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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 | 664 ratings
RUBYCON
Tangerine Dream
4.25 | 206 ratings
MIRAGE
Schulze, Klaus
4.14 | 579 ratings
PHAEDRA
Tangerine Dream
4.16 | 194 ratings
TIMEWIND
Schulze, Klaus
4.16 | 186 ratings
X
Schulze, Klaus
4.15 | 107 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.39 | 24 ratings
GREEN RAY
Zanov
4.51 | 17 ratings
CATCH WAVE
Kosugi, Takehisa
4.08 | 124 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.07 | 138 ratings
NEW AGE OF EARTH
Ashra
4.08 | 88 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.17 | 39 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.44 | 16 ratings
IN COURSE OF TIME
Zanov
4.06 | 81 ratings
BODY LOVE VOL. 2
Schulze, Klaus
4.24 | 26 ratings
EDGAR ALLAN POE'S THE ISLAND OF THE FAY
Tangerine Dream
4.22 | 28 ratings
LUCIFER RISING
Beausoleil, Bobby
3.98 | 337 ratings
FORCE MAJEURE
Tangerine Dream
4.25 | 22 ratings
BALLET STATIQUE
Schnitzler, Conrad
4.23 | 22 ratings
AN ELECTRIC STORM
White Noise
3.95 | 233 ratings
ANOTHER GREEN WORLD
Eno, Brian

Progressive Electronic overlooked and obscure gems albums new


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

MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico
HATHOR
Wakhevitch, Igor
WUNDERBAR
Riechmann, Wolfgang

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Latest Progressive Electronic Music Reviews


 Lunatica by LAOZI album cover Studio Album, 2013
3.54 | 3 ratings

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Lunatica
LaoZi Progressive Electronic

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars I really love to belong to this endless progressive rock scene, because it is always a pleasure as a listener and reviewer, to find music from all around the globe thanks to the internet facilities. This time I was contacted by Sandro Tskitishvili who fortunately shares the same love I have for Vangelis' Mask. He is a man from Georgia, something that made me feel even more interested because I didn't know a single person or a single song that came from that country, so talent has no boundaries. He told me about his project called LaoZi and introduced me to it with his latest studio album released in 2013 and entitled Lunatica; an album that features five compositions and a total time of 35 minutes.

LaoZi offers a pretty nice electronic trip full of synthesizers, atmospheres and nuances, I don't know if this is the line that he has been following through his 7 studio albums or if this latest one represents a change on his music direction, I don't know, but I must find it out someday. Lunatica opens with "Set Me Free at Midnight", a 7- minute song in which two guest musicians appear, one playing moog and the other guitar. It starts slowly, creating a relaxing mood in which one can close the eyes and feel at peace. After two minutes and a half there are electronic drums and the music changes a little bit, and all gets better at minute four where the guitar appears. The music might be in the vein of Edgar Froese's solo albums or in some of the Vangelis' ones.

"23" is a short piece that has a completely different feeling. It brings to my mind both classical music and folk, I think it is a cute mixture of those genres. A nice short song that works as an interlude of the opener one and "Radiation". This one has a darker mood, I imagine myself walking inside a dark place where light vanishes and where I have to find out my way trusting in my other senses. There is a soft but deep sense of fear in the first part this track, some tension and constant warning; though after three minutes it changes and now a sense of hope appears, so light can be perceived once again.

"Lightwalk" has a bit of the second song's essence, a folkish atmosphere created by a flute sound and some classical music reminiscences. There is a harpsichord-like sound that can be better perceived, but there is always a soft spacey atmosphere as background. In moments it reminds me of Rick Wakeman's Aspirant trilogy. Finally, the "Lunatica Suite" appears. It is a 13-minute song that starts with the sound of rain and some piano notes giving a sense of melancholy. The music continues with the same mood; after three minutes it stops and restarts with a child-like melody that might be melancholic as well, or even sad. I must say that if you are in the mood, you will like this, otherwise, I think there is a risk for you to skip it or feel it terribly slow, at least in the first five minutes. Later it becomes more interesting with fast piano notes and a sound that now is closer to Vangelis.

Lunatica is a very nice album under the electronic prog label, I think it is easier to enjoy in moments of tranquility, or when you need something to calm down yourself, however, though the third song was my favorite one, I don't think there is a true highlight here. Thanks again Sandro for writing and introducing me to your music, hope more people find it interesting and listen to it.

Enjoy it!

 Node  by NODE album cover Studio Album, 1995
5.00 | 2 ratings

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Node
Node Progressive Electronic

Review by buddyblueyes

5 stars Dario Argento meet Jean-Michel Jarre. a.k.a Zanov is having a bad hair day

John Carpenter released an epic electronic album of late that I'm looking forward to reviewing soon. Until such time, I'm reviewing another favorite (and under the radar) release by equally dark and deliciously ambient Node. I could spew historical facts about the band bio, but I'm feeling lazy and PA has already done a great and far better job of that. Do give it a once over if you're so inclined. It's a great bio, however, and the band members are rife with synth experience galore. If you like swimming in the wide ocean of synth under the star-laden vastness of space then grab your flippers and floaties and start what could possibly be the best day of your next life.

Node (great name) provides us with creepy ambient textures, pulsating fuzz, stratospheric swelling, whimsical tone drops, analogue artifacts, retro sequenced pads, all magical and entrancing. Sometimes electronic music can drone on too long -- this does not happen here. The textures and moods change more frequent allowing the listener to constantly evolve with the music. At the end of my first listen I questioned for 3 days whether I still existed, or if I transcended my physical form and merged with the dark matter of the universe. It wasn't until I tried walking through a wall that I realized I it was time to listen to some Danger Danger and enjoy the sunny life I actually still existed in.

Until that point, however, I took my journey: three months straight I enjoyed falling asleep to the sound scapes of these 5 songs, and I have absolutely no way to prove this, but I still do believe this is the form of communication with the inhabitants of Fomalhaut, the triple star system in the constellation Piscis Austrinus. (as yet to be confirmed by NASA.) After all, If there ever were aliens among us, then it definitely would explain this genre and it's rightful place here among the progressive listeners of PA.

Strap in, zone out and head to the other side of the black hole.

Wishful concert pairing: John Carpenter or Herbert F. Bairy

 Secret by SERGE RAMSES album cover Studio Album, 1978
4.00 | 4 ratings

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Secret
Serge Ramses Progressive Electronic

Review by Progfan97402

4 stars Great and obscure electronic music by this French musician. The music is undeniably progressive electronic, influenced by the Berlin School, but more emphasizes the calm-end of it, so what you won't get is a lot of sequencer action. Think the more calm, sedate moments of Klaus Schulze, and you're not too far off. The music never slips in to New Age dreck, which is a plus, the music is too ominous sounding to fall into that New Age trap. S. Ramses uses lots of early polyphonic synths (perhaps a PolyMoog or maybe some Korgs), although the cover artwork depicts him with modular synths, or perhaps a Korg PS-3300 that Zanov was using around the same time. Mellotron also has its presence shown on "Deuce", "Aoss" and the side-length title track, the first two featuring what sounds like the less common tron oboes, and the title track featuring the much more familiar tron strings. Mellotron is never dominate on this album, but it's nice to hear. I find it amusing that rumor had abound that Serge Ramses was Zanov, even though that wasn't true. Certainly S. Ramses was influenced by that same school of electronic music as Zanov, but it's easy to tell it's not Zanov, not to mention Zanov never used a Mellotron. It's true both befriended each other when both were living in London. True than Alain Gross produced their albums. Both recording for major labels, and quickly became obscurities. There are tons of great progressive electronic albums that are waiting to be discovered. This is one of them. Unfortunately it's never been reissued, making the purchase of the LP the only way to hear it on solid format (luckily prices hadn't shot through the roof the way of Italian prog). So hold on your turntables, this is a nice album to have for those who enjoy the Berlin School of electronic music.
 Jonathan Coleclough/Bass Communion/Colin Potter by BASS COMMUNION album cover Studio Album, 2003
3.89 | 9 ratings

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Jonathan Coleclough/Bass Communion/Colin Potter
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

4 stars This is quite the study in ambience and minimalism. Jonathan Coleclough is a electronic drone master and minimalist with several recordings and collaborations, Bass Communion is, like many here already know, Steven Wilson's very experimental, electronic project and Colin Potter who has done a lot of work with Nurse With Wound. This is an album (a very lengthy one at that, over 2 hours) with a collection of the three artist's collaborations. Those familiar with Bass Communion will understand what the music is all about, especially for the 2nd track, which is the best one in my opinion, not just because it is mixed by Wilson, but because it has the most movement and activity.

For those that love the minimalist/ambient sound, this album is one of the best. It requires a lot of patience, of course, but if you are just sitting there listening and drifting with the music, it is very sublime. The first track is "Passed" which is based on source material from Bass Communion and is mixed by Potter. This one is based on a drone sound with movement and sounds flowing in and out around the established ground. There is some interesting things going on here, but it mostly sets the mood for whats coming. The 2nd track ("Yossaira")is based on source material from both Potter and Coleclough and mixed by Bass Communion. This one is the most interesting, but if you are using this CD to get a quiet atmosphere, this one (and the next track) probably have more involvement and movement than the rest of the album. This is more industrial sounding ambience, quite metallic and spooky, a lot like BC's earlier material. Those familiar with BC's style will recognize it as Steven Wilson's involvement. The main sound here is a constant descending drone which recharges itself and then descends again with a lot of variation in the sound. Other noises weave around the drones and at times, the drones disappear completely and we're left with natural sounds as birds, water, etc before it returns in another variance. This lasts for a very sublime 24 minutes which sails right on by as if time is not involved. Simply amazing and worth 5 stars in and of itself.

The 3rd track is another Potter mix from Bass communion source material called "Raiser". This one is the only track with some semblance of quite percussive rhythm, but you will notice early on that the rhythm only has trivial impact on the sounds going on around it. Probably the brightest of the tracks, though still ambient. This is also the shortest at 8 1/2 minutes. The next track is from source material from both Bass Communion and Coleclough and is mixed by Coleclough. This is a 27 minute drone which doesn't seem to change much except for cycles and dynamics. This was a hard one to concentrate on, but would be a great atmospheric piece that would induce calm.

The last track is source material from Bass Communion again with Coleclough as the mix master. So many reviews (at various sites throughout the internet) praise this track. At over 70 minutes in length, Coleclough takes two sources from BC's excellent "Drugged" track and slows it way down to where it's unfamiliar, and turns it into a drone with varying tones, dynamics, and feelings. It has been said that this track will definitely influence the room wherever it is played. It is calming, peaceful, and a perfect example of space minimalism with a slow, slow melody. The sudden changes in tone that take place after 12 minutes have elapsed will pull you in to a different state of mind. This music is trippy, to say the least, but the music is the only drug you need here. Simple and beautiful, harsh and calming, those are the best words to describe this. When the 49 minute mark is passed, you will hear a sudden change where the processing layers are taken away and the tones are bright and not so layered. At this point, it is like you have emerged into lightness. This is something that must be experienced by those with patience and an open ear for beauty.

This is not music in any traditional sense, these are soundscapes, so be ready for that going in to this. The music needs to be listened to through headphones, or in a place where there are no outside influences to disrupt you. That will give you the best results and you will find yourself taken away into deep realms in your mind. I know, sounds corny, but music as a drug is a lot safer than the alternative.

This is not the best collection or album that BC has been involved with, but it is still excellent. I prefer the sounds of BC as far as ambience and minimalism is concerned because the music has more of a feeling of passage and movement. However, I enjoy this one on occasion and it is a great example of music that is influenced by the sonic pictures of Tangerine Dream. This is where that style has progressed to and lovers of that era of TD will enjoy this immensely.

 Multiple Personality Disorder by MAEROR TRI album cover Studio Album, 1993
2.00 | 1 ratings

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Multiple Personality Disorder
Maeror Tri Progressive Electronic

Review by Dobermensch

— First review of this album —
2 stars Being the first 'Maeror Tri' recording I heard, I guess you'd expect a more positive review. Sadly, it ain't gonna happen here. Throughout their many releases there have been many triumphs and failures along the way. Whilst not falling into the latter category 'Multiple Personality Disorder' falls desperately flat in in regards to what followed musically in their latter years.

The idea is good - it's all about schizophrenia - where over 100 personalities have been found in one person. Such a pity then that it doesn't stand up to such a statement.

The poor corporate style artwork that all 'Korm Plastic' releases purveyed do not encourage the first time listener with any sense of curiosity. It's awfully poor - with very little thought towards design and presentation. And that font annoys tremendously - with me being a graphic designer to trade.

The sounds within are mostly tuneless electronics with a treated electro-acoustic drone pervading throughout its entirety. There's nothing to grasp hold of or to grab your attention. At best it could be described as the stranger parts of David Lynch's 'Twin Peaks'.

Things do pick up with backward vocals entering the fray on 'The Revenger' but then it just groans morosely to the conclusion.

'The Protector' begins with some old pirate dragging what sounds like a treasure chest over a concrete floor before all sorts of squealing and reversed sounds batter your ears for the next 10 minutes. Almost 'Merzbow' like in approach it will challenge even the hardiest Prog listener.

The fifth track, which isn't even mentioned anywhere in the amateurish liner notes is the one highlight. It's full of reversed vocals and instrumentation that sounds incredibly similar to 'Zoviet France's' Lohland from '85. Finally, some emotion.

Much better was to follow...

 CD1 by THROBBING GRISTLE album cover Studio Album, 1986
3.00 | 1 ratings

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CD1
Throbbing Gristle Progressive Electronic

Review by Dobermensch

— First review of this album —
3 stars Despite being recorded live in studio on the 18th March 1979, this didn't see the light of day until 1986. It's pretty much what you'd expect from this bunch of misfits and recidivists.

It's dark, it's creepy, it's unsettling. All played in that unorthodox manner that only TG could. Four untrained musicians that simply knew the type of sound and atmosphere they wanted to create and got out there and did it.

CD1 is full of discordant guitar, cornets, home made synths, rhythm tapes and the odd violin. A really odd mixture at face value, but one that bears fruit. That is - fruit that's decayed and crawling with maggots. this would have made a really good horror soundtrack to David Lynch's 'Eraserhead'

There's next to no vocals present on this album which leads me to believe that it was really just a studio jam with no real direction. Just an experiment to see what the outcome would be with four very different heads playing live simultaneously.

The liner photos show disturbing images of Vietnamese prisoners, Japanese sexual bondage and a Nazi Death Camp. I should have expected nothing less. If that was done now it would appear cheap, derivative and done for shock value only. Back then it must have been downright odd and macabre.

This isn't as good as their studio recordings which sound more fleshed out, but it gives a good indication of how they sounded live and is far more precise in having been recorded on 'Teac' 8 track in a studio environment.

The lengthy outro is lifted from '20 jazz Funk Greats - Convincing People'. A classic non sexy slab of sleaze. A constant one note keyboard stab is engulfed by malfunctioning guitars and a doom laden bass line. Chris Carter's keyboards are twisted, dysfunctional and unpleasant.

All of which just goes to prove that they really were one of a kind.

 Solaris. The Mirror. Stalker by ARTEMIEV, EDWARD album cover Studio Album, 1999
2.82 | 8 ratings

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Solaris. The Mirror. Stalker
Edward Artemiev Progressive Electronic

Review by Dobermensch

2 stars I should have paid more attention to the description of this CD before buying. I was expecting the ethereal and creepy sounds from the Andrei Tarkovskiy films of the early 70's. Imagine my disappointment then, on hearing this 1999 re-working of his most well known films.

This is a crushingly dull and cheesy album full of the worst 'New Agey' keyboards, artificial flutes, inane and emotionless electronics you're likely to hear this side of sub-standard 'Tangerine Dream' from the early nineties.

I think it's bang out of order that there's nothing on the sleeve that makes the buyer aware that they're purchasing a re-hash of what were once beautiful sounds. All the Electro-acoustics have vanished - replaced with a sickly, smooth and instantly forgettable vibe that belongs in a TV documentary about sperm whales and dolphins.

The fourth track 'Station' is quite good with a definite 'Blade Runner - Vangelis' feel running throughout. Unfortunately, throughout this recording, the schmalzy parts stand out far more than the interesting sections and they detract enormously. It's like having your head crushed in a vice whilst being force fed bucket loads of chocolate and cake.

What was once haunting now just sounds saccharine.

 Elektronische Mythen by KARG, JÜRGEN album cover Studio Album, 1977
3.77 | 5 ratings

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Elektronische Mythen
Jürgen Karg Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group Moderator

4 stars Magnificent electronic fresh shower that can be called as "non-melodious Hydrus", as if we would enjoy cool clear flavoury Japanese sake.

The A Side "Die Versunkende Stadt - Atlantis" sounds more powerful and violative one than "Vollmond - Selene" upon another side. A ghostly horrible Fantasia beneath his inner mind I imagine. So tense, as if a thin thread in his mind would likely to get broken easily. Unstable but grabs the ground apparently. His powerful attitude and eventually such an earache / headache was constructed purely with his fragile brainstorm indeed. Nothing flamboyant nor formal but pure soundscape by his soul, phantastik.

On the contrary, for me one of the most important progressive electronic ambience this obscurity titled "Vollmond - Selene" is. Obviously this brilliant kaleidoscope sounds like sea waves breaking upon the shore and retreating, sometimes dazzling tone bullets launched here and there. Regardless of some instabilities, no suspicion he would throw so many beautiful electricities which get unified and merged together quite precisely and rigidly. Yes, sounds like we would get a dreamy illuminated illusion via his warm, hearty, but chilling sound eccentric inorganic suite.

Very controversial that each of us could understand or realize what he wanted to do via this mysterious stuff. One might feel he should be a depressor, or another he be a mischievous and childish. Yeah dunno which is correct, and whether both are true or not. But hey, that's all right anyhow. We should make sure that he would have created what he'd meant to do through his inner (and outer?) space, and created such a mysteriously precious electronic suite. No suspicion this album be a gem, and makes sense why nobody knows such a gem.

Get a fruitful atmosphere, and let yourself squeeze into another dimensional dream.

 Already Drowning by BAKER, AIDAN album cover Studio Album, 2013
4.00 | 2 ratings

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Already Drowning
Aidan Baker Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

4 stars Disturbingly beautiful!

Avant Garde and dimly lighted post/folk, post-rock passages, accompanied by a solitary parade of female vocalists, taking turns and "inspiration from various myths and folktales about female water spirits." as this release quotes as an invitation.

To set it clear from the start, this is no Prog/Electronic album as such. Aidan Baker´s, 2013, "Already Drowning" will appeal, to put it in Prog idiom, to those audiophiles who dig Prog´s version of "dark" Folk and the obscure and unpredictable Rock in Opposition taggin without the jokes or strident solutions to its compositions (somewhat like "Art Bears", as a musical reference not a music writing comparison).

The bewitching art cover, could turn out to be the best way to intuit what kind of musical-mood one should expect to encounter, yet this album is quiet colorful when it comes to the tones each female vocalist brings to the table.

Intimate and perfectly arranged, its scattered instrumentation, even if minimalistic, fills the musical environments with an extremely deep and disturbingly beautiful and sad atmosphere that focuses entirely on the lyrics and voices of each collaborator and yet like a siren´s call, hypnotic to the core.

****4 PA stars.

 100 001 by LOOM album cover Singles/EPs/Fan Club/Promo, 2011
3.00 | 1 ratings

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100 001
Loom Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
3 stars Well how can I complain about it sounding like Tangerine Dream?

Jerome FROESE (Tangerine Dream's former-member for over 15 years, he left in 2006 and of course son of Edgar founding member ) and Johannes SCHMOELLING (member of TD in the period 1979-1985) + Robert Waters (non related to TD) gave form to LOOM an outside of TD project by the prodigal son himself.

"100 001", launched in 2011, as an introductory EP release to this Progressive/Electronic formation, states it clear that it will be almost impossible to depart from the "Great White Eagle" influence over decades and well, as my own father used to say, "blood is not chocolate milk".

So even though Jerome has made it quiet clear that "Tangerine Dream was my Dad and my Dad is dead and so is Tangerine Dream.", the apple does not fall that far from the tree. And in addition how can I complain if lots (not all) of the newer thrills of TD's 80's era, were provided by the son himself.

Now, as I have made it quiet clear, I am no big fan of the Tangerine Dream's 80's (or later releases), they fed upon a lot of outside of prog influences (shamelessly, more than once).

But back to this review, I will be a fool not to admit that this EP's 4 tracks have been meticously written, crafted and performed. Its melody lines are intelligent even though they will instantly remind you of the 80's and later, TD's "happy" melody lines, which as I have over-mentioned, would have been strange (and magnificent) not to sound like.

So welcome LOOM to this PA's Progressive/Electronic world you die-hard TD audiophiles, I can bet you will not be disappointed!

I myself will rate it good but not groundbreaking at all ***3 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
ALPHA WAVE MOVEMENT United States
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
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