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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

4.26 | 657 ratings
RUBYCON
Tangerine Dream
4.26 | 208 ratings
MIRAGE
Schulze, Klaus
4.14 | 578 ratings
PHAEDRA
Tangerine Dream
4.16 | 195 ratings
TIMEWIND
Schulze, Klaus
4.16 | 190 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 | 123 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.07 | 140 ratings
NEW AGE OF EARTH
Ashra
4.08 | 88 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.17 | 39 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.06 | 82 ratings
BODY LOVE VOL. 2
Schulze, Klaus
3.99 | 335 ratings
FORCE MAJEURE
Tangerine Dream
4.22 | 27 ratings
LUCIFER RISING
Beausoleil, Bobby
4.35 | 18 ratings
AN ELECTRIC STORM
White Noise
4.42 | 15 ratings
IN COURSE OF TIME
Zanov
4.25 | 22 ratings
BALLET STATIQUE
Schnitzler, Conrad
3.95 | 229 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.16 | 26 ratings
EDGAR ALLAN POE'S THE ISLAND OF THE FAY
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

D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
WUNDERBAR
Riechmann, Wolfgang
HELDON IV: AGNETA NILSSON
Heldon

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Latest Progressive Electronic Music Reviews


 TIME MACHINES by COIL album cover Studio Album, 1998
2.06 | 7 ratings

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TIME MACHINES
Coil Progressive Electronic

Review by Dobermensch

2 stars This sounds like a U.S. experimental weapons Lab in the 1950's where unfortunate victims were forced to listen to mind-crushingly extreme tones in an attempt to make them confess to Communist plots and schemes.

Despite its nice digipack presentation along with a bunch of chemical synthesis square stickers, this is a tedious album.

For a start - what on earth are you supposed to do with these individual and separate self adhesive things? They're pointless - just an add on absurdity. It's not as if they even have any artistic value.

I don't know about you but a small blue circle in a yellow square does not make me jump up and down with glee. This particular sticker with its 'Telepathine' worded message around the border means to 'aid and facilitate telepathic communication among tribal members'.

Each of the four drones represents a certain hallucinogenic chemical which, believe it or not, should induce 'Time Travel'. Main man John Balance said that this album was tested over and over again in an attempt to dissolve time. What on earth can you make of such strange statements? God knows... I'm stumped. It wouldn't be so bad if there was some semblance of tune. Unfortunately there's none. Just constant groaning and moaning- the kind of noises you hear in your head when full of the flu and lying sick in bed. Maybe I need to pump myself full of hallucinogenic chemicals in order to understand their way of thinking.

I'm told this sounds fantastic if listened to on headphones. Right now I don't have the will to even lift my glass of gin and orange to my mouth, never mind scrambling about for a set of bloody headphones.

This is a very dark and sombre album. Extremely minimalist, with the intention of altering the human perception of reality. If you play one track in a loop, you'll either time travel, as Coil intended or go completely mental - like me. Aarrgh!

 The Grand Guignol by SCHLOSS TEGAL album cover Studio Album, 1993
1.79 | 5 ratings

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The Grand Guignol
Schloss Tegal Progressive Electronic

Review by Dobermensch

2 stars Despite being their most reviewed and analysed recording, I find this first 'Schloss Tegal' recording something of a dirge. The internal sleeve photos show victims of Jack The Ripper and pics of Ted Bundy, Jeffrey Dahmer and possibly Henry Lee Lucas. And yes, it does sound how it looks... Ugly.

This is a tuneless scourge of noise. A drone-fest of mechanical grinding whines that is far less inspired than later recordings, which are far more appealing to the misanthropist within me. I bought this in '94 and have rarely listened to it since.

Scraping the layers of dust off the outer casing and listening to it anew has done little to help me see it in a new light. 'The Grand Guignol' resembles sounds that belong in a Pittsburgh Steelworks. Normally I'd love that kind of stuff in it's 'SPK', 'Throbbing Gristle' style of approach, but there's very little to grab hold of here. It's grey, dull and bleak, and has a constant use of original human torture shrieks.

Slurpy, wet background noises have looped murderer vocals laid on top uttering such phrases as ' Hunting for Humans'. over and over again.

More screeching painful sounds follow as droning keyboards wail and throb with 'Certificate of the Wound', where bloody goings on are thrown in your face with male and female groans and whines. It reminds me of 'Mark of the Devil' - that video nasty that was so grim it didn't see a full release until this year.

Spooky and grim - yeah. but on the listenability scale this scores zero. This is the sound of Zombie's biting into your arms translated into entertainment.

"Look at the World' has a hideous looped vocal 'I could kill someone' played over a flat tuneless chord which leaves me wishing I'd left this disc well alone in it's dust covered mummified state. Far better was to follow when they left all this 'murder' filth and depravity behind.

 A Deeper Silence by ROACH, STEVE album cover Studio Album, 2008
4.65 | 3 ratings

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A Deeper Silence
Steve Roach Progressive Electronic

Review by Dobermensch

4 stars Sounding like the aftermath of a nuclear holocaust 'A Deeper Silence' displays all the qualities of Steve Roache's ability. Bleakness and beauty. Just the one long 74 minute track makes up this floating drone album. Beat-less, and with only the sound of keyboards you'd imagine you'd be in for a turgid forgettable experience.

You'd be wrong. 'A Deeper Silence' is one of the best electronic drone albums you'll hear. It's simplistic in approach and in execution. It's the manner in which it's done that raises one eyebrow like Roger Moore in James bond. Slow minimalistic, hazy waves at low volume permeate in the vein that you wish Klaus Schulze or Tangerine Dream would have done if they hadn't gone so awful after the 70's.

'A Deeper Silence' resembles the sounds of the outer edges of the solar system - where you look back at earth and see it as a tiny pin prick of light. Carl Sagan would have loved this. No beats, no rhythms where everything rises and fades into a billowing fog of darkness. It's a warm ethereal blackness that is at once disconcerting but at the same time relaxing.

''A Deeper Silence' seems to have no beginning or end. It all just merges into one huge atonal but beautiful structure that is so completely dark and quiet that you begin hearing waves as though lying on a beach. It's probably the most 'isolationist' of his recordings and may sound like a one man trip to the Sirius system in a spacecraft to some listeners.

Music without meaning. Just pure texture and sound, without anything to grab onto. Perfect in its genre and very difficult to review.

 The Confessional Tapes by BAKER, AIDAN album cover Studio Album, 2015
5.00 | 1 ratings

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The Confessional Tapes
Aidan Baker Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
5 stars Experiments through darkness and beauty.

Aidan Baker's 2015 release "The Confessional Tapes" turns out to be both an unexpected "small wonder" and an extraordinary display of Mr. Baker's best attributes both as performer and as songwriter, compressed into ten all perfectly matched songs, which travel trough, I'm quoting Bandcamp's taggins: Ambient, Drone, Electronica, Experimental Jazz, Post-Rock, Shoegaze, Slowcore and Triphop. I, of course, will bring it closer to the Prog-World by adding Prog/Electronics , Prog´s Post/Math rock and some slight brushes with the Canterbury Scene and the Prog/Folk one.

Yes! This project leans on all kind of directions, it is as sophisticated as it is raw. Mr.Baker himself sings on some of its pieces yet every composition focuses or develops towards unexpected highlights of pure musical beauty, no matter how roughly constructed or performed or which kind of scratch (or glitch) it uses.

Ok but what makes it tick so loud? For starters, composition wise, it is flawless as it is unique. Why? Due to the fact that all those "taggins" or styles actually happen simultaneously in small fragments in each song and are transfigured into Mr. Baker´s self aquired musical ways of expression in the same proportion. And each song, although apparently uncrafted or rough, is meticulous constructed or deconstructed by these blending of crossroads with enough space to dwell freely knowing beforehand, that as in life itself, music coexists among noise and silence.

*****5 PA stars.

 Terra by ALPHA WAVE MOVEMENT album cover Studio Album, 2007
4.00 | 1 ratings

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Terra
Alpha Wave Movement Progressive Electronic

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

— First review of this album —
4 stars For over twenty years now, the Alpha Wave Movement, an alias for composer Gregory Kyryluk, has been delivering a colourful variety of evocative ambient and intelligent progressive electronic atmospheres over the course of more than twenty albums since forming in 1992. `Terra' is comprised of recordings from 2005 that accompanied a DVD of footage of New Zealand's natural landscapes from another ambient musician, Rudy Adrian, and this 2007 CD release adds an additional piece to offer a complete 49 minute album. Listeners don't need the visuals to simply enjoy this tasteful, floating and ambient progressive electronic collection.

With a soothing spectral choir and a gentle piano melody over delicate synth washes, opener `Emerald Passage' is easily one of Gregory's most romantic and loveliest pieces to date. The sedate `Liquid Garden' weaves approaching and retreating synth lulls, drifting ethereal pools, electronic trickles full of wonder and subtle swallowing bass blissfully together. `Slow Motion Halos' is thoughtful and gently melancholic, as careful electric piano raindrops fall around dramatic and elegant cinematic-like synths, yet always restrained.

Faint symphonic orchestral-like synth strains move through `Cloudmaker', and past and future collide throughout `Surrender and Flow', earthy natural tones bridged by cooling electronic waves, with a looping twinkling electronic ripple causing subtle psychedelic disorientation. `Sky Geometry' introduces slivers of percussive elements that move the album into more melodic territory, as well as offering warm and sweeping synth gestures. Album closer and bonus track to the original recordings `Terra Infinitus' is bookended with the ancient mystery of meditative chimes and pretty shimmering synth trills teeming with life and wonder, breaking away in the middle with dramatic looping patterns.

This album makes for an effective overview of several of the different kinds of progressive- electronic and ambient styles found throughout the Alpha Wave Movement discography. Calming and pleasing without ever becoming overly pretty and vapid New Age dreck, `Terra' works best as an unobtrusive background listen, perhaps in a quiet environment, and it would even make for an ideal introduction for newcomers to this project. It's further proof of an artist in Gregory Kyryluk that consistently displays great creativity, warmth and supreme taste in his vision of progressive electronic music, and as always, like all Alpha Wave Movement albums, `Terra' comes highly recommended.

Four stars.

 Dark Zero by RAPOON album cover Studio Album, 2015
3.00 | 1 ratings

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Dark Zero
Rapoon Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
3 stars A darker shade but not that original.

Rapoon aka Robin Storey´s latest sonic experiment "Dark Zero", 2015, is focused entirely on the well known Dark Ambient tagging, which obviously refers to strange and sometimes unmelodical environments as they are also the perfect playground for "obscure" ritualistics or not that friendly musical meditations.

Having said that, the project itself falls short more than once. Maybe the fact that prog electronic´s darker epitome of this kind of language, Lustmord has kind of "trademarked" lots of sonic environments and added up his satanic love to such an extent, that some of these Rapoon´s experiments feel kind of innocent or still on the making.

Great moments but also unimpressive ones. Like a Rapoon returns to Zoviet France (of which he was one of its original members), but as to start from scratch, which in paper may sound interesting, but I mean scratch, primitive 70´s electronics scratch, which by musical evolution itself, sounds outdated in comparison to more experienced works in those DARK fields.

Sadly, worth the trip but not exactly a keeper, meaning good but not enough.

***3 PA stars.

 Ghosts Of Nakhodka by CHALK, ANDREW album cover Studio Album, 2015
4.00 | 1 ratings

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Ghosts Of Nakhodka
Andrew Chalk Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars A westerner´s post-war view of the mystic East.

Short lived electronic poems, with an impending doom flavor in contrast with intriguing and beautiful passages that are as creative as rich in their melody lines, enhanced by their own briefness, the environments it proposes are intended to transport you to those mysterious lands that us westerners observers still perceive or at least still try to feel as full of wonders and yet as fragile as straw.

Its simplicity, its uncompromising closeness to Central European musical canons of "beauty" as opposed to the slight easterly canons it also approaches, its precise and minimal ALL-ELECTRONIC instrumentation, which does not minimize its creative and expansive songwriting, its original musical language and the curious fact that it was never thought to be released publicly (these songs were privately distributed on tape, last year, by Andrew Chalk himself to his friends and acquaintances, who some ended up selling their gift for a 100 euros on the web) ,add up easily for a memorable aquisition.

****4 "prog-electronic" PA stars!

 Pôle by BESOMBES, PHILIPPE album cover Studio Album, 1975
3.81 | 8 ratings

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Pôle
Philippe Besombes Progressive Electronic

Review by Dobermensch

3 stars That sure doesn't look like an ordinary fag that guy is smoking... and don't you just love those old 'Chewbacca' woolly sheep coats people wore without shame in the 70's? What a decade! So tasteless it just makes you laugh out loud and wish you were back in that era where anything was acceptable.

This is an ambitious double album from '75 - around that time where even quadruple albums were acceptable as certain record companies sat back and let the musicians take control. The opener 'Haute pression' is similar to Floyd's 'One of these Days', but replaces bass with a keyboard throb. 'Pole' is a good example of electronic underground rock where there's much experimentation at play. One thing's for sure - this isn't a musical score played from written notes. Nothing is rushed or condensed. It all just seems to play out real-time.

The Paris based 'Pole' label was similar to their 'Cosmic Courier' counterpart in Germany, where many artists came and left as a sort of extended family. This recording has lots of Arp, VCS3 and Mellotron keyboards. The biggest similarity with 'Pole' would be 'The Cosmic Jokers' from Berlin. This is a bit more varied with lots of unidentifiable sounds and electronic phasing.

At a gargantuan 76 minutes they've plenty of time to carry out their arty experiments and it works well. If this were squashed into 40 minutes, I'd imagine it would have been an unholy tangled mess.

The highlight on 'Pole' has to be 'Armature double'. A glum, slowly evolving piece of electronica which comprises Electric piano, Mellotron and sudden bursts of industrial noise, slowly paced and quietly evolving. Where did these guys get possession of such fancy equipment? It's not as if they had huge amounts of money. In those days electronic machines cost an arm and leg. Literally.

Pleasingly it's also well produced, being clear with lots of resonance and dynamics considering its age. However, you can clearly hear their vocal limitations on 'Rock à Montauban ' which are as tuneless as early 'Faust'. but like most European bands of the time - there was no front-man, no leader and vocals are considered as important as what's being played around them. All for one and one for all.

On the final 22 minute track 'Pole' go all out flanger-tastic where every sound is crushed through phaser ridden technology which always brings a smile to my face.

For most listeners this album will sound too directionless, too tuneless with a multitude of 'noodling' and electronic knob twisting to be of any real value. These criticisms are valid, but you have to admit, it's a good laugh.

 Independent Electronic Music Composer by ZAJDA, EDWARD M. album cover Studio Album, 1968
3.00 | 1 ratings

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Independent Electronic Music Composer
Edward M. Zajda Progressive Electronic

Review by Dobermensch

— First review of this album —
3 stars One of many spaced out obscure electronica recordings from this period re-released on the semi-bootleg 'Creel Pone' label from iceland after first appearing on the 'Ars Nova' label.

'Edward M. Zajda' pours forth a heavy synth freakout cut-up recording full of mashed up vocals, tuneless notes and tones and grinding, swaying electro-acoustics . It appears to be his only release. Maybe he felt snubbed and ignored then decided the public didn't deserve to hear his genius?

In 2015, it's nothing special. So much has passed since its release in '68. but that's what makes this all the more remarkable in my mind. I can't imagine the most hardened Floyd 'Ummagumma' or Tangerine Dream 'Electronic Meditation' listener having much time for this.

'Zajda' has a random scatter-gun approach, with various electronic sounds blurting and stabbing at inopportune moments. There's not the slightest hint of tune throughout and should really be classed as 'Musique Concrete' in the style of Michel Chion, or Francis Dhomont.

There's quite a lot of ring modulated sounds at play later on which are heavily edited. I bet this was a lot more difficult to record than it sounds, that's for sure. An album full of knob twisting and button pushing. The most similar recording I can think on would be Malcolm Clarke's BBC Radiophonic Workshop soundtrack for the 1972 Dr Who serial 'The Sea Devils'. It was just as crazy and random, being a real oddity at the time.

Come to think of it, this can't possibly have been released in '68 because there's a cut-up vocal of the moon landing quote 'The Eagle has Landed' from '69. How is this possible? I guess 'Zajda' will just remain an unknown mystery and enigma forever.

 The Delicate Forever by ROACH, STEVE album cover Studio Album, 2014
4.29 | 8 ratings

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The Delicate Forever
Steve Roach Progressive Electronic

Review by Dobermensch

4 stars In a world of make believe this is the way 'Tangerine Dream' would have sounded in 2014 if they'd stuck to their Berlin Electronics school of music. This sounds like the logical outcome, forty years later.

'The Delicate Forever' is a slowly sweeping drone album full of slowly changing quiet keyboard chords. It's all very plaintive and melancholic and sounds like the kind of album you'd want to play at the top of a mountain in mid-summer. The title track has stark resemblances to 'Stars of the Lid' with their excellent release 'The Tired Sounds of...'

Subtle electronic sequences surprisingly come to the fore on 'The Well Spring' which, while not being uplifting, certainly pumps a bit of life into proceedings.

Steve Roach, as usual, has a particular sound and vibe all of his own - where despite the minimalist approach the listener will instantly recognise his trademark ethereal stamp. Considering the bloke's been recording for so long, it's great to see that he refuses to play by anyone else's rules and that he's still so single minded in execution and technique. There are no external influences at all.

There's a definite purity in his recordings which I find highly commendable in this day and age. I used to prefer the music of stable-mate 'Robert Rich' but of late Steve Roach has become more consistent in the quality of his releases.

'The Delicate Forever' has a feel, that if you took a hammer and chisel and tapped at it lightly, the whole thing would fall to pieces like shattered glass.

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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
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
BLUE SAUSAGE INFANT United States
WOLFGANG BOCK Germany
DIDIER BOCQUET France
IAN BODDY United Kingdom
GASTON BORREANI Italy
ADAM CERTAMEN BOWNIK Poland
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
CALDERA United States
TOM CAMERON United States
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK United Kingdom
JOHN CHRISTIAN United Kingdom
CHRISTINE 23 ONNA Japan
THE CIRCULAR RUINS United Kingdom
CLOUDLAND 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
CROP CIRCLES France
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
FASER 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 & ENO United Kingdom
EDGAR FROESE Germany
PETER FROHMADER Germany
KEITH FULLERTON WHITMAN United States
FUTURO ANTICO Multi-National
GALACTIC EXPLORERS Germany
MICHAEL GARRISON United States
MORT GARSON Canada
GRAHAM GETTY United Kingdom
SACHA GIBSON United Kingdom
BRUCE GILBERT United Kingdom
GIRÓN Spain
MATHIAS GRASSOW Germany
GRAUGLANZ Germany
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