratings
IN COURSE OF TIME
Zanov
3.94 | 210 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.03 | 53 ratings
MUSIK VON
Harmonia
3.93 | 217 ratings
TRANS-EUROPE EXPRESS (TRANS-EUROPA EXPRESS)
Kraftwerk
3.93 | 251 ratings
THE MAN-MACHINE (DIE MENSCH-MASCHINE)
Kraftwerk

Progressive Electronic overlooked and obscure gems albums new


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

HELDON IV: AGNETA NILSSON
Heldon
TIME REPLICATED
Bownik, Adam Certamen
HARMONIC ASCENDANT
Schroeder, Robert
SYNTHETIK 1
seesselberg

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Latest Progressive Electronic Music Reviews


 Stabat Mater: A Moog Mass by CALDERA album cover Studio Album, 1970
3.39 | 5 ratings

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Stabat Mater: A Moog Mass
Caldera Progressive Electronic

Review by Adelstrop

4 stars I bought the UK version of this album when it came out in the early 70s and it's sitting on the desk in front of me as I write this. Unlike the awful cover shown on this site, which I guess is the US version, the UK cover has a rather noble head of Christ, with a Crown of Thorns made up of electric cable and capacitors(?). It's striking and effective (can be found via google)

The music for the album was written by Antonio Caldara in the 18C. A performance of this can be found on YouTube and it's interesting to contrast the original with 'A Moog Mass', as it throws into perspective the wildly original and deeply weird concept that Margouleff and Cecil put together.

It isn't clear whether the people who were involved in this recording were intending to give themselves the name 'Caldera' or 'Caldara'. Some people assume that this was their intention because the name appears in the same place that band names were printed on most of the records of the time. I think that's unlikely - they produced nothing else under this name - and classical recordings often feature the composer's name rather than the performers'.

The album title 'A Moog Mass' is also misleading, as the piece is actually the sequence 'Stabat Mater' and the album contains none of the standard pieces that go up to make the ordinary of the Mass, 'Kyrie', 'Gloria', 'Agnus Dei' etc.

I have to disagree with the opinion expressed by a previous reviewer that it is "an obscure electronic version of the infamous hymn to Mary". Obscure version certainly, but there's absolutely nothing infamous about the text. In fact it is one of those devotional pieces widely set to music by people like Palestrina, Pergolesi, Dvorak etc. The piece itself is about the effect on a mother who witnesses the mortal suffering of her son. It is not necessary to have any religious belief to be moved by the human pain of the situation.

I also like that the people involved in the recording treat it as a serious piece - there is nothing ironic or tongue-in-cheek about their approach to the subject.

It was probably too much to ask to think that "A Moog Mass" was ever going to be popular, even though the exploration of electronic sounds was astonishingly original and ground-breaking. There waas no-one else at the time who came close in my view, and anyone with any interest in electronic music in particular, should take time to listen. The album can also be found on YouTube.

 Deux by DIONNE - BRÉGENT album cover Studio Album, 1977
3.82 | 9 ratings

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Deux
Dionne - Brégent Progressive Electronic

Review by Progfan97402

5 stars When I felt I was scrapping the bottom of the barrel when it comes for prog rock, a few years back I started looking towards the prog scene in Quebec and unearthed a bunch of gems. Harmonium is a bit obvious, perhaps, because even mainstream Quebec society knows who they are. They're that well-known and famous there. Enough for a made for TV movie on them in 2003 (although Serge Fiori was less than happy with the movie and how he and the band was presented, from my understanding). I know Beau Dommage was also very big. Through the years I discovered great stuff from Pollen, Et Cetera, Sloche, Opus 5, and Morse Code. Some of these groups come from folk backgrounds (Harmonium most noted), some of them Gentle Giant influenced (Et Cetera most notable), and others taking from either fusion or the British and French scenes (Morse Code, for example). But there hadn't been a whole lot of electronic acts, and Vincent Dionne and Michel-Georges Brégent is an example, and I'm so glad I discovered them. I started with Deux, which is their second album, which is no surprise, given the title (in cause you didn't know, "deux" is French for "two"). The avant garde leanings of their debut was absent here, going for a more symphonic approach, most particularly on "Le Prophète". They did not sell out in any way, shape or form. This is nothing short of amazing, this album is full of Moog, Orchestron, clavinet, Farfisa organ, and tons of drums and percussion done in that nice '70s fashion I so love. There's even a little Mellotron, some tron flute towards the end of "Le Prophète", but for some strange reason Michel-George Brégent preferred the Orchestron (the Vako Orchestron is a professional grade version of Mattel's Optigan, which runs on flimsy optical discs). It's easy to tell you're hearing an Orchestron because it has a more muddy, scratchy sound to it, and you can hold a note indefinitely. "Campus" has a bit more of a fusion oriented feel to it, I really love how Vincent Dionne's drumming catches up to the pace of the synth sequencer pattern. "Transit Express" has a bit of a Tangerine Dream thing going on with a synth pattern (the synth also sounds like how Cameron Hawkins of FM might have sounded had he recorded an album of electronic music around this time period, rather than the crossover prog FM were doing around this time). As far as I'm concerned, this is rather original electronic music, and I highly recommend this to fans of electronic and prog. I really can't seem to find any fault from this album.
 Le Temps Des Moissons by KALMA, ARIEL album cover Studio Album, 1975
3.00 | 1 ratings

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Le Temps Des Moissons
Ariel Kalma Progressive Electronic

Review by admireArt

— First review of this album —
3 stars Good and original!

Ariel Kalma´s " Le Temps Des Moissons", 1975, developes a quiet ahead of its time set of compositions, which later in time will be known as "World Music". Combining native acoustic instruments alongside Electronic Rock ones and taking full advantage of his "mid-pro" recording studio, he delivers a variety of original musical proposals.

Some moments sound more "native" than electronic prog, but then again the frequent use of the electric guitar brings it closer to KrautRock or the "Eclectic" tagging or Crossover if you wish!

The set of 3 songs is rich in melodical ideas, that flow between the mid-western and Australian native, trance like musical figure repetitions and rhythms, to more electronic/noiseful places and to some heavy/Jazz sax moments, blended in simultaneously or by themselves with the aid of the dephasing of the recording tapes and loops.

The whole experience is surprising, dynamic and daring. A promising first album, worth the hassle of getting it.

***3.5 PA stars.

 Elektronische Mythen by KARG, JÜRGEN album cover Studio Album, 1977
3.45 | 4 ratings

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Elektronische Mythen
Jürgen Karg Progressive Electronic

Review by admireArt

4 stars Electronics which are quiet far from prog as such!

In the true spirit of electronic music experimentation (which started around 1933-1945, not with TD, as some reviewers suggest), Jurgen Karg wrote "Elektronische Mythenelectronic" in 1977, which as he himself comments, took him 5 years to finally finish it. Many factors can explain the long time it took him to conclude this work , but it is quiet evident that the results are 2, twenty minutes long each (+-), structured, perfectly detailed and arranged, noise-electronic, small symphonies.

The use of "central european" canons in its songwriting is more than obvious, but what makes these works tick, is the transformation of those same canons, into the purely electronic/noise music environment, without bringing any kind of useless baggage or desire to resemble acoustic symphonic instruments but nevertheless paying full attention to its inherent "electronic music " cadence, melody, counterpointing and depth. So he plays along those canons but stepping aside from fads or ripping off someone else´s music and constructs 2 compulsively detailed "free forms" that are also obsessively structured in their music composition.

Modern electronic classical music, which only real "flaw", is having being written for those same type of audiophiles. The fact that is included in a Prog/Music page, does not change that fact a bit. Therefore quiet exclusive for such a vast musical universe, but a gem is still a gem anywhere!

****4.5 " small masterpiece, which unfortunately, is not for every prog audiophile" PA stars.

 The Calendar by SPARKLE IN GREY album cover Studio Album, 2014
4.52 | 6 ratings

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The Calendar
Sparkle In Grey Progressive Electronic

Review by philippe
Special Collaborator Content Development & Krautrock Team

5 stars The multi-directional and tremendously adventurous electronic post-rockin chamber ensemble Sparkle in Grey is back after the powerful, eclectic and electric krautrockin 'Thursday Evening'. 'The Calendar' is so made of magnificent soundscaping poetries that words can hardly explain my feelings after a first immersion in the music. This is continuously intimate and irresistibly enchanting, you just need to let yourself to be absorbed by those small, unpretentious, slightly humorous and sincere microsonic musical paintings. As in the previous releases the deeply evocative and melancholic dreamy-like atmosphere is still here but the electronic arrangements are reduced to the minimum to let the place to a vast collection of acoustic instrumentation where the guitar and the violin play a major role, punctuated by silences, sometimes sustained by detached and sorrowing trumpet lines. Field recordings and processed textures are also brought to the fore and communicate all together in a very dynamic and spontaneous folkish register. Dissonant compositional schemas, enigmatic instrumental phrases meet absolutely heavenly melodic themes in a minimalist-microtonal mode. Each track develops its own characteristics, sometimes plaintive, ethereal, naïve but clearly orientated to a sense of progressiveness with a nicely suggestive cinematic touch whose Matteo and his team have definitely the secret. This album admits no comparison. According to me this is an undisputed little masterpiece that proves once again that the collective stands as unique and freely inspiring in the universe of independent-alternative music. Among the top favorites of the year.
 Yesterday Boulevard by JOBSON, EDDIE album cover Singles/EPs/Fan Club/Promo, 1976
3.00 | 1 ratings

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Yesterday Boulevard
Eddie Jobson Progressive Electronic

Review by Guillermo
Prog Reviewer

— First review of this album —
3 stars I really did not know anything about this single released by EDDIE JOBSON as soloist in 1976 until it was included recently in the Prog Archives`s discography database .It was recorded and released after ROXY MUSIC`s split in 1976 and before he joined FRANK ZAPPA`s band in the same year. Maybe this solo single by Jobson is very hard to find now. Anyway, I could listen several times to both sides of this single in the web, so now I can write a review about it.

Both sides of this single are instrumental musical pieces.

"Yesterday Boulevard" : it has keyboards (mainly a clavinet a a few synthesisers) and electric violins playing a repetitive riff. This musical piece has a more or less fast beat, and it sounds to me like Jobson was trying to have an almost commercial musical piece for this single. The main musical style of this musical piece is Jazz-Rock with some Funky music influences, very related to some of the music which was played in the mid seventies in the radio. I also could find some inevitable similarities and /or influences from some of the music from JEAN-LUC PONTY , maybe more due to the use of the electric violins. Simon Phillips does a good job playing the drums. It is a good musical piece, a bit commercial in sound, but good anyway.

"On a Still Night": the main instrument in this musical piece is an electric piano. It is a slow musical piece on which Jobson also played electric violin. Phillips also played drums. Again, this musical piece sounds very mid seventies in musical style, very Jazz-Rock influenced, with also some musical influences from JEAN-LUC PONTY .

A good single. Maybe a bit outdated.

 Tyranny Of Beauty by TANGERINE DREAM album cover Studio Album, 1995
2.89 | 38 ratings

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Tyranny Of Beauty
Tangerine Dream Progressive Electronic

Review by Stalvern

1 stars

Probably the worst of all Tangerine Dream albums, and one of the worst things that I've ever heard - the mid-'90s were a real dark age for Tangerine Dream, and Tyranny of Beauty is its nadir. The band certainly needed to move on from the dull muzak of the Private Music albums and Rockoon, but while this new period brought back a measure of the ambition that had deserted the band with Christopher Franke, that ambition was now applied in the most perverse of ways.

In their golden years, Tangerine Dream explored the furthest reaches of synthesized sound; at the close of the '80s, they contented themselves with cheap, generic keyboard tones; here (and, to a lesser degree, on the preceding Turn of the Tides), the focus has switched completely to guitars, all but burying what rudiments of electronics remain. This is hardly a problem in itself - Edgar Froese's icy, airy solos had been highlights on some of the band's best works - but the greasy, histrionic playing here abandons all taste and class, spewing out endless solos as indulgent as Frank Zappa's and as showy as David Gilmour's without the sense of either.

The album opens with "Catwalk", its lone highlight and incidentally one of the least guitar-oriented of its songs. It's trivial stuff and painfully outdated, sounding almost like a turn-of-the-decade Madonna backing track (think "Vogue" or "Deeper and Deeper") even as it flagrantly samples the leading-edge sounds of Underworld's dubnobasswithmyheadman, but it does boast a decent amount of energy, a comparatively light mix, and a genuinely impressive acoustic guitar solo in the middle. Unfortunately, things take an immediate nosedive afterward; the next piece, "Birdwatcher's Dream" combines sappy chord changes with The Wall-wannabe arpeggios and features an ugly, '80s "snap" sound in its climax, and it's only the start of the truly rotten material on here. "Little Blonde in the Park of Attractions" is one of the worst tracks on the disk, with the loudest, shreddiest guitar work and cheesily "dark" drumbeats near the end, and "Living in a Fountain Pen" (God, these titles) is a fitting neighbor, with a schlocky, "folk-style" acoustic section and toothlessly "tough" distorted power chords elsewhere. But the most offensive moment is easily "Stratosfear 1995" - an absolute travesty that takes a Tangerine Dream classic and smothers it under a leaden "rocking" beat, blaring hair-metal guitars, and lazy new beep-boop synthesizer tones, with the original song still audible, crushed and helpless, beneath it all!

After that, things start to calm down, and the album blends together in my mind as a haze of lower-key ramblings against more ignorable backdrops, although the early-'90s "dance" piano line and bongo drums in "Bridge in Cold Tears" (not "Bride", as it so happens) linger unpleasantly in my memory. Eventually, it ends with a slow Händel piece, featureless and spiritless (the "string" pads seem to have been deliberately set to sound as cheap and unconvincing as possible, though the clarinet is nice), but a pleasant enough way to wind things down. I can't decide whether to praise it more for its composition or damn it more for its performance, but it's the first enjoyable thing here since "Catwalk", for what precious little that that's worth. Finally, some releases of the album add a contemporary B-side called "Quasar" as a bonus track - I looked it up on YouTube, and it's a perfectly generic techno thumper, which inherently makes it better than almost everything on the album proper.

Speaking for both Tyranny of Beauty and Turn of the Tides - I don't plan on sitting down to review more than one of these stinkers, and this one was the more satisfying target - I can see why these albums got made; after the lightweight facelessness of stuff like Optical Race and Melrose, Froese was probably itching to get back into more substantial territory. But why in this way? Electronic music was the biggest that it had ever been in the mid-'90s, and not just club music, but ambitious stuff in the spirit of what Tangerine Dream had built their name on - when even a "dance" band like The Orb could get away with recording something as sprawling and atmospheric as Orbus Terrarum, the time for a Tangerine Dream comeback was clearly ripe. Even the band themselves must have understood this, as the Underworld samples here prove that they were keeping up with contemporary electronic developments. But, incredibly, they threw that opportunity away, and this sorry music is the consequence.

 Light Of Lost Summers by JAZZCOMPUTER.ORG album cover Studio Album, 2007
3.18 | 2 ratings

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Light Of Lost Summers
Jazzcomputer.org Progressive Electronic

Review by admireArt

3 stars Smooth Jazz meets progressive/electronics.

Light of Lost Summers (2007), JAZZCOMPUTER a.k.a. Yves Potin's album has a fair share of very interesting musical proposals that tend to blend really modern electronics with a kind of sometimes imaginative "New Age Jazz", but then again sometimes with a quiet "cliched" version of modern "mainstream" Jazz..

Ironically, the best parts of the compositions are those which are closer to the prog/electronics of nowadays, the infamous "Ambient" tagging . Surrounding himself with many instruments from various parts of the world (Udu, Koto, Harp, Tablas, Timpani, Nagadas and guitars.), which he combines with "spacy" synths. So there are some heavy electronic thunderstorms alongside and simultaneously counterpointing some mellow or melodical Jazz structures.

As such it all sounds magnificent, but his Jazz songwriting does not fall that far from the kind of clean cut ,"mainstream style", aseptic, easy listening Jazz that was intended for less demanding audiences. (Not to sound disrespectful to George Benson or Wynton Marasalis, but that type of "smooth" Jazz style.)

To sum it up, great electronic moments, composition wise and also more than once he gets the blending to sound daring, but on the other hand, the constant appearance of corny Jazzistic melodies or soloings spoils the whole fun.

***3.5 " Promising without doubt, but still on the making" PA stars.

 Lustwandel by ROEDELIUS, HANS JOACHIM album cover Studio Album, 1981
3.95 | 8 ratings

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Lustwandel
Hans Joachim Roedelius Progressive Electronic

Review by admireArt

4 stars Masterful!

Roedelius' straight forward conception of his own ultra-refined musical language, takes free course via his piano and "electronic" arrangements in this his 1981, sixth solo album, "LUSTWANDEL".

The acoustic piano plays a major role, as usual, but the arrangements around it are more than mere accompaniment to embelish it. The extraordinary arrangements become more than once the main voices of the songs. And its songwriting is close to pure genius, more than once.

As if it to explain somehow his musical language to newcomers, it will be absurd not to relate them to "modern classical music" but also unwise not to mention its "german medieval folk music" roots or the sometimes "latin" syncopated flavor. In fact it is so well balanced, that any kind of "stylistic border" disappears by its sheer good and bright music composition and its precise and elegant arrangements.

So, travel into the far evocative past, without leaving your present day comforts and its modern "charms".

For prog/acoustic piano buffs a must, for the rest of the proggers an easy ****4 PA stars!

 Stolen And Contaminated Songs by COIL album cover Studio Album, 1992
3.55 | 4 ratings

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Stolen And Contaminated Songs
Coil Progressive Electronic

Review by admireArt

3 stars COIL lets it "guard" down!

The metamorphical prog/electronic "obscure" band par excellence, presents in this the first (there are 2) "Stolen And Contaminated Songs", 1992, recording, outtakes and unreleased songs from their previous CD, the quiet extraordinary and intense "Love's Secret Domain"(which is featured among the 100 best prog/electronic records here in PA).

Very relaxed in its songwriting, it is shinier than most of COIL's "abstract and obscure" preferences. In fact, it is even playful and danceable at times. But do not worry COIL followers, this "Love's Secret Domain" kind of sequel, is still as "dark" and "humorous" as it is usually expected.

Although its "friendly" and "lighter" moods, some of the songs, do repeat each other's structures. Nevertheless the highlights do match any of the best parts of "Love's Secret Domain", and the unrelated directly to this previous project songs, are full of new lines and songwriting proposals.

Being one of COIL's followers, I need to be impartial as a "judge/reviewer", therefore an excellent addition for a COIL's audiophile and collector, and a very good introduction into COIL's ever expanding/changing, prog/Avant Garde/ Electronics, for those, yet to come, "COILERS".

***3.5 PA stars.

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Progressive Electronic bands/artists list

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

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