Progarchives, the progressive rock ultimate discography

PROGRESSIVE ELECTRONIC

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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


The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of

- Meltdowner
- siLLy puPPy
- Rivertree
- Tapfret
- HarryAngel746

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 | 350 ratings
MIRAGE
Schulze, Klaus
4.23 | 1010 ratings
RUBYCON
Tangerine Dream
4.22 | 334 ratings
TIMEWIND
Schulze, Klaus
4.17 | 874 ratings
PHAEDRA
Tangerine Dream
4.83 | 12 ratings
BARDO
Oöphoi
4.56 | 19 ratings
DECONSECRATED AND PURE
Alio Die
4.42 | 24 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.26 | 45 ratings
IN COURSE OF TIME
Zanov
4.12 | 162 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.35 | 27 ratings
LONG LOST RELATIVES
Syrinx
4.27 | 34 ratings
HORSE ROTORVATOR
Coil
4.07 | 274 ratings
X
Schulze, Klaus
4.16 | 61 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.58 | 14 ratings
OMICRON
Breidablik
4.20 | 43 ratings
CATCH WAVE
Kosugi, Takehisa
4.22 | 37 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.52 | 15 ratings
HONEYSUCKLE
Alio Die
4.76 | 10 ratings
BACK FROM BEYOND
MacFarlane, Ian
4.76 | 10 ratings
A TAPESTRY FOR SOURCERERS
Five Thousand Spirits
4.29 | 26 ratings
LOVE'S SECRET DOMAIN
Coil

Progressive Electronic overlooked and obscure gems albums new


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

DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
SYNTHESIST
Grosskopf, Harald
SYNTHETIK 1
seesselberg
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico

Latest Progressive Electronic Music Reviews


 Live '75 by TELAIO MAGNETICO album cover Live, 1995
3.80 | 19 ratings

BUY
Live '75
Telaio Magnetico Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

4 stars While the "enjoyment factor" plays the biggest part in my rating of an album there are many Avant albums that I own that I have given 4 stars to that I really have had difficulty with, yet I can't deny being so impressed with the compositions they came up with. "Live '75" is a great example of this. Under Electronics here and most sites but under Avant in my house. This is electronic sounding for sure but man you'd be hard pressed to find a more "out there" album and it's live! Led by Italy's leading Avant composer Franco Battiato he picked five other like minded performers and took the show on the road in the south of Italy for a couple of months then they were gone, just like that. Of the six we get two singers male and female who are very adventerous and really use wordless melodies for the most part. A ton of echo in this vocals at times to the point it's scary, like in a psychedelic nightmare.

These are dense and abstract soundscapes where vocals often lead the way with Battiato on electronics, a former I GIGANTI member on farfisa organ, an AKTUALA musician on vibes, percussion, cymbals and tablas, an unknown on oboe and soprano sax and the two singers who often steal the show. A supergroup for sure.

It's hard for me a non-musician to fathom what went into these live shows. As I said before I'm just blown away at the compositions even though they are so difficult to digest. I kept thinking there's probably one poor soul who took LSD having no clue what he was about to experience. This is dark and frightening at times while at others it feels like they are just trying to get on my nerves with the soprano sax and oboe blasting away in the dense music with electronics and farfisa adding layers. Just a crazy sounding album and I believe quite unique.

Again I keep going back to what it must have been like to have been their in person. I can't imagine though I've tried. This wasn't released until 20 years after it was recorded. 42 minutes of music divided into five sections. Kind of samey in that it's pretty much adventerous soundscape music with a similar vibe on each part. An awesome example of those insane vocals is the latter part of "Part II", I mean just bonkers. What I love about music like this is that each listen is a new discovery. So much going on within each track and it is the ultimate headphone album. We do get some crowd noise but almost always in the form of applause to end some of these sections. Other than the guy on cid screaming as he runs out of the back of the building.

This might be worthy of being in my top Avant albums list. The more I listen the more I'm thinking so. Again just shaking my head as I listen right now to this powerful recording.

 Mosaique by SCHROEDER, ROBERT album cover Studio Album, 1981
3.35 | 12 ratings

BUY
Mosaique
Robert Schroeder Progressive Electronic

Review by Matti
Prog Reviewer

3 stars Robert Schroeder could be thought as an apprentice of KLAUS SCHULZE, whose electronic music label Innovative Communication released most of his albums from the debut Harmonic Ascendant (1979) to Pegasus (1989). Since the latter, Schroeder has made only three albums in this millenium; in the 80's he released one album each year except in 1986. This third album, produced and mixed by Schulze, consists of four tracks and features four guest musicians (on guitar, bass and drums).

'Mosaique' (12:03) proceeds gradually in a Schulzean way but repeats angular and sharp synth sounds I'm not fond of. Somehow I'm thinking of Jarre's album Zoolook (1984). Charly Büchel's electric guitar part is angrily distorted, like the one at the end of Pink Floyd's 'Keep Talking'. 'Utopia' begins with repeated synth patterns and the same pig-sounding guitar, but the 6-minute piece turns out to be quite progressive.

The shortest piece 'Aix-la-Chapelle' (4:25) features two drummers giving the music a feeling of a military march. A fairly nice, unexpected "surprise track", although the repeated synth melody remains rather boring. This far I'm personally not very impressed by the album. The preceding ratings without reviews suggest it to be better than the two earlier albums. Well, perhaps this one has more progressive rock elements attached to electronic music. The final track 'Computervoice' (12:33) is a good example of this fusion and for all its sonic dynamics it's the obvious highlight. In its latter half, the synths have airiness and moody melodicism, which is not much the case on other tracks of much colder nature. This is an excellent track but since I'm not so keen on the first two pieces featuring that pig-guitar, I have to stick to three stars.

 Ego Therapy by SURYA KRIS PETERS album cover Studio Album, 2018
4.00 | 2 ratings

BUY
Ego Therapy
Surya Kris Peters Progressive Electronic

Review by Matti
Prog Reviewer

4 stars SURYA KRIS PETERS is the moniker for the solo project of German musician Christian Peters. In 2007 he founded the seemingly still active stoner rock band Samsara Blues Experiment, in which he plays guitar. There are three S.K.P. albums this far. Ego Therapy -- released only digitally -- is the second one, in between The Hermit (2016) and O Jardim Sagrado (2020). Peters plays electric guitar, modular synthesizer and keyboards, and he's accompanied by Jens Vogel on drums and percussion.

Especially for the 15-minute opener 'Angels in Bad Places', the subgenre might have as well been Krautrock instead of Progressive Electronic. The music is very, very trippy. Popol Vuh and Klaus Schulze are mentioned as influences in the artist bio, but unlike with those, in this music the electric guitar and percussion are central. However, the ever present synth carpet is very thick and layered, in the style of Ash Ra Tempel, Amon Düül II or even the early Tangerine Dream.

Most of the 53-minute album's ten tracks are roughly between two and five minutes. The title piece has some New Age -like meditative spirit in the slow tempo synth washes. The rhythm pattern of the acoustic percussion creates a hypnotic feel, and the electric guitar is used sparingly. If you removed the slightly distorted guitars, the faster-paced and more drums-heavy 'Beyond the Sun' could serve as an instrumental backing track for an early 80's synth-pop artist. Six minutes' length is perhaps more than enough for this. The album keeps operating between psychedelic Krautrock and electronic music, at times reminiscent of Tomita, at times the poppier side of Jean Michel Jarre. Also a psychedelic Pink Floyd influence can be heard. The guitar is present to a varying degree. In the heart of the 2½-minute 'Wizard's Dream' is an improv-styled guitar playing. One negative notion I have about this album is that the guitar sound tends to stay rather similar all the way: a bit gritty and distorted, typical for stoner rock. A good thing is that the latter half of the album shifts the emphasis more on synths and and electronic music, further from Krautrock.

The relatively catchy, synth-centred 'Gemini IV (The Sky Is Open)' contains astronaut's voices. 'Sleeping Willow' also concentrates on synths, this time with a slight Vangelis resemblence, and 'A Fading Spark' (1:56) is rooted on a sharp- toned synth riff. The closing piece 'Atomic Clock' (8:14) makes me think of the latter half of the Tangerine Dream track 'Through Metamorphic Rocks' (on Force Majeure, 1979). Due to the increasing variety in style, my 3½ stars deserve to be rounded upwards.

 Oracle by SHREEVE, MARK album cover Studio Album, 1986
2.00 | 1 ratings

BUY
Oracle
Mark Shreeve Progressive Electronic

Review by Matti
Prog Reviewer

— First review of this album —
2 stars Mark Shreeve, 2 June 1957 -- 31 August 2022(!), was a British electronic music composer. His discography of 15 albums is sadly totally unreviewed here, just a handful of practically useless ratings without reviews. There are reviews for the electro-band REDSHIFT which he founded in 1996 with his brother Julian Shreeve, James Goddard and Rob Jenkins. Having only listened to a couple of Redshift albums (lengthy pieces of music comparable to Tangerine Dream and Klaus Schulze), I didn't know what to expect from this album I found from Youtube.

Oracle is the eighth album of Mark Shreeve. It starts with the highly energetic 'Blade Runner' which doesn't really have much to do with the marvelously sensual VANGELIS soundtrack. Vangelis never "rocks" like this piece. [In addition to the catchy Blade Runner theme, his album Direct (1988) Vangelis did approach this kind of a pop direction, but certainly not to a degree of this music.] It seems Shreeve has sampled details from 'Welcome to the Pleasure Dome', the 1984 hit of Frankie Goes To Hollywood, to a great effect. Also 'Myriad of Colours' has a powerful drive and even a fuller soundscape. Heavy drum programming and all kinds of synth crashes that make the ones in 'Owner of a Lonely Heart' sound lame. Very catchy this is, but frankly too hyperactive for me to enjoy without reservations. Think of adrenalin-fuelled early THOMAS DOLBY without vocals.

'Mephisto' (the longest track of the seven, at 7:12) continues with the rhythmically and sonically muscular direction. I begin to miss more dynamic variety and, most of all, more sensitivity. The second vinyl side begins with 'Shadowplay' that brings nothing new to the table. BTW, Chris Franke of Tangerine Dream is guesting on it.

Admittedly the music is well produced, much better actually than a lot of synth-centred popular music of the time. But sad to say, the term over-produced wouldn't be out of place here. 'The Ice Queen' gracefully slows the tempo and thus gives the moody melody the deserved attention. Shreeve's cool guitar playing is a nice additional ingredient to the synthetic soundscape. 'After the Silence' is fairly similar to 'The Ice Queen'. The use of synthesizers is delicious here, from the trumpet-like melody line to a particular bright riff that reminds me of a song on the album Il Sole Nella Pioggia (1989) by ALICE, the Italian singer. Oracle's final piece 'Thunderdome' perhaps namely nods to the second Mad Max movie (1985). Stylistically it's a return to what was heard before the previous slower pieces.

So, if you want some really catchy and bold synth-centred instrumental music, try this one. I feel disappointed to the album whole, because production-wise there would have been opportunities to make a great and dynamic album. Two or three stars? Maybe two's enough, despite all the strengths heard on this album.

 Mountain Music by POTTER, NIC album cover Studio Album, 1984
2.13 | 4 ratings

BUY
Mountain Music
Nic Potter Progressive Electronic

Review by Matti
Prog Reviewer

2 stars -- First review for this album --

Nic Potter's name is recognized by all connoisseurs of VAN DER GRAAF GENERATOR in which he played bass in the early 70's and in '77-'78, as well as on several Peter Hammill solo albums. But fewer are aware of his solo output that perhaps surprisingly falls under the category of Progressive Electronic. Although at least on ground of this album, the only one I've listened to, the term 'progressive' is frankly very questionable.

Mountain Music is Potter's debut album (some sources say it was released already in 1983). It is almost entirely played by Potter on bass, synths and piano. Huw Lloyd-Langton plays guitar on two tracks and John Ellis on one. The VdGG partner Guy Evans appears on percussion on three tracks. 'Morning Suite' is a dreamy and slightly melancholic piece centering on soft synth sounds. It reminds me of PETER DAVISON's similar-toned electronic/New Age album Winds of Space (1987). The second, guitar-featured piece 'Paradise Journey' is more upbeat with programmed percussion which is a bit too dominant, but the repeated melody is fairly nice.

'Tropical Tones' returns to the softer sounds. I'm not saying the synth sound would be similar but in a way I'm thinking of the instrumentals on A Curious Feeling (1979) by Tony Banks. 'Middle Street Dream' builds a dreamy, bright-toned synth melody on top of a clinical rhythm pattern, despite the presence of Evans. 'Night Falls Over Europe' is again more upbeat number. One could think of the synth-centred film music of GIORGIO MORODER (Midnigh Express, for example). There's an urban, nocturnal "noir" atmosphere. 'The Forest' on which John Ellis plays perhaps the album's most distinctive electric guitar participation continues in the same style. The programmed drums are on the foreground. Sadly too much so, on the album whole.

With eight tracks of regular song length, the album is also rather short (32:24). I'm afraid it's more of a curiosity -- with a certain nostalgia factor if you have lived the early eighties and listened to the synth music of the time -- than a musically enduring work of art. The melodies are often quite nice, to say the least, but the compositions do not have much of a progress. The featured co-musicians do only a little to widen the album's sonic pallette. The synth work and programmed sounds are at times similar to what Peter-John Vettese did on Jethro Tull albums The Broadsword and the Beast (1982) and Under Wraps (1984). This instrumental album remains a bit hollow, and if Nic Potter had collaborated with some vocalist -- in the Jon & Vangelis manner -- the results might have been more interesting. 2½ stars rounded down.

 Chrysalide by MOULINIE, MICHEL album cover Studio Album, 1978
4.05 | 2 ratings

BUY
Chrysalide
Michel Moulinie Progressive Electronic

Review by Matti
Prog Reviewer

4 stars Michel Moulinié (1945 - 2022) was a guitarist/ multi-instrumentalist from France. He played guitars on Ange's leading figure Francis Décamps' solo debut Histoire de Fou (1979), but a year before that he released his own album Chrysalide which has remained his only one. At the moment Discogs lists eleven vinyls on sale, from 33 euros upwards. No re-releases have been made. As usual with my recent premier reviews, I'm listening the album from Youtube.

So, despite being categorized here as Progressive Electronic, this album is basically not about synthesizers. The main instrument is an electric 12-string guitar. Only bass and violin are mentioned too, but the spacey soundscape admittedly could be described as electronic music, no matter how and with what instruments the music is produced exactly. Probably the best reference of all ProgArchives artists is the ASHRA frontman MANUEL GÖTTSCHING and his solo debut Inventions for Electric Guitar (1975). There's a Krautrock-related, thickly psychedelic feeling in Moulinié's album.

'Le Ballet des Mouches' endlessly repeats and variates, in a minimalistic manner, a 12-string & bass riff, and there's electrified, early MIKE OLDFIELD (Tubular Bells) reminding guitar soloing in this progressive ambient piece. On the background there's a spacey soundcarpet that sounds a bit like a Mellotron -- undoubtedly played on violin. 'Les Cordes de la Mer' is built in a similar way rooted on repetition. I'm not an expert in this field of music, but I believe the names of artists such as TERRY RILEY and even PHILIP GLASS can give you some orientation.

No point describing each of the five tracks in detail; the hypnotic repetition of minimalism meets Kosmische Musik (Ashra, even the early Tangerine Dream to some extent), starring a guitarist with a Steve Hillage -like psychedelic touch. A regular music listener would undoubtedly completely lack the patience for listening to this abstract, monotonous-on-the-surface stuff for 37 minutes, but it's a unique and at least potentially fascinating one of a kind, recommended to advanced listeners who have an acquaintance in ambient music, electronic music / Kosmische Musik and the musical ideas of minimalism. The bizarre cover art really fits the music!

 Honeysuckle by ALIO DIE album cover Studio Album, 2011
4.52 | 15 ratings

BUY
Honeysuckle
Alio Die Progressive Electronic

Review by Dapper~Blueberries

4 stars Some artists have made a lot of albums, some artists made albums with big winding epics and long tracks, and then there is Alio Die, who manages to do both. Progressive Electronic, more exactly ambient music has been a genre I have been following ever since the start of this year with the help of Brian Eno. I find a warm sense of nostalgia and hope for this genre of music, so much so that one of my favorite albums that came out this year was a Prog electronic album. It is a genre that I think isn't exactly for everyone, but it is certainly one that can give an experience like no other. One of the main selling points for the genre, and artists as a whole is how many albums and artists can make with the genre. One of the most prolific artists who come from this genre, Brian Eno, has over 30 albums, and the most popular Prog Electronic band, Tangerine Dream, has nearly 100 albums. It is a genre in which you get a lot out of, but still, have a lot more stuff to look into. Recently I have been following an artist for a bit, that being Alio Die.

Stefano Musso's drone and ambient project, Alio Die, came about in the late 80s and or early 90s. He has made over 60 albums under the Alio Die name, with collaborations included. He has worked with many other prominent figures in the progressive electronic scene, most notably for this work of his, Stefano Musso, who has been with the project ever since the first album, Under An Holy Ritual. This project of his has built a track record of creating long ambient pieces, one of which reaching to be an hour long. I have been following him for quite a bit after hearing one of his recent albums this year, that being Distillation of Time, which I have reviewed before. While I was mixed about the album, I was intrigued by how his other albums differ, and gotta say at a first glance they do not feel the same, but if you pay attention you find noticeable details in his music that show his very high demeanor work effort.

The title track for this album kicks it off in a massive way. The best and most fulfilling experience for this album is with a good set of headphones or stereo speakers. Try to remain in a mostly silent place where nothing is going on for the most part and try to shut your mind off. Do not pay attention to the music per se, let it pay attention to you if that makes sense. The repetitive yet calm drone and soothing synths are the main staples of this track, and the longer you allow yourself to relax your mind, the longer the song lets those two factors wash over you much more easily. From a musical standpoint, this track is very bare bones and lackluster, but if you do not look at it as a musical piece and instead something like a painting, then you'll get a ton out of it. This reminds me of a time I went to a museum with my mom. I cannot remember the music that was being played in the museum, but I do remember the feeling of looking at some very interesting paintings. They weren't my favorite paintings ever, but that experience is what I get with the track. I may not remember the full picture, but I can know what it felt like to allow the scenery and everything around me to shower me. This track works best when you focus on it for a change. Allow the track to listen to you, rather than you listening to it. That is how you can allow this piece of music to be fully understood and appreciated.

This also plays into effect with the second track of the album, Innamorato, however, unlike the feeling I get with looking at a painting or being in a museum, I feel like I am in an aquarium. That same feeling I have with this song applies to my memories of going to an aquarium for the first time, since the song feels cold and blue, yet not in a sad way, but more in a tranquil way. How everything feels abstract and wobbly around it, how everything seems to bleed into each other, it feels very distant, yet very close as well. I am not going to pretend that this is groundbreaking in terms of ambient music sake, since a good amount of artists have made albums that do give this feeling as well, so in that retrospect, it might feel silly to point out something that other artists have done in the past, and the future, but I feel like that shouldn't be something to worry about. At the end of the day, the point of ambient music isn't to be big and verbose, but to give off feelings we might point to based on our life experiences, and based on that this piece, while practically being the shortest in every sense of the word, does indeed excel in that regard.

Lastly, is the three-part suite of Honey Mushroom. This one is an odd one for me since to me it doesn't bring back any nostalgic memories at all. I do feel like this is a more woodland feeling track, with the light acoustics in the back peering their heads out like how trees sprout in the ground, but I can never recall a memory of being out in a forest. My lack of nostalgic childhood memories for a forest sadly makes this probably the weakest track off the album, and it's not that it is a bad track, but the album had a good streak of making me feel nostalgic, and this piece comes along and ends it. It doesn't break the album, but it doesn't make it either. I say this track should've been put on a separate album and instead allow Innamorato to be a long piece of sorts, this way the album's feeling of nostalgia remains the same. Now whether Alio Die's intention for this album was to create a sense of nostalgia is unknown to me, but if I were him I would leave this track on the cutting room floor and expand more parts of the album that I think deserve more attention, and more opportunities to wash over the listener's body.

On that low note aside, this album can make a good experience as a whole. It may not be the best album out there, it certainly isn't, but I think it isn't harmful to at least give it a try, and maybe find something about it that might relate to something from your past, who knows maybe my thoughts and feelings for these songs and how they made me look back on my past might be hugely different than yours. Give it a chance.

 Plein Soleil by FITOUSSI, JONATHAN album cover Studio Album, 2020
3.00 | 1 ratings

BUY
Plein Soleil
Jonathan Fitoussi Progressive Electronic

Review by Matti
Prog Reviewer

— First review of this album —
3 stars This is the debut and only album by French electronic music composer Jonathan Fitoussi (b. 1978). According to his web page he "is engaged in practices of analog and modular synthesis, projects supported by the pioneers of electronic music like Suzanne Ciani and Morton Subotnick", and his CV includes cinematic scores and collaborations with e.g. The Paris Opera and the world of fashion. He also has composed for several bands and is a co-founder of a French record label.

Plein Soleil is entirely played by Fitoussi (Buchla, Synthi, Moog, Pro-One, Cristal Baschet, piano, organ, bass). There are nine pieces of a fairly regular length, from three to almost seven minutes. The opening track 'Oceans' is slow-paced, calm and spacey ambient music, a meditative and very even sound texture. 'Rayons Solaires' has bright, high-toned notes bouncing on the pulsative bottom pattern, in a purely digital, cold atmosphere. 'Continent Blanc' is again slow ambient but with a wider sonic dynamics than on the first track. The listener can just let his/her whole consciousness float upon the music.

The 48-minute album continues in the meditative style balancing between slow, vast spaceyness and the bright, crystalline sounds creating a computer-like mood. I guess the terrible term New Age would fit here: the music functions as a canvas for the listener's inner visions, as a hypnotic sonic universe to dive into. But in comparison to the more typical New Age / Relaxation Music which can feel very calculated and clichéd, Fitoussi delivers more original and experimental ambient soundscapes. On tracks such as 'Amazonie' synths are used for creating a sense of hand percussion.

Ambient oriented electronic artists such as STEVE ROACH, ROBERT RICH, CONSTANCE DEMBY and NIK TYNDALL could be mentioned as musical references. This is a deep spirited and well produced album with no bad tracks per se, but I personally miss some more melodic approach thrown in the predominantly meditative music. Because none of the tracks really sticks out as an emotionally moving highlight, I'll round my 3½ stars down.

 Eyeless Dreams by DÜREN, WOLFGANG album cover Studio Album, 1980
4.00 | 1 ratings

BUY
Eyeless Dreams
Wolfgang Düren Progressive Electronic

Review by Matti
Prog Reviewer

— First review of this album —
4 stars I enjoy finding and reviewing previously unreviewed artists here, and the electronic genre seems very suitable for that activity. Here's a German one-off. According to Discogs, Wolfgang Düren (b. 1956) was raised on the music of the fertile German underground, and in the early 70's he played guitar in a few bands whilst he also studied electronic musical instruments. In the late 70's he become a roadie and sequencer programmer for Tangerine Dream. After several years of distributing PPG synthesizers, he founded Waldorf Electronics, manufacturer of various popular synthesizers in 1988. His sole LP has become a rarity buit it's entirely available in YouTube (hence this review).

"Waving Berlin School's cold style" is very well said in the artist info. Yes, I sense a certain coldness in this synthesizer music. And yet it's not downright uncomfortable or hostile -- with some exceptions increasing the dynamics. The album consists of five tracks between 5 and 10 minutes length. 'Eyeless Dream I' has a powerful beginning with hypnotically swirling synths, and at 2:14 starts a more rhythmic section, reminiscent of what the artists in the Innovative Communication label would release sometime later. If I was told this piece to be from 1990 instead of 1980 I'd most likely believe it. There's certainly also a strong influence of TANGERINE DREAM of the time, albums such as Tangram (1980) in which Düren probably was involved as a programmer. 'Phila' (9:53) is more experimental at first, in the similar hollow way as Vangelis' Beaubourgh (yaaawn), but rewardingly it gets air beneath its wings in a Tangerine Dream like manner. One reference could be 'Madrigal Meridian' on Cyclone (1978), minus its greater progression due to its greater length.

All of '904' hasn't aged very well. Some sounds on it make me think of film music by GIORGIO MORODER, and one of the synths playing the main melody is a bit too sharp to my ears, but another -- Micromoog? -- sounds nicer and gives me a Rick Wakeman association. 'Proton' is cold indeed, like you were lost in a vast ice cave. Oh, and a sudden sonic burst suggests there's an unknown enemy you need to escape from. A threatening, otherworldly SciFi atmosphere.

The final track 'Eyeless Dream II' starts with a German-language narration by Bettina Weber which doesn't last very long, leaving the cold synth music to wander around hesitatively and introspectively, as if begging for the return of Bettina's voice, which does come back briefly. Too bad I don't understand German, would have been interesting to know what are the lyrics about.

Whilst I'm not exactly warming to everything heard on this cold and dark album, it surely deserves a good rating. A mint copy of this LP would cost about 100 euros.

 Prince by DESBOUIS, JEAN-MICHEL album cover Studio Album, 1982
4.00 | 6 ratings

BUY
Prince
Jean-Michel Desbouis Progressive Electronic

Review by Matti
Prog Reviewer

4 stars -- First review for this album --

Another electronic music rarity released on a very obscure label, this time from France. Not much of information can be found on Jean-Michel Desbouis, but undoubtedly the presence of vocalist Stella Vander (Magma) on a couple of tracks has helped this album to reach a high-priced cult status.

The vinyl sides are titled, implying some sort of a narrative level behind music. The first side is "Voyage de la Terre a l'Ether". 'Voyage' (16:00) uses plenty of time to set the mysterious and yet relatively harmonic atmosphere before the multi-layered synth soundscape starts pulsating vibrantly, taking the listener to an otherworldly voyage. It's difficult not to refer to TANGERINE DREAM with just about any electronic artist, and it's fairly reasonable in this case too, but it must be pointed out that Desbouis's music is not a soundalike of the idols, like my yesterday's artist Mick Clarke tended to be. Nor does the music have a clear retro stamp on it (for being made in the early 80's), instead I'm thinking of artists such as MERGENER & WEISSER on the German label Innovative Communication whose haydays were a bit later. Very likely one of Desbouis's influences has been his countryman JEAN-MICHEL JARRE, but he's not copying him either.

'De la Terre a l'Ether' (5:35) is mesmerizing. Synthwork is versatile, stretching from slow-tempo "waves on the shoreline", figuratively speaking, to a pianistic approach and slightly Wakemanesque but serene synth soloing, and the piece is crowned by beautiful singing (with lyrics in French) by Stella Vander.

The three-part second side "Les Fils du Ciel" starts with a tight 'Prince' in which the synths howl and whirl intensively. The middle part 'Les Fils du Ciel' (12:30) is the other track to feature Stella Vander's vocals and predictably it's another highlight as well. The serene first third is very much carried by the vocals, the instrumental middle section is more energetic in a higher tempo, and the final third slows down to a newage-like relaxed mood which distantly reminds me of the mood in the final section 'Soon' in Yes's 'The Gates of Delirium'. The closing piece 'Univers' is perhaps closest to the soundscapes of Jean-Michel Jarre circa Oxygene. Also ROBERT SCHROEDER has sounded rather similar. In the end the music fades away with bright chimes familiar from 'Wot Gorilla?' by Genesis.

All in all this album is a coherent, dynamic, exciting and easily enjoyable work of electronic music, perfected by beautiful female vocals -- that I surely would have liked to hear even more too.

Data cached

Progressive Electronic bands/artists list

Bands/Artists Country
12 FOLLOWERS United States
6LA8 Pakistan
A LA PING PONG Germany
ACI Germany
AEON France
AETHENOR Multi-National
AFTERLIFE United States
ILDEFONSO AGUILAR Spain
PEKKA AIRAKSINEN Finland
AIRSCULPTURE United Kingdom
ALBERGO INTERGALATTICO SPAZIALE Italy
ALIO DIE Italy
ALLEGORY CHAPEL LTD United States
DAEVID ALLEN & MICROCOSMIC United Kingdom
ALLUSTE Italy
ALPHA WAVE MOVEMENT United States
ALTO STRATUS United Kingdom
AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
ANNA SJALV TREDJE Sweden
ARC United Kingdom
ARECIBO United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ARZATHON Sweden
ASCOIL SUN Finland
ASHRA Germany
ASTRAL TV Denmark
THE ASTROBOY Portugal
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
RICHARD BARBIERI United Kingdom
BASS COMMUNION United Kingdom
JOHN BATTEMA United States
BAUMANN / KOEK Germany
PETER BAUMANN Germany
BEAR BONES LAY LOW Venezuela
BOBBY BEAUSOLEIL United States
CARLOS BELTRÁN Mexico
LÁSZLÓ BENKÖ Hungary
PHILIPPE BESOMBES France
BETWEEN INTERVAL Sweden
BEYOND BERLIN Netherlands
MAURIZIO BIANCHI Italy
BIG ROBOT Norway
BIOSPHERE Norway
BITCHIN BAJAS United States
BIZARE KO.KO.KO. Austria
BLACK UNICORN United States
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
BOYS OF SUMMER Ireland
BREIDABLIK Norway
OLIVIER BRIAND France
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
SAMUEL CADIMA Portugal
CALDERA United States
TOM CAMERON United States
DALLAS CAMPBELL United States
JAVI CANOVAS Spain
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK United Kingdom
JOHN CHRISTIAN United Kingdom
CHRISTINE 23 ONNA Japan
CHURCH OF HED United States
THE CIRCULAR RUINS United Kingdom
MICK CLARKE United Kingdom
CLOUDLAND BALLROOM Ireland
CLOUDLAND CANYON United States
COIL United Kingdom
COMA VIRUS Germany
PASCAL COMELADE France
COMPUTERCHEMIST United Kingdom
CON HERTZ Germany
CONTRASTATE United Kingdom
COSMIC DEBRIS United States
COSMIC GROUND Germany
COSMIC HOFFMANN Germany
CRAWL UNIT United States
CREMATOR United Kingdom
CROP CIRCLES France
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRÀ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
DEATHCOUNT IN SILICONE VALLEY United Kingdom
JEAN-MICHEL DESBOUIS France
DEUTSCHE WERTARBEIT Germany
NICOLAS DICK France
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
SERGEI DJOKANOV Bulgaria
DR. PHILTER BANX Canada
DR. SPACE'S ALIEN PLANET TRIP Denmark
HEINRICH DRESSEL Italy
DROKK United Kingdom
DSR LINES Belgium
WOLFGANG DÜREN Germany
DYNAMO SNACKBAR United Kingdom
E-MUSIKGRUPPE LUX OHR Finland
EARTHSTAR Multi-National
EDEN France
ELEKTRIKTUS Italy
ELICOIDE Italy
EMERALDS United States
J.D EMMANUEL United States
ENDOPLASMIC FLOW Multi-National
BRIAN ENO United Kingdom
ENVENOMIST United States
EXPO 70 United States
F.G EXPERIMENTAL LABORATORY Switzerland
FRANCO FALSINI Italy
FANGER & SCHÖNWÄLDER Germany
FARBFELDE United States
FASER Germany
FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
FHIEVEL Italy
FILTER-KAFFEE Germany
JONATHAN FITOUSSI France
FIVE THOUSAND SPIRITS Italy
FLAMEN DIALIS France
FLUXUS United Kingdom
FORMA United States
FOVEA HEX Ireland
FREE SYSTEM PROJEKT Netherlands
FRIPP & ENO United Kingdom
EDGAR FROESE Germany
JEROME FROESE Germany
PETER FROHMADER Germany
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
GNOHGNUHGNLUS (DOLULUS) Switzerland
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
PHILIPPE GUERRE France
CARLOS GUIRAO Spain
BRUCE HAACK Canada
HALL OF MIRRORS Italy
PETER MICHAEL HAMEL Germany
HARMONIA Germany
STEVE HAUSCHILDT United States
HEADSHOCK United Kingdom
TIM HECKER Canada
HELDON France
HEMMELIG TEMPO Norway
ROBERT HENKE Germany
JACK HERTZ United States
MICHAEL HOENIG Germany
HOLLAN HOLMES United States
HORSE PALACE Canada
HARUOMI HOSONO Japan
PETER HOWELL & THE RADIOPHONIC WORKSHOP United Kingdom
EPPIE E. HULSHOF Netherlands
HYDRAVION France
HYDRUS Italy
HYPNOSPHERE Germany
GIUSEPPE IELASI Italy
INVOLVED United States
IVERSEN Norway
JAZZCOMPUTER.ORG France
JENZEITS United States
JESDAT Spain
JIHEL France
GUSTAVO JOBIM Brazil
EDDIE JOBSON United Kingdom
FRYDERYK JONA Germany
JONAS MUNK & NICKLAS SØRENSEN Denmark
JONATHAN Germany
ARIEL KALMA Australia
JÜRGEN KARG Germany
KASHMIR Switzerland
KHA - YM France
BERND KISTENMACHER Germany
KITARO Japan
KL(AÜS) Australia
KNITTING BY TWILIGHT United States
JEFFREY KOEPPER United States
KOROIEV Spain
KOSMOGON Sweden
KÖSMONAUT United States
TAKEHISA KOSUGI Japan
ESA KOTILAINEN Finland
KRAFTWERK Germany
MIHA KRALJ Yugoslavia
KLAUS KRÜGER Germany
KUBUSSCHNITT Germany
RICHARD LAINHART United States
LAMBWOOL France
PASCAL LANGUIRAND Canada
LAOZI Georgia
TEDDY LASRY France
STÉPHANE LEMAIRE France
IGOR LEN Russia
FRANCO LEPRINO Italy
LEROUGE France
NED LAGIN & PHIL LESH United States
CECIL LEUTER France
LIGHTWAVE France
LIIR BU FER Italy
LILIENTAL Germany
OKSANA LINDE Venezuela
JOHN LIVENGOOD France
LOGIC GATE United States
LONG DISTANCE POISON United States
LOOM Germany
BERTRAND LOREAU France
RÜDIGER LORENZ Germany
LORQ DAMON United States
LULL United Kingdom
LUNAR MIASMA Greece
TOR LUNDVALL United States
LUSTMORD United Kingdom
LYDHODE Norway
BJØRN LYNNE Norway
IAN MACFARLANE Australia
MAEROR TRI Germany
MAGINA Portugal
PEPE MAINA Italy
MAJEURE United States
MAKO Austria
ERIC MALMBERG Sweden
MAR-VISTA France
MARIBOR Italy
RUNE MARTINSEN & ØYSTEIN JØRGENSEN Norway
ANDREA MARUTTI Italy
MEERKAT Italy
WOLFGANG MERX Germany
METATAG Norway
EMERSON MEYERS United States
MICKIE D'S UNICORN Germany
CLAUDIO MILANO Italy
THE MINISTRY OF INSIDE THINGS United States
JAVIER MIRANDA Spain
DIETER MOEBIUS Germany
MOKSHA United Kingdom
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
KLAUS MORLOCK United States
SCOTT MOSHER United States
MOTHER MALLARD'S PORTABLE MASTERPIECE CO. United States
MICHEL MOULINIE France
MOUNTAIN OCEAN SUN Japan
MOUNTAINS United States
THE ALMAN MULO BAND United Kingdom
JONAS MUNK Denmark
MUSHY Italy
IAN NAGOSKI United States
PETE NAMLOOK Germany
NAUTILUS Germany
NAZI UFO COMMANDER Italy
NEMESIS Finland
NEPTUNE TOWERS Norway
NEURONIUM Spain
NEVER KNOWN Italy
NEWCLEAR WAVES Italy
THE NIGHTCRAWLERS United States
NIMH Italy
NIMH + M.B Italy
NISUS Belgium
NODE United Kingdom
NUMINA United States
OMIT (CLINTON WILLIAMS) New Zealand
ONEOHTRIX POINT NEVER United States
OÖPHOI Italy
OSCILLOTRON Sweden
OSE France
P'COCK Germany
P'FAUN Germany
PALADIN United Kingdom
PANABRITE United States
STEPHEN PARSICK Germany
PEAK Australia
PETER M. Italy
PHROZENLIGHT Netherlands
RICHARD PINHAS France
CHRISTOPHE POISSON France
POLE France
BRENDAN POLLARD United Kingdom
TJ PORTER Canada
COLIN POTTER United Kingdom
NIC POTTER United Kingdom
ROGER POWELL United States
DAVID PRESCOTT United States
THE PRESENT MOMENT United States
DAVID PRITCHARD Canada
PROPELLER ISLAND Germany
PRZEMYSLAW RUDZ Poland
PULSE EMITTER United States
PYTHAGORON United States
QUAESCHNING & SCHNAUSS Germany
QUARKS Chile
RADIATION Russia
RADIO MASSACRE INTERNATIONAL United Kingdom
LUTZ RAHN Germany
NIK RAICEVIC United States
RAINBOW GENERATOR Australia
RAINBOW SERPENT Germany
RAISON D'ETRE Sweden
RAPOON United Kingdom
REALTIME Germany
TOM RECCHION United States
REDSHIFT United Kingdom
JONAS REINHARDT United States
ALEJANDRO VILLALÓN RENAUD Mexico
ROBERT RICH United States
CHRISTIAN RICHET France
WOLFGANG RIECHMANN Germany
STEVE ROACH United States
HANS-JOACHIM ROEDELIUS Germany
HENRI ROGER France
ROGUE ELEMENT United Kingdom
ROGUE SPORE Ireland
THOMAS RONKIN United States
SAB Japan
SAFIYYA United States
SANGIULIANO Italy
SANKT OTTEN Germany
SATAN ALFA BEEL ATEM Japan
SAYER United States
GÜNTER SCHICKERT Germany
SCHLOSS TEGAL United States
CONRAD SCHNITZLER Germany
EBERHARD SCHOENER Germany
ROBERT SCHROEDER Germany
KLAUS SCHULZE Germany
SEESSELBERG Germany
SEQUENTIA LEGENDA France
SERGE RAMSES France
MARK SHEEKY United Kingdom
SHOGUN KUNITOKI Finland
MARK SHREEVE United Kingdom
FREDERICH SHULLER Romania
SIJ Ukraine
SIL MUIR Italy
THE SILVER SURFER Spain
THE SILVERMAN United Kingdom
SINIAALTO Finland
SINOIA CAVES Canada
JAKOB SKØTT Denmark
SKYRAMPS United States
SLOWS United Kingdom
SOFTWARE Germany
SONISK BLODBAD Multi-National
SOUNDS OF NEW SOMA Germany
SPACE ALLIANCE Italy
SPACE ART France
SPACE MACHINE Japan
SPACE SWEEPER United States
SPACECRAFT France
SPERM Finland
STARDRIVE United States
MICHAEL STEARNS United States
STELLARDRONE Lithuania
STUDIO KOSMISCHE United Kingdom
SUBINTERIOR Italy
SURYA KRIS PETERS Germany
SUSPIRIUM United Kingdom
SYRINX Canada
JUTA TAKAHASHI Japan
TANGERINE DREAM Germany
TANGRAM Hungary
TELAIO MAGNETICO Italy
DR. FIORELLA TERENZI Italy
TETRA Canada
THANECO Greece
THOUGHT BUBBLE United Kingdom
THOUGHT GUILD United States
THREE SUNS Austria
THROBBING GRISTLE United Kingdom
ASMUS TIETCHENS Germany
TIPU SABZAWAAR Multi-National
TOMUTONTTU Finland
TÖNEN United States
TONTO'S EXPANDING HEAD BAND United Kingdom
TORTURE GNOSIS Multi-National
TOTAL STATION Russia
TRANCE United States
TRANQUILLITY Germany
TRANSPARENT ILLUSION United Kingdom
ROLF TROSTEL Germany
UDDER MILK DECAY United Kingdom
MATTEO UGGERI Italy
UMBERTO United States
UNATTA United States
URNA Italy
VAKO Spain
VANDERSON Poland
JOEL VANDROOGENBROECK Switzerland
PATRICK VIAN France
VIDNA OBMANA Belgium
VIETGROVE United Kingdom
VLUBÄ Argentina
VOICE OF EYE United States
VOLT United Kingdom
ADELBERT VON DEYEN Germany
VON HAULSHOVEN Netherlands
ADRIAN WAGNER United Kingdom
RICHARD WAHNFRIED Germany
IGOR WAKHÉVITCH France
WAVEMAKER United Kingdom
WAVESTAR United Kingdom
PHILLIP WERREN Canada
WHITE NOISE United Kingdom
KEITH FULLERTON WHITMAN United States
PATRICK WIKLACZ France
TERJE WINTHER Norway
WINTHERSTORMER Norway
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
ZADRI & MO France
EDWARD M. ZAJDA United States
ZALYS France
ZANOV France
ZED France
ZOLTAN United Kingdom
ZOMBI United States
ZORCH United Kingdom
ZOVIET FRANCE United Kingdom
ZYGOAT United States
ZYTOSPACE Spain

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives

Donate monthly and keep PA fast-loading and ad-free forever.