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PROGRESSIVE ELECTRONIC

A Progressive Rock Sub-genre


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Progressive Electronic definition

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

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

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

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

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

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

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

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

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

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

Philippe BLACHE

Current Team as at 09/06/2012

Philippe
Alex (Sheavy)

Progressive Electronic Top Albums


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

4.25 | 667 ratings
RUBYCON
Tangerine Dream
4.27 | 205 ratings
MIRAGE
Schulze, Klaus
4.14 | 582 ratings
PHAEDRA
Tangerine Dream
4.68 | 16 ratings
IN COURSE OF TIME
Zanov
4.16 | 194 ratings
TIMEWIND
Schulze, Klaus
4.16 | 186 ratings
X
Schulze, Klaus
4.15 | 107 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.39 | 24 ratings
GREEN RAY
Zanov
4.51 | 17 ratings
CATCH WAVE
Kosugi, Takehisa
4.07 | 138 ratings
NEW AGE OF EARTH
Ashra
4.19 | 39 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.08 | 88 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.05 | 126 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.32 | 22 ratings
AN ELECTRIC STORM
White Noise
4.06 | 81 ratings
BODY LOVE VOL. 2
Schulze, Klaus
4.24 | 26 ratings
EDGAR ALLAN POE'S THE ISLAND OF THE FAY
Tangerine Dream
4.22 | 28 ratings
LUCIFER RISING
Beausoleil, Bobby
3.98 | 338 ratings
FORCE MAJEURE
Tangerine Dream
4.93 | 7 ratings
EARTHEN
Alpha Wave Movement
4.25 | 22 ratings
BALLET STATIQUE
Schnitzler, Conrad
3.96 | 239 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.46 | 12 ratings
ABANDONED CITIES
Budd, Harold
4.45 | 12 ratings
FILAMENTS
Rich, Robert
3.93 | 247 ratings
TRANS-EUROPE EXPRESS (TRANS-EUROPA EXPRESS)
Kraftwerk
3.92 | 281 ratings
THE MAN-MACHINE (DIE MENSCH-MASCHINE)
Kraftwerk
4.01 | 53 ratings
MUSIK VON
Harmonia
4.28 | 16 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
3.90 | 399 ratings
STRATOSFEAR
Tangerine Dream
4.17 | 21 ratings
DALINETOPIA
Froese, Edgar
3.93 | 108 ratings
MY LIFE IN THE BUSH OF GHOSTS (WITH DAVID BYRNE)
Eno, Brian
3.89 | 214 ratings
TANGRAM
Tangerine Dream
4.22 | 17 ratings
RAVEDEATH, 1972
Hecker, Tim
4.09 | 25 ratings
ICELAND
Pinhas, Richard
4.10 | 23 ratings
LOGOS
Wakhevitch, Igor
3.93 | 69 ratings
STAND BY
Heldon
4.16 | 18 ratings
SONANZE
Cacciapaglia, Roberto
4.80 | 6 ratings
LONG LOST RELATIVES
Syrinx
3.93 | 66 ratings
SMALL CRAFT ON A MILK SEA
Eno, Brian
4.98 | 5 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.40 | 10 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.07 | 24 ratings
20 JAZZ FUNK GREATS
Throbbing Gristle
4.95 | 5 ratings
THE HIDDEN SPRING
Alio Die
4.73 | 6 ratings
BLACKER
Radio Massacre International
3.92 | 45 ratings
THE EQUATORIAL STARS
Fripp & Eno
3.83 | 135 ratings
UNDERWATER SUNLIGHT
Tangerine Dream
4.83 | 5 ratings
SURRENDER
Metatag
4.64 | 6 ratings
THE VOID
Lynne, Bjorn
3.89 | 52 ratings
AMBIENT 2 - THE PLATEAUX OF MIRROR (WITH BRIAN ENO)
Budd, Harold
4.34 | 9 ratings
ZUG
Schnitzler, Conrad
4.75 | 5 ratings
LEXIKON I
Benkő, László
3.80 | 173 ratings
COMPUTER WORLD (COMPUTERWELT)
Kraftwerk
3.86 | 45 ratings
THE PEARL (WITH BRIAN ENO & DANIEL LANOIS)
Budd, Harold
3.93 | 27 ratings
EPITAPH FOR VENUS
Galactic Explorers
3.83 | 59 ratings
KONTINUUM
Schulze, Klaus
4.17 | 11 ratings
HORSE ROTORVATOR
Coil
4.91 | 4 ratings
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
3.95 | 22 ratings
DOCTEUR FAUST
Wakhevitch, Igor
3.93 | 23 ratings
TECHNODELIC
Yellow Magic Orchestra
3.98 | 18 ratings
UBERFALLIG
Schickert, Günter
4.29 | 8 ratings
THE DELICATE FOREVER
Roach, Steve
4.63 | 5 ratings
ELECTRONEGATIVITY - THE CASSETTE CONCERT SERIES NO.3
Schnitzler, Conrad
3.96 | 20 ratings
THE SECOND ANNUAL REPORT
Throbbing Gristle
3.76 | 153 ratings
BEFORE AND AFTER SCIENCE
Eno, Brian
4.83 | 4 ratings
SIL MUIR
Sil Muir
4.78 | 4 ratings
HERITAGE
Neuronium
4.78 | 4 ratings
NUMINA + ZERO OHMS: BROKEN STARS THROUGH BRILLIANT CLOUDS
Numina
3.85 | 30 ratings
SURFACE TO AIR
Zombi
4.41 | 6 ratings
VOYAGE CÉRÉBRAL
Bocquet, Didier
4.75 | 4 ratings
THE SIXTH EAR
Raicevic, Nik
3.74 | 107 ratings
CYBORG
Schulze, Klaus
3.75 | 85 ratings
APOLLO : ATMOSPHERES & SOUNDTRACKS
Eno, Brian
4.29 | 7 ratings
BRUITS ET TEMPS ANALOGUES
Vian, Patrick
4.20 | 8 ratings
LOVE'S SECRET DOMAIN
Coil
3.75 | 77 ratings
PICTURE MUSIC
Schulze, Klaus
4.70 | 4 ratings
CONDUITS AND ESTUARIES
Rapoon
3.76 | 53 ratings
AFTER THE HEAT (WITH DIETER MOEBIUS & HANS-JOACHIM ROEDELIUS)
Eno, Brian
4.17 | 8 ratings
WARMTH OF EARTH
Artemiev, Edward
3.73 | 82 ratings
BLACKOUTS
Ashra
4.03 | 11 ratings
EMISSARIES
Radio Massacre International
4.11 | 9 ratings
ADONIA
Ose
3.78 | 38 ratings
HELDON IV: AGNETA NILSSON
Heldon
4.95 | 3 ratings
DECONSECRATED AND PURE
Alio Die
3.75 | 54 ratings
ANOTHER DAY ON EARTH
Eno, Brian
4.62 | 4 ratings
MAGNETIC WEB
Raicevic, Nik
4.91 | 3 ratings
HONEYSUCKLE
Alio Die
3.83 | 23 ratings
CHRONOLYSE
Pinhas, Richard
4.19 | 7 ratings
MINOS
Languirand, Pascal
3.68 | 266 ratings
ZEIT 'LARGO IN 4 MOVEMENTS'
Tangerine Dream
3.69 | 135 ratings
MOONDAWN
Schulze, Klaus
4.86 | 3 ratings
AIR II - TRAVELLING WITHOUT MOVING
Namlook, Pete
3.94 | 13 ratings
MIDNIGHT IN SPACE
Hydrus
4.11 | 8 ratings
FROZEN NORTH
Radio Massacre International
4.83 | 3 ratings
NODE
Node
3.81 | 22 ratings
HATHOR
Wakhevitch, Igor
4.82 | 3 ratings
THE LAST STRANDS OF FORTITUDE
6LA8
4.35 | 5 ratings
STARS FALL DARKLY
Yeti Rain
4.14 | 7 ratings
SCHWARZ (ERUPTION)
Schnitzler, Conrad
4.03 | 9 ratings
EBONDÀZZAR
Peak
4.50 | 4 ratings
NEKROPOLIS - CULTES DES GOULES BALLETT OF DEATH
Frohmader, Peter
4.50 | 4 ratings
MOSAIQUE
Schroeder, Robert

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
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
WUNDERBAR
Riechmann, Wolfgang
ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale

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Latest Progressive Electronic Music Reviews


 Another Green World  by ENO, BRIAN album cover Studio Album, 1975
3.96 | 239 ratings

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Another Green World
Brian Eno Progressive Electronic

Review by RussellChap

4 stars Originally starting out as an experiment Brian Eno ended up creating one of his most praised albums. For the first few days the creation of Another Green World was frustrating for Eno as he struggled to produce any workable ideas, compounded by the fact he had nothing written or prepared beforehand. So he turned to his 'Oblique Strategies' for direction. These cards with instructions and prompts allowed Eno to get over his creative block and work the resulting ideas into Another Green Word with the help of guest musicians. Robert Fripp of King Crimson, who had collaborated with Eno on No Pussy Footing and Evening Star (both excellent albums), Ex Velvet Underground member John Cale and Phil Collins on drums! (yes Phil Collins the unlikely eighties pop star who ruined The Supremes wonderful 'You Can't Hurry Love') played on about half of the tracks, while Eno performed solo on the others utilizing such fanciful instruments as the Leslie piano and Snake Guitar.

Eno later said of Another Green World "People tend to think of that as a song record. But it isn't, it's an instrumental record with the odd bit of vocal." The songs are witty with a very English playfulness (check out these lyrics from 'Sky Saw' "Mau Mau starter ching ching da da/Daughter daughter dumpling data/Pack and pick the ping-pong starter") which he shared with contemporaries such as Kevin Ayers and Robert Wyatt. His songs feature characters who seem to be caught in fixed freezes (like the figures on the album sleeve), with the world moving past, as in 'I'll Come Running' "I'm gonna waste the rest of my days/Just watching patiently from the window" or "Several times I've seen the evening slide away" on 'Golden Hours'. While the instrumentals are like the environments the static characters watch, they unfurl slowly like midweek afternoons when there's nothing to do or evenings when sights and sounds are muted. They are imaginary soundscapes with evocative titles such as my personal fav 'In Dark Trees' (as mysterious as the title suggests), 'Somber Reptiles' (that brings up images of disconsolate dying dinosaurs) and the restful title track which was used as the theme for the BBC2 arts series Arena.

Another Green World is interesting precisely because it is the point between Eno the song writer and Brian Eno the ambient composer. His next album would be purely instrumental fittingly titled Discreet Music.

 Metatron by PINHAS, RICHARD album cover Studio Album, 2006
3.58 | 12 ratings

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Metatron
Richard Pinhas Progressive Electronic

Review by Dobermensch

3 stars 'Metatron' is a far more 'Pinhas' centred album than the ultra noise monger 'Merzbow' from Japan. Richard pinhas' hero 'Robert Fripp' plays a large part on this recording despite being entirely absent, willingly or not, on this lengthy double album from 2006. There's a large amount of processed guitar trickery with 'Frippertonic' experiments at work on 'Metatron'.

From the outset Pinhas plays guitar through electronic filters creating a shimmering, floating atmosphere, which creates an hallucinogenic effect. Stand-in 'Magma' drummer Antoine Paganotti batters out some arrythmical jazz drumming over the top of Pinhas' flailing guitar. At times it gets too much, sounding like someone's thrown six bowling balls down some stairs. It's a mesmerising slab of art which is a bit like looking through one of those old kaleidoscopes. Everything washes around without any sense of direction in the most random way. I can tell you one thing - the vast majority of 'Metatron' is unscored and is clearly a free-for-all slowly evolving jam.

'Moumoune and Mietz' is the one true tune on this album and its wonderful. It's uplifting in the way the brilliant Italian National Anthem sounds. There's a lot of very odd, turbulent and off kilter 'Magma' drumming throughout which never repeats and is very engaging. It's like the 'Merzbow' Christmas Carol you never heard.

Intensely looped fragments of vocals appear on 'Shadda Blues' amongst swirling electronics. Let's just say that this is not good hangover material.

'Metatron' is an entirely instrumental album with occasional spoken words that has an underlying threat throughout. Like an albatross hanging over your shoulders, waiting for the ship to go down.

And now ladies and gentlemen, the historical bit: 'Metatron' is, according to Jewish medieaval apocrypha, Enoch, ancestor of Noah, who is transformed into an angel. I bet that grabbed your attention eh?

Now, if you can convert your brain into the vibe and oppressive atmosphere of 'Metatron' then you could well enjoy this enormous recording that lasts well over two hours. There's one or two moments of 'Heldon' territory that appear. In particular 'The Fabulous Story of Tigroo and Laloo'. Although it's not much of a story as no words are uttered at all. It is however reminiscent of 'Un Rêve Sans Conséquence Spéciale' from '76. Full of wailing, stretched and groaning guitars while a jack-hammer 4/4 beat pounds relentlessly.

There's some unadulterated Robert Fripp guitar sounds on 'Tikkun part 2'. A shameless theft of guitar sound that 'Pinhas' is only too willing to utilise in respect of his idol. And he's more than happy to let everyone know.

More impressive are the the beat-less guitar tracks such as 'Metatronic Rock' which display wobbly, reverberated and highly distorted guitars

This is a real mixed bag of lengthy tunes that sounds at war with itself, not knowing what it really wants to be. A lack of focus is the one criticism I can throw at this. It seems to wander from track to track, punching left and right but making no contact with anything. Thrashing about wildly, like a bag full of cats.

At the end of the day I find it difficult to identify the 'Merzbow' contribution. Of the 20 odd CD's I own by him I can't hear any influence at all. Weird.

It's still a sonic electronic assault with all sounds being excellently produced and appearing crystal clear whilst played at high volume. Ultimately it's just all too long and drawn out. No matter how often I listen to this I hardly ever reach the end. Too much of the same stuff gradually wears me down. After two hours I've more than had enough. It looks like they could have done with a good editor.

Great in parts, but far too lengthy. 'Metatron' turns into and endurance test.

 Ambient 4 : On Land by ENO, BRIAN album cover Studio Album, 1982
4.05 | 126 ratings

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Ambient 4 : On Land
Brian Eno Progressive Electronic

Review by Dobermensch

3 stars This is clearly the darkest of the four 'Ambient' works from the series, It's a moodier, more organic, darker Eno who plays with a creepy Halloween mask wrapped around his bald egg head. Ready to scare any children who approach.

There's a lot more going on than displayed in the previous three outings. However, it's still very minimal and quiet. There's only hints of melody amongst the sea of bleak tranquility. This is the album where he states in the liner notes that - 'I find the synthesiser to be of limited usefulness due to it having a non organic quality'. Make of that what you will, as I'm sure I can hear many synths used throughout.

Funny little squishes and watery bloops recur on 'Tal Coat' as all the while splutters of analogue tones flitter around like fairies waving wands at the bottom of your garden. This one's on a totally different plane from previous releases. It's more distant and less cosy. In all there appear to be five musicians present which is surprising considering the starkness of sound.

While I much prefer the beautiful 'Ambient 2' with Harold Budd, this reveals a solo Eno, displaying all the talent he undoubtedly had. It's not his best, but I'd have to call it it has one of the progenitors of 'Dark Ambient'.

The best is left till last with the ultra-bleak 'Dunwich Beach, Autumn'. Beautiful decayed piano sounds play a mournful but attractive tune. It's miserable, yet desperately pretty at the same time. I guess most of Eno's work can be described in this way.

Oh and by the way, the frog recordings are brilliant.

 Darkest Before Dawn by ROACH, STEVE album cover Studio Album, 2002
4.00 | 3 ratings

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Darkest Before Dawn
Steve Roach Progressive Electronic

Review by Dobermensch

4 stars This is another of those post-Apocalyptic, ethereal Roach recordings where the smell of death from the trenches creeps up your nose.

Either that, or it's a happy easy listening album by the beach, as you read your favourite book whilst half asleep. It's all down to each individual listener.

Everyone will have differing opinions about this super-long, minimal, one track 74 minute recording by the 'Yoda' of Isolationist Ambience. It's either grim and creepy or soothing and relaxing depending on the your state of mind. As is usual from his output at this time, Roach displays an undiluted and relentless approach to the final outcome.

To me it sounds like the vacuum of outer space itself. Like that bit in 'Alien' where the 'Nostromo' silently plummets through space. It's an all consuming and haunting work using only ghostly electronics played at 1mph. This isn't the type of album that is rewarded by close listening. It's most definitely a background soundtrack for those moments where your nightmares are about to take centre stage.

'Darkest Before Dawn' utilises only keyboards. Keyboard chords that are stretched so long that they become drowsy and sleepy. This is no bad thing, as they create an atmosphere of doom.

Despite the unimaginative cover - which I have to admit - sums up the sound within with its black morphing into grey. This is one of Steve Roach's best recordings. Produced at a time when the likes of 'Lull', 'Lustmord' and 'Voice of Eye' were at their peak, this is every bit as good as the aforementioned and sounds effortless in its construction.

The sounds rise and fall like celestial waves amongst thick fog in an alien ocean of sulphur. It's a bit like standing on the edge of a cliff staring into the abyss of nothingness. There's no beginning and no end. Just a sea of slowly evolving waves, without beat. Isolationism in the extreme. 'Brian Eno' fans will love this. This however, has an underlying threat despite being so laid back.

'Darkest Before Dawn' is an album with no meaning other than its own presence alone. A solitary beacon of life in a dead Universe. Beautiful.

 De Harmonia Universalia  by LANGUIRAND, PASCAL album cover Studio Album, 1980
4.00 | 3 ratings

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De Harmonia Universalia
Pascal Languirand Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

4 stars "De Harmonia Universalia",1980, composed and performed by Pascal Languirand is another true example of how rich and unique the Canadian prog-electronic scene developed alongside its European counterpart.

The blend of acoustic or analog instruments (and vocals here and there) with very well thought electronic environments, in a perfect progression of music composition ideas (5), which are perfectly crafted and performed single handedly without any other purpose but perfection and I suppose a personal sense of achievement yet without condescending nor becoming egotic-obtuse or over-grandiose.

The whole project is felt conceptual and shares themes that appear to construct new passages and directions which conjure its "mystic" and cosmic atmospheres and also its closer to earth connection ("Atlantis" track 3) .

Now as far as rating this effort, I will certainly admit that even though it gets dangerously close to "sweet tinkle bells music" at some peaks and Tangerine Dream's idiom ("O Nos Omnes", track 4), it never abuses these compositional solutions and somehow detours from crossing those lines.

Altogether it offers, I repeat, a very different perspective of Progressive Electronics as opposed to its European counterparts (and schools) , the "real deal" in this sub-genre's universe.

Easy ****4.5 PA stars

Thanks to reviewer Progfan97402 for bringing this artist to my attention!

 Madam I'm Adam by AIRAKSINEN, PEKKA album cover Boxset/Compilation, 2003
2.33 | 2 ratings

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Madam I'm Adam
Pekka Airaksinen Progressive Electronic

Review by Dobermensch

3 stars This sounds like the work of a mad scientist with his hair on fire as his glasses wobble about his face due to uncontrollable laughter.

Where on Earth do I begin with this lengthy monstrosity?

For a start you would think he'd have put a bit more effort into the cover eh?. It doesn't exactly jump out with fangs screaming, 'BUY ME!' does it?

'Madam I'm Adam' is a good place to begin for the more open minded listeners willing to take a dive into the crazy world of Pekka Airaksinnien and his earlier Finnish band 'The Sperm'. It's a compilation encompassing works from 1968-2002. And let it be said right now - this is no easy listen. Mental blooping keyboard cords fire away without rhyme or reason throughout the first track from '83'.

It's all instrumental yet very disorientating. None of it makes any sense. Particularly when the drum patches kick in. That's not to say that they're bad, they are in fact pretty good as far as 1983 goes. There's such a dichotomy in sound that I'm left cross-eyed at the end.

'A Little Soup for Piano and Orchestra' from 1970 has a load of looped reversed sequences which sound uncannily 'Zoviet France' -like from 15 years later. There's a whole bunch of queer sounds on display here. Wobbly sick guitars, tape manipulations and almost ritualistic percussion are played intuitively. There's a terrifying amplified wire object stroked at high volume with something metal which is utterly indescribable. It's enough to give your worst enemy nightmares.

We then leap to 2002 with 'No Focus' which sounds altogether more cohesive due to the off-kilter drum machine. There's also some electronically looped strings played here, but it remains one of the poorer tracks on this compilation.

The experimental free-form rock continues with 83's 'Suvarnabhasagarbha'. (Honestly, these titles are torture). There's a tune desperately bring to break free here but it's frustratingly shackled to the bass for some reason. Only a queazy , loud synth with stabbing cords reaches the forefront - and it's too tuneless to redeem this track.

The earlier tunes seem to work better despite being understandably inferior in recording quality. They're more abrasive and carved from a rougher hew. They also carry more menace. There's a serious juxtaposition on 'Madam I'm Adam' that somehow manages to remain engaging despite the varied technology and instruments used throughout the 34 years on display,

The hefty 19 minute 'Dodekafoninen Talvisota' from '69 is very 'Electronic Meditation' era 'Tangerine Dream' minus the electronics. Rapid finger strumming over tuneless guitar strings plays centre stage as an African Djembe under arm bongo thumps away in the background. It's all very much of its time but still listenable today. Just...

The second disc is basically a waste of time. Here the ball was dropped and picked up by various artists trying to add their own variations to the Airaksinnen sound. It doesn't work, with the exception of 'Nurse With Wound's' re-make of 'No Focus'. The man himself plays a few tunes which are good enough but he's drowned in a sea of mediocrity. Thankfully the first disc is 78 minutes long so I'm more than willing to overlook this failure.

I don't know what to make of this album at all. It's all I've heard by 'Airaksinnen' and it sounds disjointed and fractured beyond repair. But it holds a certain dignity, craft and presence of mind that can't lower my rating below three stars. One thing's for sure... It's unique.

 Eclipse  by OSCILLOTRON album cover Studio Album, 2012
3.00 | 1 ratings

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Eclipse
Oscillotron Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
3 stars Promises for the future.

Oscillotron's aka Christoffer Johnasson and David Johansson, 2012 "Eclipse", is full of surprises. Some of them quiet relevant and unique, others not that unique and less memorable.

This album explores many moods and consequently new means of expression for the same. In these explorations it moves along obscure (not raw) electronic experimentations, highly dramatic compositional structures ala EL&P (or Bartok to be fair), the inevitable splashes of TD's idiom, and the so in vogue "dark" Ambient and Drone stylings.

Composition wise this duo has a lot to offer and it shows, but also more releases to purify all their influences and turn them their own.

Anyway for a first release and being inducted into this PA's Prog Electronic section with that single effort is quiet a burden, but if the winds high fly I could think these musicians will eventually release something beyond mere good.

For now ***3.5 "promIsing band, enjoyable album" PA stars.

 Et Le Troisième Jour  by DIONNE - BRÉGENT album cover Studio Album, 1976
3.20 | 10 ratings

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Et Le Troisième Jour
Dionne - Brégent Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

3 stars Canada may not have been recognized as an important figure in the 70's Progressive Electronic rock scene in its beginnings. Easy to understand considering its then lack of instant communication from this styling's craddle and the lesser quantity (not quality) of P/E's musicians up there. Nevertheless I have found an unique musical translation and freedom that sets it apart from those monster European acts' musical idiom (The famous "Berlin" and "Cosmic" schools).

Dionne - Brégent's 1976 "Et le Troiseme Jour" is no exception to that. Divided in two parts, side "A" & "B", this release shows 2 different approaches in electronic music composition. So more than a single composer's effort we are offered two separate ones, which I myself find quiet amusing instead of feeling insulted.

Side "A" is close in spirit to P/E's craddle but adding a twist by using gamelan drums and other fast paced acoustic percussive instruments counterpointing the synths' atmospherics and mainly by avoiding the pulse sequences that everybody used to and still abuse.

Side "B" on the other side (literally) is close in spirit to electronic experimentation or Avant Garde and Rock in Opposition stylings, so as to "classic electronic" music composers. Blending free musical cacophonic structures with all kind of weird electronic sounds and traditional percussions this piece is quiet "unfriendly" in comparison to its side "A" sister but still unpretentious and quiet well achieved.

As far as the rating goes, side "A" merits 4 PA stars, side "B" is good but that solely (3 PA stars), therefore using some kind of "unbiased" arithmetics>

***3.5 PA stars.

 Disorder Of Thinking by ARZATHON album cover Studio Album, 2006
4.00 | 1 ratings

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Disorder Of Thinking
Arzathon Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars A natural transition between primitive roots and sophisticated electronics.

Not only does this release, 2006, "Disorder of Thinking" by Arzathon (Ralf Bevis, born in Sweden), continues and simplifies many prog electronic, eclectic, folk, RiO, Krautrock and crossover musician's ambitions to blend synths with kalimbas, electric guitars with crickets' chirping, white noise with gutural heartfelt ethnic voices and drum boxes with log drums, it makes everything work out as if it was the natural order of things. His skill and knowledge of these foreign influences makes him able to transmute these to become an authentic mean of musical expression therefore language.

As if pre-planned such an endeavor is explosive yet Arzathon keeps himself from unnecessary antics and focuses entirely on his personal way of structuring this jigsaw puzzle to create a perfect balance between both worlds.

Daring yet unpretentious, extremely attractive without being condescending or fashionable nor "spectacular". This is a memorable and highly recommendable addition to this P/E section and without doubt to your Prog collection.

****4.5 PA stars.

P.D. Closer to Krautrock and modern electronics in styling than "cosmic" electronics.

 Autobahn by KRAFTWERK album cover Studio Album, 1974
3.46 | 238 ratings

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Autobahn
Kraftwerk Progressive Electronic

Review by RaelWV

4 stars It was inevitable when I started diving into electronic music a few years ago that I'd eventually wind my way to Kraftwerk. To lots of people the German pioneers are electronic music, at least of the accessible pop-flavored variety. No album is more responsible for that than Autobahn. It was, rather inexplicably, a hit in the United States and in Europe.

Autobahn is technically not the first Kraftwerk album, but it might as well be. In fact, main men Florian Schneider and Ralf Hütter have essentially disowned the three albums that came before (they've never been released on CD, IIRC). From what little I've heard of those albums, there is some recognizable Kraftwerking going on, but they had not yet fully embraced electronics they way they did on Autobahn (and later, of course).

There's also a conceptual rigor that starts to be flexed on Autobahn that would really bear fruit on the next several albums, at least when it comes to what was (back in the olde days) side one. The title track, an epic of proggy proportions, sprawls out across that side, conveying musically a car trip across Germany. Lyrics are sparse and in German, although the refrain of "fahren fahren fahren auf der Autobahn" has the effect of sounding like a Beach Boys reference (not intentional, from what I understand). The music is undeniably electronic, although Schneider's flute still makes a couple of appearances.

The concept doesn't hold over to side two, which appears to be kind of neglected by listeners as a result. Regardless, it contains the track that convinced me to keep digging in the Kraftwerk katalog. "Kometenmelodie" is another epic, split into two parts. The first part sounds like something I might come up with on a particularly inspired evening, which is maybe why I like it so much.

Autobahn isn't my favorite Kraftwerk album from stem to stern. But it was the onramp, so to speak, for my discovery of the band. Apparently, it was the same for lots of other folks, too.

On a related note, if you're interested in Kraftwerk and the German experimental music scene from which they sprang, I highly recommend the documentary Kraftwerk and the Electronic Revolution. It's long (3 hours!), but it covers a lot of ground and provides some interesting insight into the whole milieu that was German music in the late 1960s/early 1970s. The film's biggest flaw is that neither Schneider nor Hutter participated, although Karl Bartos (who joined just after Autobahn) provides some interesting insight.

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Progressive Electronic bands/artists list

Bands/Artists Country
12 FOLLOWERS United States
6LA8 Pakistan
ACI Germany
AEON France
AETHENOR Multi-National
AFTERLIFE United States
ILDEFONSO AGUILAR Spain
PEKKA AIRAKSINEN Finland
AIRSCULPTURE United Kingdom
ALBERGO INTERGALATTICO SPAZIALE Italy
ALIO DIE Italy
ALLEGORY CHAPEL LTD United States
DAEVID ALLEN MICROCOSMIC United Kingdom
ALPHA WAVE MOVEMENT United States
AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
ANNA SJALV TREDJE Sweden
ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ARZATHON Sweden
ASCOIL SUN Finland
ASHRA Germany
ATOMINE ELEKTRINE Sweden
AUBE Japan
AUTOMAT Italy
AWENSON France
MARVIN AYRES United Kingdom
HARVEY BAINBRIDGE United Kingdom
AIDAN BAKER Canada
SIMON BALESTRAZZI Italy
BAFFO BANFI Italy
BASS COMMUNION United Kingdom
PETER BAUMANN Germany
BEAR BONES LAY LOW Venezuela
BOBBY BEAUSOLEIL United States
CARLOS BELTRÁN Mexico
LÁSZLÓ BENKő Hungary
PHILIPPE BESOMBES France
BETWEEN INTERVAL Sweden
MAURIZIO BIANCHI Italy
BIG ROBOT Norway
BIOSPHERE Norway
TIM BLAKE France
BLUE MOTION Switzerland
BLUE SAUSAGE INFANT United States
WOLFGANG BOCK Germany
DIDIER BOCQUET France
IAN BODDY United Kingdom
GASTON BORREANI Italy
ADAM CERTAMEN BOWNIK Poland
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
CALDERA United States
TOM CAMERON United States
DALLAS CAMPBELL United States
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK United Kingdom
JOHN CHRISTIAN United Kingdom
CHRISTINE 23 ONNA Japan
THE CIRCULAR RUINS United Kingdom
CLOUDLAND CANYON/LICHENS United States
COIL United Kingdom
COMA VIRUS Germany
PASCAL COMELADE France
COMPUTERCHEMIST United Kingdom
CONTRASTATE United Kingdom
COSMIC DEBRIS United States
COSMIC GROUND Germany
COSMIC HOFFMANN Germany
CRAWL UNIT United States
CROP CIRCLES France
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRÀ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
DOLULUS Switzerland
HEINRICH DRESSEL Italy
EARTHSTAR Multi-National
EDEN France
ELEKTRIKTUS Italy
ELICOIDE Italy
EMERALDS United States
J.D EMMANUEL United States
ENDOPLASMIC FLOW Multi-National
BRIAN ENO United Kingdom
ENVENOMIST United States
EXPO 70 United States
F.G EXPERIMENTAL LABORATORY Switzerland
FRANCO FALSINI Italy
FANGER & SCHÖNWÄLDER Germany
FASER Germany
FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
FHIEVEL Italy
FIVE THOUSAND SPIRITS Italy
FLAMEN DIALIS France
FOVEA HEX Ireland
FREE SYSTEM PROJEKT Netherlands
FRIPP & ENO United Kingdom
EDGAR FROESE Germany
PETER FROHMADER Germany
KEITH FULLERTON WHITMAN United States
FUTURO ANTICO Multi-National
GALACTIC EXPLORERS Germany
MICHAEL GARRISON United States
MORT GARSON Canada
GRAHAM GETTY United Kingdom
SACHA GIBSON United Kingdom
BRUCE GILBERT United Kingdom
GIRÓN Spain
MATHIAS GRASSOW Germany
GRAUGLANZ Germany
GREGOR CÜRTEN & ANSELM ROGMANS Germany
RANDY GREIF United States
RAGNAR GRIPPE Sweden
HARALD GROSSKOPF Germany
SVEN GRÜNBERG Estonia
GEORGES GRÜNBLATT France
JEAN GUÉRIN France
CARLOS GUIRAO Spain
BRUCE HAACK Canada
HALL OF MIRRORS Italy
PETER MICHAEL HAMEL Germany
HARMONIA Germany
STEVE HAUSCHILDT United States
TIM HECKER Canada
HELDON France
HEMMELIG TEMPO Norway
ROBERT HENKE Germany
MICHAEL HOENIG Germany
HOLLAN HOLMES United States
HORSE PALACE Canada
HARUOMI HOSONO Japan
EPPIE E. HULSHOF Netherlands
HYDRAVION France
HYDRUS Italy
GIUSEPPE IELASI Italy
INVOLVED United States
IVERSEN Norway
JAZZCOMPUTER.ORG France
JESDAT Spain
GUSTAVO JOBIM Brazil
EDDIE JOBSON United Kingdom
JONATHAN Germany
ARIEL KALMA Australia
JÜRGEN KARG Germany
KASHMIR Switzerland
KHA - YM France
BERND KISTENMACHER Germany
KNITTING BY TWILIGHT United States
KOROIEV Spain
KÖSMONAUT United States
TAKEHISA KOSUGI Japan
ESA KOTILAINEN Finland
KRAFTWERK Germany
MIHA KRALJ Yugoslavia
KLAUS KRÜGER Germany
RICHARD LAINHART United States
LAMBWOOL France
PASCAL LANGUIRAND Canada
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
LIIR BU FER Italy
LILIENTAL Germany
JOHN LIVENGOOD France
LOGIC GATE United States
LONG DISTANCE POISON United States
LOOM Germany
RÜDIGER LORENZ Germany
LORQ DAMON United States
LULL United Kingdom
LUNAR MIASMA Greece
TOR LUNDVALL United States
LUSTMORD United States
LYDHODE Norway
BJORN LYNNE Norway
IAN MACFARLANE Australia
MAEROR TRI Germany
MAGINA Portugal
PEPE MAINA Italy
MAJEURE United States
ERIC MALMBERG Sweden
MARIBOR Italy
ANDREA MARUTTI Italy
MEERKAT Italy
METATAG Norway
MICKIE D'S UNICORN Germany
CLAUDIO MILANO Italy
DIETER MOEBIUS Germany
MOLNIJA AURA Italy
CLARA MONDSHINE Germany
MONOTON Austria
GEN KEN MONTGOMERY United States
MOORE / MYERS United States
KEN MOORE United States
STEVE MOORE United States
MORA-TAU Japan
SCOTT MOSHER United States
MOTHER MALLARD'S PORTABLE MASTERPIECE CO. United States
MOUNTAIN OCEAN SUN Japan
MOUNTAINS United States
THE ALMAN MULO BAND United Kingdom
MUSHY Italy
IAN NAGOSKI United States
PETE NAMLOOK Germany
NAUTILUS Germany
NEPTUNE TOWERS Norway
NEURONIUM Spain
NEVER KNOWN Italy
NEWCLEAR WAVES Italy
NIMH Italy
NIMH + M.B Italy
NODE United Kingdom
NUMINA United States
OMIT (CLINTON WILLIAMS) New Zealand
OÖPHOI Italy
OSCILLOTRON Sweden
OSE France
P'COCK Germany
STEPHEN PARSICK Germany
PEAK Australia
PETER M. Italy
PHROZENLIGHT Netherlands
RICHARD PINHAS France
COLIN POTTER United Kingdom
NIC POTTER United Kingdom
ROGER POWELL United States
THE PRESENT MOMENT United States
DAVID PRITCHARD Canada
PROPELLER ISLAND Germany
PRZEMYSLAW RUDZ Poland
PULSE EMITTER United States
PYTHAGORON United States
QUARKS Chile
RADIO MASSACRE INTERNATIONAL United Kingdom
LUTZ RAHN Germany
NIK RAICEVIC United States
RAINBOW GENERATOR Australia
RAINBOW SERPENT Germany
RAPOON United Kingdom
REALTIME Germany
TOM RECCHION United States
REDSHIFT United Kingdom
JONAS REINHARDT United States
ALEJANDRO VILLALÓN RENAUD Mexico
ROBERT RICH United States
RICHARD WAHNFRIED Germany
CHRISTIAN RICHET France
WOLFGANG RIECHMANN Germany
STEVE ROACH United Kingdom
HANS JOACHIM ROEDELIUS Germany
ROGUE SPORE Ireland
THOMAS RONKIN United States
RUNE MARTINSEN & ØYSTEIN JØRGENSEN Norway
SAB Japan
SANGIULIANO Italy
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
SERGE RAMSES France
SHOGUN KUNITOKI Finland
MARK SHREEVE United Kingdom
SIJ Ukraine
SIL MUIR Italy
SINIAALTO Finland
SINOIA CAVES Canada
JAKOB SKØTT Denmark
SOFTWARE Germany
SONISK BLODBAD Multi-National
SOUNDS OF NEW SOMA Germany
SPACE ALLIANCE Italy
SPACE ART France
SPACE MACHINE Japan
SPACECRAFT France
SPARKLE IN GREY Italy
SPERM Finland
STARDRIVE United States
MICHAEL STEARNS United States
STELLARDRONE Lithuania
SUBINTERIOR Italy
SYRINX Canada
JUTA TAKAHASHI Japan
TANGERINE DREAM Germany
TANGRAM Hungary
TELAIO MAGNETICO Italy
DR. FIORELLA TERENZI Italy
THOUGHT GUILD United States
THREE SUNS Austria
THROBBING GRISTLE United Kingdom
ASMUS TIETCHENS Germany
TIPU SABZAWAAR Multi-National
TOMUTONTTU Finland
TONTO'S EXPANDING HEAD BAND United Kingdom
TOTAL STATION Russia
TRANQUILLITY Germany
TRANSPARENT ILLUSION United Kingdom
ROLF TROSTEL Germany
UDDER MILK DECAY United Kingdom
MATTEO UGGERI Italy
UNATTA United States
URNA Italy
VAKO Spain
VANDERSON Poland
JOEL VANDROOGENBROECK Switzerland
PATRICK VIAN France
VIDNA OBMANA Belgium
VIETGROVE United Kingdom
VOICE OF EYE United States
VOLT Netherlands
ADELBERT VON DEYEN Germany
VON HAULSHOVEN Netherlands
ADRIAN WAGNER United Kingdom
IGOR WAKHEVITCH France
WAVESTAR United Kingdom
PHILLIP WERREN Canada
WHITE NOISE United Kingdom
PATRICK WIKLACZ France
WO0 Serbia
BERNHARD WÖSTHEINRICH Germany
RENÉ VAN DER WOUDEN Netherlands
X-TG United Kingdom
XIU Italy
BERNARD XOLOTL France
YELLOW MAGIC ORCHESTRA Japan
YEN POX United States
YETI RAIN United States
YOU Germany
ZA SIÓDMA GÓRA Poland
EDWARD M. ZAJDA United States
ZANOV France
ZED France
ZOLTAN United Kingdom
ZOMBI United States
ZORCH United Kingdom
ZOVIET FRANCE United Kingdom

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