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PROGRESSIVE ELECTRONIC

A Progressive Rock Sub-genre


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Progressive Electronic definition

Born in the late 60's after the expansion of avant-gardist, modern, post-modern and minimalist experimentation, the progressive electronic movement immediately guides us into a musical adventure around technologies and new possibilities for composition. As an author or a searcher, the musician often creates his own modules and electronic combinations, deciding his own artistic and musical action. The visionary works of Stockhausen, Subotnick, John Cage ("concrete" music, electro-acoustic experimentation), La Monte Young, Steve Reich, Terry Riley (minimal, micro-tonal music) express a vision of total reconstruction in the current musical world. Luminous works such as "A Rainbow in Curved Air" (1967) and "Silver Apples of the Moon" (1967) bring an inflexion on opened forms and new ways to explore the essence and the physical aspects of sounds (through time and space). "Static" textures, collages & long running sounds, the power of technology previously exposed in ambitious classical works will have a major impact in "popular" electronic music.

After the artisan & innovative uses of magnetic tapes, feedback, microphones, etc., the instrumental synthesis, the elaboration of global sound forms and the psycho-acoustic interactions will be sublimated thanks to the launch of the analog synth. A great improvement happened in 1964 with the appearance of the first modular synthesiser (Moog). This material (or "invention") brings the answer to the technological aspirations of many musicians, mainly after the release of the popular "Switched on Bach" (Walter Carlos) and Mother Mallard's portable masterpiece (pieces composed between 1970-73).

At the beginning of popular essays in electronica, the pioneering technologies (in term of recording and sound transmission) will not be abandoned. For instance, "Tone Float" (1969) by Organisation (pre-Kraftwerk), "Zwei Osterei" & "Klopzeichen" (1969-70) by Kluster and "Irrlicht" (1972) by Klaus Schulze will carry on the domestication of the electric energy and the use of refined harmoniums, organs and echo machines. During the 70's decade, European groups & musicians such as Eno, Kraftwerk and Tangerine Dream will make their name in the music industry thanks to an abundant use of analog synthesisers and original electronic combinations. After weird, mysterious experimentation on conventional acoustic & electric instruments, Kraftwerk enjoyed huge success in popular music thanks to "mechanical electronic pop music". "Trans Europe Express" (1977) and "The Man Machine" (1978) figure as two commercial classics. The German spacey electronic scene launched by Tangerine Dream with their outstanding "Alpha Centauri" (1971) and Cluster "I" & "II" (1971-72) will have echoes everywhere, starting from the Berlin underground electronic scene (the Berlin School) with Klaus Schulze ("Timewind" 1974), Michael Hoenig ("Departure from the Northern Wasteland" 1978), Ashra ("New Age of Earth" 1976), Conrad Schnitzler's buzz-drones and repetitive electronics ("Zug", "Blau", Gold" 1972-74) . After several innovations always from Germany we notice the dark, doomy atmospheric manifests of Nekropolis (Peter Frohmader) in "Le culte des Goules" (1981), Asmus Tietchens in his colourful and engaged "Biotop" (1981) and the semi-ambient "Hermeneutic Music" (1988) by Lars Troschen (sound sculptor and synthesist).

In France, the "hypnotic" and "propulsive" electronic essays of Heldon ("Electronic Guerrilla" 1974) and Lard Free ("Spiral Malax"1977) introduce an inclination for industrial, urban and post-modern sound projections. The French "avant gardist" Philippe Besombes takes back the inspiration of " concrete music" (Pierre Henry.) and mixes it to a hybrid rocking universe (published in 1973, "Libra" figures as a true classic). Bernard Xolotl in "Prophecy" (1981), "Procession" / "Last Wave" (1983), Zanov (Green Ray, 1976) and Didier Bocquet (Voyage cerebral, 1978) will follow the musical path anticipated by Klaus Schulze in his kosmische electronic symphonies.

At the end of the 70's until the debut of the 80's Albums as "ambient 1: Music for Airports" (Brian Eno), "Cluster & Eno", "Deluxe" (Hans Joachim Roedelius side project called Harmonia) will announce the emergence of the famous ambient movement, musically characterised by gorgeous shimmering atmospheric textures.

During the 80's, Maurizio Bianchi will be in search of the absolute industrial "post-nuclear" sound tapestry. His visionary musical experience is based on cyclical loops, abrasive concrete noises and vertiginous piano dreamscapes. ("Symphony for a Genocide" 1981 and recently the mesmerising "A.M.B Iehn Tale" 2005). Before M.B and the industrial-bruitist wave, the 70's Italian specialists of electronic experiments had been (among others) Francesco Cabiati (Mirage, 1979), Francesco Bucherri (Journey, 1979), and Francesco Messina for representative, lyrical and spacey orchestrations and also Futuro Antica (D'ai primitivi all'elettronica, 1980) or Telaio Magnetico (Live' 75) for tripped out minimalism.

In the early 1980s and after following the kosmische path of classic Klaus Schulze, The Bay Area / Los Angeles school of electronic created the so called "alchemical" / "Sacred" space music. The music offers a dynamic combination between ancient-traditional music of the West and synthesised sonic soundscapes. The most representative artists of this movement are Michael Stream (Lyra Sound Constellation, 1983) Robert Rich (Numena, 1987) and Steve Roach (Dreamtime Return, 1988).

In the early 80s Ian Boddy (Spirits, 1984 / Phoenix, 1986) and Mark Shreeve (Assassin, 1983 / Legion, 1984) unique spacedout synthesised sagas represented the british answer to the challenging Berlin kosmische school. Their music embodies timbral drone sequences, systematic arpeggiations and synth-pop textures.

Young contemporary bands and artists in electronic experimentation took their inspiration from the 70's "kosmische" analog synth psychedelica of Klaus Schulze, Conrad Schnitzler, Tangerine Dream, etc. In the spaced out synthesisers spectrum, modern Japanese artists as Yamazaki Maso (noisy avant garde experimentor who contributes to the Kawabata's projects named Andromelos, Christina 23 onna and Father Moo & the Black sheeps) or Takushi Yamazaki (Space Machine) are key figures. The minimal, moody / lysergic epic soundscapes of Omit (Clinton Williams), Cloudland Canyon, Astral social club or Zombi also contribute to the renewal of the "cosmic" synth genre. Many modern electronic artists have taken an original musical direction, surfing on post-krautrock ambient waves (Aethenor), on spherical "abstract" ambient minimalism (Pete Namlook, Biosphere, Robert Henke) or on trancey, (post) industrial drone hypnosis (Alio Die / Amon / Nimh for the italian side and Andrew Chalk with his respective projects Mirror, Monos and Ora).

To sum up things, the progressive electronic subgenre is dedicated to intricate, moving, cerebral, intrusive electronic experiences that get involved in "kosmische", dark ambient, (post) industrial, droning, surreal or impressionist soundscapes territories.

Philippe BLACHE

Current Team as at 09/06/2012

Philippe
Alex (Sheavy)

Progressive Electronic Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Progressive Electronic | More Top Prog lists and filters

4.27 | 558 ratings
RUBYCON
Tangerine Dream
4.27 | 173 ratings
MIRAGE
Schulze, Klaus
4.16 | 504 ratings
PHAEDRA
Tangerine Dream
4.21 | 90 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.16 | 168 ratings
X
Schulze, Klaus
4.15 | 166 ratings
TIMEWIND
Schulze, Klaus
4.46 | 19 ratings
GREEN RAY
Zanov
4.07 | 122 ratings
NEW AGE OF EARTH
Ashra
4.12 | 72 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.43 | 17 ratings
CATCH WAVE
Kosugi, Takehisa
4.18 | 36 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.03 | 106 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.06 | 68 ratings
BODY LOVE VOL. 2
Schulze, Klaus
3.96 | 295 ratings
FORCE MAJEURE
Tangerine Dream
4.24 | 24 ratings
LUCIFER RISING
Beausoleil, Bobby
3.95 | 201 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.07 | 43 ratings
MUSIK VON
Harmonia
3.94 | 201 ratings
TRANS-EUROPE EXPRESS (TRANS-EUROPA EXPRESS)
Kraftwerk
3.92 | 237 ratings
THE MAN-MACHINE (DIE MENSCH-MASCHINE)
Kraftwerk
3.91 | 345 ratings
STRATOSFEAR
Tangerine Dream

Progressive Electronic overlooked and obscure gems albums new


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

ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
TUSSILAGO FANFARA
Anna Sjalv Tredje
SYNTHESIST
Grosskopf, Harald

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Latest Progressive Electronic Music Reviews


 One Point Music by AIRAKSINEN, PEKKA album cover Studio Album, 1972
3.00 | 1 ratings

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One Point Music
Pekka Airaksinen Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group Moderator / Psych / Avant / Neo Teams

— First review of this album —
3 stars Hoax.

A Finnish sound creator Pekka AIRAKSINEN is renowned as a founder of SPERM, one of electronic pioneer combos in Finland. It's said his first album "One Point Music" be in the same vein of SPERM's creation "Shh!" ... Although I've listened to "Hein'sirkat!" only via "Shh!", this explanation makes sense really.

Anyway ... this album has somewhat chilling appearance. Not simply a collection of weird noises or sounds but well-balanced, matured (so-called) noise commune harmonized with foggy percussive electronics. Almost immersed in such a tendency toward hypnotic streams and fourth-dimensional waves. The boundary amongst hedonism, violence, and tragedy launched as percussive noises can be called electronic solitaire titled "A Little Soup For Piano And Orchestra Op 46, 8". A tidy one nevertheless, let me say. The following track "mo-On-ing" is more eccentric, as if we pray in a temple, exposed with mystic spells and Buddhic percussion. His (or a session drummer's) percussion is much effective for us to kick ourselves into Heaven. High-tone organ and flute plays are too keen for listeners to get something comfortable, whilst sticky waves as in the previous track are pretty persistent enough to give us head / ear-ache. This reminds me of a pray in a renowned Japanese temple on the top of a mountain ... the morning should come to us definitely. "Somerain - Sadetta" sounds somewhat beautiful and noble all around. Can hear dream or dreammare rolling up and down. Ok his electronic cembalo-ish synthesizer sounds cannot throw us a good sleep but a fantastic psychedelic nightmare. No safe, no sound, but only a surrealistic pillow (especially the last, the bulkiest explosion) around us. The magnificent suite "Music For The Play Sisyfos" ... really magnificent ... sounds incredible as a sound / noize fuzz. Intriguingly, contrary to the three noise gems upon the Side A, the basis of this suite is such a junk of sounds scattered incredibly here, there, everywhere. As though Pekka would have gathered all of his electronic material, regardless of old or new, unrefined noise hotchpotch goes ahead without any point of soundscape ... claimed as kinda electronic hoax like Mittelwinternacht '71.

Very mysterious but guess Pekka would emphasize various opinions via his brilliant sound cards, actually.

 Cosmic Ground  by COSMIC GROUND album cover Studio Album, 2014
5.00 | 2 ratings

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Cosmic Ground
Cosmic Ground Progressive Electronic

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

5 stars 2014 sees the release of the self-titled 'Cosmic Ground' debut album, and it is comprised of four long, droning instrumental electronic pieces. `Cosmic Ground' is actually the title given to this solo project by German musician Dirk Jan Muller, a name that may sound familiar to progressive audiences due to his involvement with psych/prog/krautrockers Electric Orange. Although that band had plenty of electronic elements, they were rarely a main focus, so the artist has taken this opportunity to delve straight into the black hole of dark space music, and it is the sort of album you can spend a lifetime travelling through.

`Cosmic Ground' was fully recorded on vintage equipment (seriously, just look at the equipment list on the CD details above!), with the CD booklet proudly proclaiming `no MIDI used', and it is constantly fuelled by endless haunting Mellotron. It means the album is an absolutely perfect vintage flavoured electronic album in the early Seventies style of Klaus Schulze, Adelbert von Deyen and Tangerine Dream's less melodic earlier works. A great source of inspiration was actually Tangerine Dream's `Zeit', with initial promotional material for this album pointing this fact out, and anyone who appreciated that darkly fascinating defining double LP from the 70's may find this equally as wondrous.

The appropriately titled `Legacy' opens the disk, setting the template for the whole album that proudly acknowledges the past masters, while always travelling it's own path. Haunting gothic Mellotron choirs groan over endless windswept deserts, lonely Rhodes piano teardrops drip through peaks and lulls of washing electronic waves, and frantic bass loops stalk through the blackest waters quickening your pulse. Heavy white noise, rising spectral church organ and enveloping electronic pools that comfort as much as suffocate welcome the eventually beat heavy `Deadlock'. A ticking Schulze-like percussion gently enters then quickly turns more strident and purposeful, almost dance-like in a few spots by the end, truly bridging the old styles with the new. The 33 minute `Ground' incorporates wavering hypnotizing psychedelia, occasional clipping low- key beats, placid synth breezes that rise and fall and chanting Mellotron. Regal, imposing yet almost triumphant themes, lulling and soothing affectionate passages and dark near-malevolence also briefly appear, the final ten minutes especially entering very deep drone territory with a beautifully executed build. The eerie and ominous `The Plague' joins crystalline Mellotron veils, delicate heart-breaking electric piano footsteps and reverberating electronic hums to almost reveal an evocative cinematic quality.

Buyers take note - when you purchase the physical CD from Bandcamp, you also receive a bonus download track that didn't fit onto the disc due to time constraints. The 18 minute `Decay' blends somber early 70's Pink Floyd-styled organ with Tangerine Dream-like sequencer pattern thrums, and it's just as good as anything on the main disc, and probably one of the more easily accessible pieces on offer here as well.

This album was originally recommended to me by Michael Bruckner, another German electronic composer and genuinely nice guy (his recent albums `In Letzter Konsequenz', `Naura' and `Thirteen Rites of Passage' are well worth looking into as well). The last month I've been in and out of hospital quite a lot, and this album, along with various shows from the Stillstream net-radio station such as Rebekkah Hilgrave's `At Waters Edge' program, has been a great source of comfort during my time there. It's easy to get swept along and drift away on the uneasy waves of ambient electronic bliss here, lulled into a trance-like state, and I hope we see more albums from Mr Dirk Jan Muller under this project name in the future.

`Cosmic Ground' is simply one of the best Berlin School-styled albums since the Seventies classics, recorded in the same manner, and anyone looking for more works in that same style now have the perfect album to discover. Anyone who can make the time to properly listen to this work repeatedly and has the patience for the subtle electronic/ambient genre will relish this tantalizing work. So far it's one of the best progressive related releases of 2014, and I have no hesitation in rewarding it the highest score.

Five stars.

 Xiu by XIU album cover Studio Album, 2012
4.00 | 2 ratings

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Xiu
Xiu Progressive Electronic

Review by admireArt

4 stars A blast to the past, with a future!

Luck favored XIU, allowing this album to infiltrate through the borderlines of PA. Oksana Rodionova's a.k.a. Xiu, 2012, self named project is closer to the realms of the so called "Synth-Pop", which although neglected in this Prog world, offered in its best period many "gems", maybe obscure for those who only listen to prog by rule.

Yes! Luck favored this very good "dreamy synth/pop" record into this PA page. XIU, if allowed to compare, will be that missing link between the very simple rules of intelligent synth-pop and the ethereal "progressive" atmospheres of Dead Can Dance (mainly Lisa Gerrard's voice passages).

The rating is easy, if you quiet know, what happened in those years, where the synths were used to create long, dreamy, attractive melodic lines, with sometimes nightmarish intentions, and with quiet intoxicating, but basic dance (yes, DANCE!) rhythms, focusing more on the whole environment of the song, with the occasional low-keyed "fireworks" or "hooks" (Ultravox's "Vienna" album, as an example, comes to my mind).

So, this project is basically Oksana Rodionova's subtle, almost invisible voice/chorus, travelling through the synths and beats, to carry on with this whole, slow-paced and somehow short timed effort, which adds up for a sensation of wanting more (the way women usually do).

And everything falls in place and works wonders, due to its very inspired and focused song writing.

****4 PA stars for those mentioned above, and "essential", as such, if you missed the whole party.

 Syrinx by SYRINX album cover Studio Album, 1970
3.00 | 1 ratings

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Syrinx
Syrinx Progressive Electronic

Review by stefro
Prog Reviewer

— First review of this album —
3 stars Formed by ex-Kensington Market keyboardist John Mills-Cockell, Syrinx were a genuine curiosity. Featuring a bizarre, early-synth driven sound augmented by just saxophone and occasional percussion, this Canadian trio issued just two albums at the dawn the seventies, before a lack of interest, poor record sales and internal strife resulted in their brief demise. Yet it's easy to see why. Despite producing a rather haunting, slow-burning sound on much of this self-titled debut, Syrinx's sound exhibits a studious and overly-earnest quality, making for an interesting but strangely unexciting experience. However, despite the longeurs engineered by Mills-Cockell's lengthy synth runs, there are occasional nuggets to be found on 'Syrinx', especially in one of the album's longer pieces. Called 'Chant For Your Dragon King', this ten-minute piece features one the group's more enchanting melodies emerging from a careful and cautious build-up, rewarding those listeners with the patience to stay with Syrinx's peculiar brand of early electro-rock. Elsewhere, the brooding opener 'Melina's Torch' at least starts proceedings with a dash of percussive drama, whilst the softly-meditative 'Field Hymn' walks a slightly softer path, with a warm and woozy feel perhaps at odds with rest of the album's autumnal edges. A strange experience then, this Canadian oddity burns bright with originality yet proves a rather daunting experience. Interesting, thoughtful music then, but it's not actually fun. STEFAN TURNER, STOKE NEWINGTON, 2014
 New Age Of Earth by ASHRA album cover Studio Album, 1977
4.07 | 122 ratings

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New Age Of Earth
Ashra Progressive Electronic

Review by MJAben

4 stars This album is a journey, plunged deep into the depths of human subconsciousness and gently lifted back to a peaceful tranquility. One thing that constantly amazes me about this record is how perfectly layered it is, often with so many different streams of sound cascading into you. What I love the most about this album however is that if I listen to it closely I am treated to some of the most thoughtful, developed and subtle psych / electronic / kraut I have ever heard. But when I listen to the album as background music it functions wonderfully as a mood inducer, and more importantly for an insomniac like myself, a sleep inducer.

I don't think the albums perfectly, the drum machine can at times be off-putting and, to be perfectly frank, this album doesn't push any envelope and remains safe. Another issue I have, albeit a small one, is that if you listen to the last song 'Nightdust' as background music it has a tendency to feel a bit empty (though if you focus in you find this is not the case).

Many reviewers have mentioned how they find 'Nightdust' to be their favorite track but for me I find that this is the opposite, it's not that the song is bad but that it feels like it meanders too much whereas the other songs accomplish what they set out to do in a much shorter and more concise manner. I feel as though 'Nightdust' doesn't really pick up until the last ten minutes which, from then on in, it is utterly jaw-dropping. For me, the highlight is the album is the middle, the songs 'Ocean of Tenderness' and 'Deep Distance' take you on such a journey in their own right, beautiful and ethereal but at the same time, feeling focused and driven.

The real strength here is listening to the album as a whole, each song individually couldn't come close to holding up to the journey that the whole album is able to take you through, from start to finish this record is absolutely fantastic.

4/5 stars but an extremely high 4 stars at that!

 Curiosities Vol. 2 by ENO, BRIAN album cover Boxset/Compilation, 2004
3.26 | 3 ratings

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Curiosities Vol. 2
Brian Eno Progressive Electronic

Review by Neu!mann
Prog Reviewer

3 stars The next set of assorted outtakes, dead-ends, and other sonic flotsam from the studio dustbin of Brian Eno continues more or less where "Volume 1' left off, in the spirit of his famous set of oracle cards presenting a dozen oblique strategies and worthwhile musical dilemmas. But keep in mind these are second-round draft picks, and may not have the immediate appeal of the first edition.

At their best the selections resemble instrumental backing tracks from an unfinished song project ('Watch the World' needs only a few verses to complete it), or another chapter in the author's periodic 'Music for Films' cycle, minus only whatever passes for celluloid these days. Now in his mid- sixties, Eno remains an artist who insists, first and foremost, that every sound he generates has to be interesting, even when consigned to his discard pile. This collection is no different, although it may help to have an ear for ambient music: the set grows quieter as it continues, reaching an arctic climax in the aptly named ten-minute drift study 'Fields of Ice'.

The inner sleeve of the CD includes a long list of 'future curiosities', at this date already long overdue. The first two installments in the series were released within a year of each other, but the project seems to be stalled, with no further entries in the decade since then. Maybe someday we'll be able to hear exactly what inspired such evocative titles like 'Drums with Quack', or 'Sordid Purple Death Sausage', or (a personal favorite) 'Ten Undervalued Female Assets'. Until then, do what Eno himself so often does, and use your imagination.

 Rubycon by TANGERINE DREAM album cover Studio Album, 1975
4.27 | 558 ratings

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Rubycon
Tangerine Dream Progressive Electronic

Review by BatBacon

4 stars I had actually forgot how exciting this album was until I heard it on my way home from work some days ago. I work in a small supermarket, stressful days and late nights. This night I was almost dying of tiredness, could hardly get my ass on the bus. I guess everyone has this kind of nights, so you probably know exactly what I mean. Then think of the feeling of finding a kind of comfortable seat in a almost empty bus. Its almost midnight and its completely dark outside the bus window, except for some street lights and a few cars passing by.

Usually I would listen to Dark side of the Moon or anything by Sigur Ros at nights like this, but this night I just happened to find some old and forgotten Tangerine Dream albums on my iPod. For some reason I remembered those as pretty hard to get into, a bit disturbing and noisy. "It was so long ago though", I thought and put Rubycon on play and it was a great soundtrack for my travel home.

This isn't an album like you usually know it (you know, with songs and [&*!#]), but then again you don't really expect an usual album from a german synth groupe in the 70s. That would be to simple. Here we have two songs only, but they stretch for over 17 minutes each. Also its hard to say if there really is so much happening in the songs. I guess it is, but slowly and very floaty. Trying to explain it in text would make a quite dry review, so Im not going to try that. A highly surreal painting would probably make more sense than a text, because thats what the record seems to be about. There is no story or any events here, this music is more like a journey to a very strange, some how hunting but very beautiful place. Its the kind of music you can almost see floating through the air, even though you couldn't possibly describe it to anyone.

To be a bit obiective about it (its very hard, but I´ll give it a try) this is probably not something you listen to every day, your brain would probably transform into a mushroom if you did (a quite fantastic mushroom with a smiling face though). This is something you listen to alone when its really late and you are too tired for anything advanced but still want something wonderful to fill your tired brain with. It sounds like Kraftwerk without structure, melody or vocals, which is exactly what you need sometimes.

 Crystal Machine by BLAKE, TIM album cover Studio Album, 1977
3.50 | 18 ratings

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Crystal Machine
Tim Blake Progressive Electronic

Review by admireArt

3 stars Space/Rock & Psychedelic Electronics.

I suppose that by 1977, when this Tim Blake's first work appeared, it could even have sounded a bit old-fashioned. Well, after Tangerine Dream's, 1975 "Rubycon" mostly everything else in the prog/electronic world, sounded old-fashioned.

Straight to the point, this "Crystal Machine", Tim Blake's first post Gong and Hawkwind solo effort, owes a lot to some of this genre's pioneers, he is really "composition-wise" not telling a different or "new" story. But he turns out to be an excellent story teller.

By blending various approaches in styling, like "Space/Rock's" basic rhythms with a very 60' psychedelic focus and of course more than enough very!! TD's atmospheres. He kind of makes it a worthwhile experience and maybe an "essential" Prog/Electronic album, depending where you are standing.

I myself first heard TD's "Rubycon", almost at the time of its release (give n' take). So I, as to where I'm standing, I will decieve myself, telling you, it is not annoying more than once, that this record sounds more than a lot, to TD's musical language, than Blake's. This happens to the point of "laughter" in track 1 "Midnight" and "Synthese Intemporel" track 4.

Worst of all, the other 3 tracks are superb!... Which makes it difficult to just miss or throw away into oblivion. A real shame!

What makes this 3 tracks work perfectly, is that they do not rely on synthesizers alone, nor their "pulses". They are by far more "unique" because the composer establishes a more "experimental" tone, and a more relaxed atmosphere with additions of other "flavors" to the mix.

So! Kind of hard to rate, but 2 out of 5, sets this one only for true "electronic" followers>"

I myself will further into Tim Blake's solo discography.

***3.5 PA stars

 Uberfallig by SCHICKERT, GÜNTER album cover Studio Album, 1979
3.99 | 13 ratings

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Uberfallig
Günter Schickert Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

5 stars "Uberfallig" means "Overdue" in English and since his debut was released in 1975, and this his second one wasn't released until 1979 it seems like an appropriate title. I'd like to quote the liner notes for important background info then comment briefly on the four tracks.

"Stylistically, Gunter Schickert's music belongs to the Berlin school. Lengthy pieces with complex layers of rhythmic-harmonic sequences, expansive echoes and reverberation, extrapolated improvisations and naturally the cosmic touch of the 70's makes this ascription an easy matter. Not really a surprise, considering Gunter Schickert was Klaus Schulze's technical assistant and roadie at the time. And of course he was familiar with TANGERINE DREAM, ASH RA TEMPEL etc. It was only natural that his musical enviroment and personal contacts would influence him decisively."

"This influence did not lead him to copy anyone, however. Schickert concentrated on pursuing his own ideas and pushing the boundries of his remarkable aural creations. He is at pains to emphasize that, unlike almost all of his contemporaries, he did not use any synthesizers; his instruments are the electric guitar, his own studio with a multi-track tape machine and a comfortable arsenal of effects. Similar experiments had also been attempted by Manuel Gottsching("Inventions For The Electric Guitar") and Achim Reichel("Die Grune Reise"), but without stretching the multifaceted nature of their music to the point of microtonality, as Schickert dared to do on "Uberfallig".

Schickert's use of concrete sounds-field recordings as they are now known-and his completely autonomous way of working in his own studio presaged a stage of development more readily associated with the early 80's. Splicing preproduced noises into his music was almost too daring, too way out for Schickert's listeners to fathom. And working on his own , without a record company or expensive studio was a privilege enjoyed only by the "stars" of the scene at the time. In 1979 the album was a statement of the level of expectation of a potential audience, detached from the electronic mainstream. Gunter Schickert was one of the protagonists who furthered the development of experimental pop music from the outer margins."

Up first is the almost 15 minute long track called "Puls". Not a surprising title given that we get this relentless pulsating beat almost from the start. Man this has this catchy and repetitive rhythm along with the sound of water dominating the soundscape. In fact it's those water sounds that open the song before the beats kick in. Great stuff. The drumming really adds to this as well, no drum machines are used on this record. "In Der Zeit" opens with different sounds before we hear the birds chirping then the guitar joins in a minute in. Female vocals sung in German also join the guitar and birds. She's almost speaking the lyrics. Atmosphere before 3 1/2 minutes as she stops. It almost sounds like the tide coming in along with heavy breathing then spoken male words in German. Such a cool tune.

"Apricot Brandy II" is eventually overtaken with the sounds of waves and wind while that heavy breathing comes in. Percussion joins in and then the guitar 2 minutes in as the waves, wind and breathing stop. Male vocals echo after 3 minutes as guitar and drums help out in this very psychedelic setting. The vocals get passionate after 8 minutes but it's the instrumental work that blows me away here. Fantastic track ! "Wanderer" opens with guitar, nature sounds and more. This is so good. This is adventerous yet melodic.

I am completely blown away by this album. I must admit that when it comes to Electronic music I prefer guitar to be in it like HELDON and RADIO MASSACRE INTERNATIONAL, but it's the melodic yet adventerous compositions that impress me the most. Gunter Schickert is an incredible talent which I knew already from his GAM project.

 Ages by FROESE, EDGAR album cover Studio Album, 1977
3.61 | 37 ratings

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Ages
Edgar Froese Progressive Electronic

Review by stefro
Prog Reviewer

4 stars Not quite as great as it ought to be but still pretty damn excellent(I'm nit-picking here) 1977's double- sided 'Ages' finds the extremely hard-working Tangerine Dream founder Edgar Froese back in solo territory after the release of his group's first soundtrack record, the same year's deeply-mysterious 'Sorceror'. Directed by William Friedkin, costing $20,000,000 dollars and utterly bombing at the box-office, the movie 'Sorceror' remains one of the great underrated thrillers of the 1970s, and despite the film's failure it did open a very large and very lucrative door from Froese and company as they went on to enjoy a highly-successful career creating soundtracks for directors such as Michael Mann, Ridley Scott and Kathryn Bigelow. However, 'Sorceror' the soundtrack was so dark and gloomy that Froese obviously needed some kind of sonic antidote to work on, hence 'Ages'. Although still anchored deep in the quixotic ambient territory we have come to know and love Tangerine Dream for, 'Ages' does on occasion feature a slightly more upbeat hue, it's 9 tracks skipping expertly between droney space-rock, twinkling synthesized noodling and cinematic grandeur wth almost reckless abandon. Fans of Tangerine Dream will know exactly what to expect then, but 'Ages' doesn't quite reach the same exulted heights as Froese's own solo masterpiece 'Epsilon In Malaysian Pale'. However, highlights are many, especially on the second disc which features the beautifully-layered 'Ode To Granny A' and the hypnotic, twirling beats of the cosmic closer 'Golgotha & The Circle Closes'. So, like pretty much everything Froese put his name to between the years 1970 and 1983, 'Ages' is utterly fascinating. Full of strong moments then, this is yet another dose of first grade ambient rock from the master of the art. STEFAN TURNER, STOKE NEWINGTON, 2014
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Progressive Electronic bands/artists list

Bands/Artists Country
KOROIEV Spain
6LA8 Pakistan
ACI Germany
AEON France
AETHENOR Multi-National
ILDEFONSO AGUILAR Spain
PEKKA AIRAKSINEN Finland
AIRSCULPTURE United Kingdom
ALBERGO INTERGALATTICO SPAZIALE Italy
ALIO DIE Italy
ALLEGORY CHAPEL LTD United States
DAEVID ALLEN MICROCOSMIC United Kingdom
AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
ANNA SJALV TREDJE Sweden
ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ASCOIL SUN Finland
ASHRA Germany
ATOMINE ELEKTRINE Sweden
AUBE Japan
AUTOMAT Italy
AWENSON France
MARVIN AYRES United Kingdom
HARVEY BAINBRIDGE United Kingdom
AIDAN BAKER Canada
SIMON BALESTRAZZI Italy
BAFFO BANFI Italy
BASS COMMUNION United Kingdom
PETER BAUMANN Germany
BOBBY BEAUSOLEIL United States
CARLOS BELTRÁN Mexico
LÁSZLÓ BENKő Hungary
PHILIPPE BESOMBES France
MAURIZIO BIANCHI Italy
BIG ROBOT Norway
BIOSPHERE Norway
TIM BLAKE France
BLUE MOTION Switzerland
WOLFGANG BOCK Germany
DIDIER BOCQUET France
IAN BODDY United Kingdom
GASTON BORREANI Italy
ADAM CERTAMEN BOWNIK Poland
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
CALDERA United States
TOM CAMERON United States
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK United Kingdom
CHRISTINE 23 ONNA Japan
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
CULTURAL NOISE Austria
FRANCESCO CURRÀ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
DIN A TESTBILD Germany
DIONNE-BREGENT Canada
HEINRICH DRESSEL Italy
EARTHSTAR Multi-National
EDEN France
ELEKTRIKTUS Italy
ELICOIDE Italy
EMERALDS United States
J.D EMMANUEL United States
BRIAN ENO United Kingdom
EXPO 70 United States
F.G EXPERIMENTAL LABORATORY Switzerland
FRANCO FALSINI Italy
FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
FHIEVEL Italy
FIVE THOUSAND SPIRITS Italy
FLAMEN DIALIS France
FREE SYSTEM PROJEKT Netherlands
FRIPP AND ENO United Kingdom
EDGAR FROESE Germany
PETER FROHMADER Germany
KEITH FULLERTON WHITMAN United States
FUTURO ANTICO Multi-National
GALACTIC EXPLORERS Germany
MICHAEL GARRISON United States
MORT GARSON Canada
GRAHAM GETTY United Kingdom
MATHIAS GRASSOW Germany
GREGOR CÜRTEN & ANSELM ROGMANS Germany
RANDY GREIF United States
RAGNAR GRIPPE Sweden
HARALD GROSSKOPF Germany
SVEN GRÜNBERG Estonia
GEORGES GRÜNBLATT France
JEAN GUÉRIN France
CARLOS GUIRAO Spain
BRUCE HAACK Canada
HALL OF MIRRORS Italy
PETER MICHAEL HAMEL Germany
HARMONIA Germany
STEVE HAUSCHILDT United States
TIM HECKER Canada
HELDON France
ROBERT HENKE Germany
MICHAEL HOENIG Germany
HORSE PALACE Canada
HARUOMI HOSONO Japan
EPPIE E. HULSHOF Netherlands
HYDRAVION France
HYDRUS Italy
GIUSEPPE IELASI Italy
IVERSEN Norway
JAZZCOMPUTER.ORG France
JESDAT Spain
EDDIE JOBSON United Kingdom
JONATHAN Germany
ARIEL KALMA Australia
JÜRGEN KARG Germany
KASHMIR Switzerland
KHA - YM France
BERND KISTENMACHER Germany
KNITTING BY TWILIGHT United States
KÖSMONAUT United States
TAKEHISA KOSUGI Japan
ESA KOTILAINEN Finland
KRAFTWERK Germany
MIHA KRALJ Yugoslavia
KLAUS KRÜGER Germany
RICHARD LAINHART United States
PASCAL LANGUIRAND Canada
TEDDY LASRY France
STÉPHANE LEMAIRE France
IGOR LEN Russia
FRANCO LEPRINO Italy
CECIL LEUTER France
LIIR BU FER Italy
LILIENTAL Germany
JOHN LIVENGOOD France
LONG DISTANCE POISON United States
RÜDIGER LORENZ Germany
LORQ DAMON United States
LULL United Kingdom
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TOR LUNDVALL United States
LUSTMORD United States
LYDHODE Norway
BJORN LYNNE Norway
IAN MACFARLANE Australia
MAGINA Portugal
PEPE MAINA Italy
MAJEURE United States
ERIC MALMBERG Sweden
MARIBOR Italy
ANDREA MARUTTI Italy
MEERKAT Italy
MICKIE D'S UNICORN Germany
CLAUDIO MILANO Italy
DIETER MOEBIUS Germany
MOLNIJA AURA Italy
CLARA MONDSHINE Germany
MONOTON Austria
MOORE / MYERS United States
STEVE MOORE United States
SCOTT MOSHER United States
MOTHER MALLARD'S PORTABLE MASTERPIECE CO. United States
MOUNTAIN OCEAN SUN Japan
MOUNTAINS United States
THE ALMAN MULO BAND United Kingdom
MUSHY Italy
IAN NAGOSKI United States
PETE NAMLOOK Germany
NAUTILUS Germany
NEPTUNE TOWERS Norway
NEURONIUM Spain
NEVER KNOWN Italy
NEWCLEAR WAVES Italy
NIMH Italy
NIMH + M.B Italy
NUMINA United States
OMIT (CLINTON WILLIAMS) New Zealand
OÖPHOI Italy
OSCILLOTRON Sweden
OSE France
P'COCK Germany
STEPHEN PARSICK Germany
PEAK Australia
PETER M. Italy
PHROZENLIGHT Netherlands
RICHARD PINHAS France
ROGER POWELL United States
THE PRESENT MOMENT United States
DAVID PRITCHARD Canada
PROPELLER ISLAND Germany
PRZEMYSLAW RUDZ Poland
PULSE EMITTER United States
RADIO MASSACRE INTERNATIONAL United Kingdom
LUTZ RAHN Germany
NIK RAICEVIC United States
RAINBOW GENERATOR Australia
TOM RECCHION United States
REDSHIFT United Kingdom
JONAS REINHARDT United States
ROBERT RICH United States
RICHARD WAHNFRIED Germany
WOLFGANG RIECHMANN Germany
STEVE ROACH United Kingdom
HANS JOACHIM ROEDELIUS Germany
ROGUE SPORE Ireland
THOMAS RONKIN United States
RUNE MARTINSEN & ØYSTEIN JØRGENSEN Norway
SAB Japan
SANGIULIANO Italy
SATAN ALFA BEEL ATEM Japan
GÜNTER SCHICKERT Germany
CONRAD SCHNITZLER Germany
EBERHARD SCHOENER Germany
ROBERT SCHROEDER Germany
KLAUS SCHULZE Germany
SEESSELBERG Germany
SHOGUN KUNITOKI Finland
MARK SHREEVE United Kingdom
SIL MUIR Italy
SINIAALTO Finland
SOFTWARE Germany
SONISK BLODBAD Multi-National
SPACE ALLIANCE Italy
SPACE ART France
SPACE MACHINE Japan
SPACECRAFT France
SPARKLE IN GREY Italy
SPERM Finland
STARDRIVE United States
MICHAEL STEARNS United States
SYRINX Canada
JUTA TAKAHASHI Japan
TANGERINE DREAM Germany
TANGRAM Hungary
TELAIO MAGNETICO Italy
THOUGHT GUILD United States
THROBBING GRISTLE United Kingdom
ASMUS TIETCHENS Germany
TIPU SABZAWAAR Multi-National
TOMUTONTTU Finland
TONTO'S EXPANDING HEAD BAND United Kingdom
TOTAL STATION Russia
TRANQUILLITY Germany
TRANSPARENT ILLUSION United Kingdom
ROLF TROSTEL Germany
MATTEO UGGERI Italy
VAKO Spain
VANDERSON Poland
JOEL VANDROOGENBROECK Switzerland
PATRICK VIAN France
VIDNA OBMANA Belgium
VIETGROVE United Kingdom
VOICE OF EYE United States
VOLT Netherlands
ADELBERT VON DEYEN Germany
VON HAULSHOVEN Netherlands
ADRIAN WAGNER United Kingdom
IGOR WAKHEVITCH France
PHILLIP WERREN Canada
WHITE NOISE United Kingdom
PATRICK WIKLACZ France
WO0 Serbia
X-TG United Kingdom
XIU Italy
BERNARD XOLOTL France
YELLOW MAGIC ORCHESTRA Japan
YEN POX United States
YETI RAIN United States
YOU Germany
ZA SIÓDMA GÓRA Poland
EDWARD M. ZAJDA United States
ZANOV France
ZED France
ZOLTAN United Kingdom
ZOMBI United States
ZORCH United Kingdom
ZOVIET FRANCE United Kingdom

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