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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 | 706 ratings
RUBYCON
Tangerine Dream
4.26 | 213 ratings
MIRAGE
Schulze, Klaus
4.14 | 612 ratings
PHAEDRA
Tangerine Dream
4.44 | 29 ratings
GREEN RAY
Zanov
4.64 | 17 ratings
IN COURSE OF TIME
Zanov
4.16 | 202 ratings
TIMEWIND
Schulze, Klaus
4.19 | 107 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.14 | 194 ratings
X
Schulze, Klaus
4.56 | 17 ratings
CATCH WAVE
Kosugi, Takehisa
4.07 | 142 ratings
NEW AGE OF EARTH
Ashra
4.29 | 27 ratings
AN ELECTRIC STORM
White Noise
4.20 | 40 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.09 | 89 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.37 | 19 ratings
EARTHEN
Alpha Wave Movement
4.22 | 29 ratings
LUCIFER RISING
Beausoleil, Bobby
3.99 | 362 ratings
FORCE MAJEURE
Tangerine Dream
4.01 | 137 ratings
AMBIENT 4 : ON LAND
Eno, Brian
3.97 | 250 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.46 | 12 ratings
ABANDONED CITIES
Budd, Harold
4.31 | 16 ratings
FILAMENTS
Rich, Robert
3.93 | 292 ratings
THE MAN-MACHINE (DIE MENSCH-MASCHINE)
Kraftwerk
4.15 | 26 ratings
20 JAZZ FUNK GREATS
Throbbing Gristle
3.92 | 253 ratings
TRANS-EUROPE EXPRESS (TRANS-EUROPA EXPRESS)
Kraftwerk
4.01 | 55 ratings
MUSIK VON
Harmonia
3.91 | 421 ratings
STRATOSFEAR
Tangerine Dream
4.28 | 16 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.23 | 18 ratings
RAVEDEATH, 1972
Hecker, Tim
4.16 | 22 ratings
DALINETOPIA
Froese, Edgar
3.95 | 87 ratings
BODY LOVE VOL. 2
Schulze, Klaus
4.75 | 7 ratings
BLACKER
Radio Massacre International
3.93 | 113 ratings
MY LIFE IN THE BUSH OF GHOSTS (WITH DAVID BYRNE)
Eno, Brian
4.73 | 7 ratings
LONG LOST RELATIVES
Syrinx
4.36 | 12 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.16 | 20 ratings
SONANZE
Cacciapaglia, Roberto
3.88 | 228 ratings
TANGRAM
Tangerine Dream
3.93 | 73 ratings
SMALL CRAFT ON A MILK SEA
Eno, Brian
4.07 | 25 ratings
LOGOS
Wakhevitch, Igor
4.95 | 5 ratings
THE HIDDEN SPRING
Alio Die
4.07 | 23 ratings
BALLET STATIQUE
Schnitzler, Conrad
4.72 | 6 ratings
NUMINA + ZERO OHMS: BROKEN STARS THROUGH BRILLIANT CLOUDS
Numina
3.90 | 72 ratings
STAND BY
Heldon
4.29 | 11 ratings
HORSE ROTORVATOR
Coil
3.91 | 55 ratings
AMBIENT 2 - THE PLATEAUX OF MIRROR (WITH BRIAN ENO)
Budd, Harold
3.92 | 50 ratings
THE EQUATORIAL STARS
Fripp & Eno
4.04 | 23 ratings
DOCTEUR FAUST
Wakhevitch, Igor
4.01 | 26 ratings
ICELAND
Pinhas, Richard
4.67 | 6 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
3.89 | 60 ratings
KONTINUUM
Schulze, Klaus
3.84 | 138 ratings
UNDERWATER SUNLIGHT
Tangerine Dream
4.64 | 6 ratings
THE VOID
Lynne, Bjorn
3.90 | 46 ratings
THE PEARL (WITH BRIAN ENO & DANIEL LANOIS)
Budd, Harold
4.79 | 5 ratings
NODE
Node
4.34 | 9 ratings
ZUG
Schnitzler, Conrad
4.75 | 5 ratings
LEXIKON I
Benkő, László
4.32 | 9 ratings
LOVE'S SECRET DOMAIN
Coil
3.79 | 180 ratings
COMPUTER WORLD (COMPUTERWELT)
Kraftwerk
4.18 | 11 ratings
ADONIA
Ose
4.91 | 4 ratings
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
4.91 | 4 ratings
DECONSECRATED AND PURE
Alio Die
4.63 | 5 ratings
ELECTRONEGATIVITY - THE CASSETTE CONCERT SERIES NO.3
Schnitzler, Conrad
3.98 | 18 ratings
UBERFALLIG
Schickert, Günter
4.83 | 4 ratings
SIL MUIR
Sil Muir
4.10 | 12 ratings
EMISSARIES
Radio Massacre International
3.76 | 161 ratings
BEFORE AND AFTER SCIENCE
Eno, Brian
4.27 | 8 ratings
THE DELICATE FOREVER
Roach, Steve
3.98 | 17 ratings
D.O.A. THE THIRD AND FINAL REPORT
Throbbing Gristle
4.78 | 4 ratings
HERITAGE
Neuronium
3.84 | 34 ratings
SURFACE TO AIR
Zombi
4.41 | 6 ratings
VOYAGE CÉRÉBRAL
Bocquet, Didier
3.87 | 28 ratings
EPITAPH FOR VENUS
Galactic Explorers
4.75 | 4 ratings
THE SIXTH EAR
Raicevic, Nik
3.75 | 111 ratings
CYBORG
Schulze, Klaus
4.70 | 4 ratings
CONDUITS AND ESTUARIES
Rapoon
4.14 | 9 ratings
FROZEN NORTH
Radio Massacre International
3.75 | 80 ratings
PICTURE MUSIC
Schulze, Klaus
3.74 | 90 ratings
APOLLO : ATMOSPHERES & SOUNDTRACKS
Eno, Brian
3.95 | 15 ratings
MIDNIGHT IN SPACE
Hydrus
4.17 | 8 ratings
WARMTH OF EARTH
Artemiev, Edward
3.79 | 38 ratings
HELDON IV: AGNETA NILSSON
Heldon
3.73 | 86 ratings
BLACKOUTS
Ashra
4.91 | 3 ratings
HONEYSUCKLE
Alio Die
3.75 | 57 ratings
AFTER THE HEAT (WITH DIETER MOEBIUS & HANS-JOACHIM ROEDELIUS)
Eno, Brian
3.75 | 56 ratings
ANOTHER DAY ON EARTH
Eno, Brian
3.79 | 33 ratings
EDGAR ALLAN POE'S THE ISLAND OF THE FAY
Tangerine Dream
4.40 | 5 ratings
THE LAST STRANDS OF FORTITUDE
6LA8
4.19 | 7 ratings
MINOS
Languirand, Pascal
4.86 | 3 ratings
AIR II - TRAVELLING WITHOUT MOVING
Namlook, Pete
3.82 | 23 ratings
TECHNODELIC
Yellow Magic Orchestra
3.94 | 13 ratings
ELECTRONIC MIND WAVES
Elektriktus
3.83 | 22 ratings
HATHOR
Wakhevitch, Igor
3.69 | 138 ratings
MOONDAWN
Schulze, Klaus
4.82 | 3 ratings
THE CONFESSIONAL TAPES
Baker, Aidan
4.82 | 3 ratings
QUANTUM CONSCIOUSNESS
Five Thousand Spirits
4.35 | 5 ratings
STARS FALL DARKLY
Yeti Rain
3.67 | 281 ratings
ZEIT 'LARGO IN 4 MOVEMENTS'
Tangerine Dream
4.00 | 10 ratings
WOLVES OF THE GODS
Lynne, Bjorn
3.94 | 12 ratings
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
4.14 | 7 ratings
CELESTIAL CHRONICLES
Alpha Wave Movement
4.50 | 4 ratings
NEKROPOLIS - CULTES DES GOULES BALLETT OF DEATH
Frohmader, Peter
4.77 | 3 ratings
FORGOTTEN REALM
Hall Of Mirrors

Progressive Electronic overlooked and obscure gems albums new


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

MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
HARMONIC ASCENDANT
Schroeder, Robert
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico
ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale

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Latest Progressive Electronic Music Reviews


 Live in Tucson: Pinnacle Moments by ROACH, STEVE album cover Live, 2016
5.00 | 1 ratings

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Live in Tucson: Pinnacle Moments
Steve Roach Progressive Electronic

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

— First review of this album —
5 stars In addition to numerous studio recordings every year nowadays, veteran progressive-electronic/ambient composer Steve Roach releases several live performances, both recent and archived, much to the delight of his devoted loyal followers who blind-buy every release without hearing a second of music from it, and to the intimidation and frustration of newcomers unsure of which titles to explore first! Recorded live at Tucson's Solar Culture Galactic Center (now THERE's a place to visit just based on the name alone!), `Pinnacle Moments: Live in Tucson 02-14-2015' collects five mostly-new instrumental pieces full of a flowing energy, a showcase of a master of the above mention genres delivering one of his most focused and approachable live concert releases to date.

The performance opens gently with the two-part `Desert Eternal', at first a work of pure ambience of soothing synth caresses, whispering ethereal siren cries, tiny patterings of beats slowly rising around weeping spectral and subtle guitar strains over field-recordings of nature at night, all sounding like one slowly exhaling breath. The second passage moves into a darker droning veils, almost cinematic as they equally balance reflection and confrontation, lifting in groaning harshness at its climax. `Endorphin Dreamtime' ascends out of the shadows into reassuring heavens, skittering beats bouncing around chilled-out synth breezes. Heady electronic drowsiness and liquid trickles wrap around the senses in `Going Gone', embracing the ancient world of old with looping tribal drums and wafting flute before morphing into a run of slinking twitchy beats and sly bass murmurs over glacial drones.

But it's the final two tracks that takes the performance to a whole other level. Initially sounding like a throwback to Roach's`Empetus' era, `Skeleton Passage' reveals itself to be relentless and addictive sequencer-driven meltdown, with waves of searing Mellotron-like washes weaving around the maddening beats, sounding like a lost Tangerine Dream piece from the defining Seventies period (prog fans, it also vaguely recalls the electronic/'Tron passages on Norwegian band Smell of Incense's `A Floral Treasury' off their `From the Gates of Deeper Slumber' psych stunner from 1997, but that's likely a complete coincidence). It seamlessly merges with the placid `Spiral Passage', undulating beats racing and slowing with expert precision behind the most beautifully joyful chiming loop before joining with the shadows to fade into eternity once more.

There is no doubt that Steve Roach constantly puts out a steady series of releases, and it can be quite confusing for potential new listeners to know which albums to choose from to begin with. `Pinnacle Moments' would be an ideal starting point, as although as a live performance it's still full of spontaneity and liveliness, the constant percussive elements that eventually show up give this soundwork a more accessible grounding, so it avoids the outright formless and more vague elements of many of his more challenging concerts. It's also the sort of performance that's easier to replay and revisit more often, working both as a sumptuous background listen or an exciting carefully evolving soundtrack to take up your full attention.

`Pinnacle Moments' is a first-rate immersive live document of a veteran progressive-electronic composer at the peak of his abilities effortlessly blending a variety of styles both old and new, whilst also sounding more relevant and vital than ever in our modern era, and even somewhat effortlessly cool at the same time.

Five stars for a perfect Steve Roach release.

 Shape Shift by ZOMBI album cover Studio Album, 2015
2.67 | 14 ratings

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Shape Shift
Zombi Progressive Electronic

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars This all instrumental duo cites TANGERINE DREAM, GOBLIN and RUSH among their influences, and they manage to blend all of these into a somewhat original style. Synthesizers abound and generate mellotronish soundtrack atmospheres, nowhere better than on "Interstellar Package". However, by the end of the disk it is clear that they have no idea how to nurture an idea. Every track promises more than it ultimately delivers; even GOBLIN soundtracks compensate atmospherics with dramatic flourishes, and both TANGERINE DREAM and PINK FLOYD know better how to envelope the listener in one mood here and another there. The ZOMBI sound suffers, not just from an excruciating lack of variety and development, but from an overly intense and yet unimaginative rhythm section, which defeats the very purpose of this type of music by insisting upon itself, drawing all manner of attention, only to further highlight a dearth of substance. Sometimes influence and inspiration are but two shiftless shapes that pass in the night.
 Tangram by TANGERINE DREAM album cover Studio Album, 1980
3.88 | 228 ratings

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Tangram
Tangerine Dream Progressive Electronic

Review by fudgenuts64

4 stars Where can I start with this one. Tangerine Dream was in a transitional part of their career, and given the circumstances Tangram turned out really well. What we have is a record that looks back and forward at the same time but never feels like this clashes with the record. From what I can hear, this album is broken up into segments on each track. For example, Set 1 will start with a 4-5 minute piece that leads into a 2-3 minute piece working off the rhythm of the prior piece, then by the 8th minute it starts to slow down and switch moods and sound entirely. It reminds me greatly of something Jean Michel did on Equinoxe, only, on that record the tracks were separated and not meshed into two long tracks. This isn't a bad thing, however, as that record is best listened to from beginning to end anyway.

Now, as for the music itself, we have a lot of focus on melody like the prior record had, while at the same time, the sequencers and ambient pieces bleed through seamlessly with the more upfront melodic bits. The synth pallet is on the whole nice, but, some of the synths do sound a bit meh - something uncommon for Tangerine Dream, but thankfully the guitar playing is great and for the most part it all works when listened to from the beginning. Johannes Schomoelling definitely shows his presence here, and while some fans might not like his input I feel it was a needed change if the band wanted to progress past Force Maejeure. He certainly made this record sound distinct.

So, for a rating, I'll give it four stars. If you enjoy the late 70s Tangerine Dream albums, you'll love this. It's got enough focus on melody to keep it from being complete mood music but restrains itself when it needs to which makes it a very good listening experience. Definitely a favorite of mine, and overlooked often by many fans.

 Documents 1975 by HARMONIA album cover Studio Album, 2015
4.90 | 2 ratings

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Documents 1975
Harmonia Progressive Electronic

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars In the '90's, long after their heyday, and shortly after the close of the post-punk era in which they were first deified, the krautrock bands found themselves the darlings of various music collectors as well as EDM producers looking for inspiration. It was this climate that saw, for one, Harmonia getting their day in the sun, with "Tracks and Traces" dropping in '97, finally allowing their sessions with Brian Eno to be listened to by hordes of hungry fans. Surprisingly, though, it would take longer for some of their other archival material to surface - a collection of live recordings only surfaced in 2007, and only now have we this collection. These tracks represent the carefully recorded and preserved high quality tapes of a one Asmus Tietchens, a massive fan of tapes, Cluster, Neu, and Harmonia from Hamburg who recorded two live shows Harmonia did with Mani Neumeier of Guru Guru on drums in 1975 at different clubs in that city, and who also got his hands on rare tapes of Harmonia studio tracks from the same year. They have now been released in limited amounts to the listening public.

The first studio track, "Tiki-Taka", is a unique beast in the Harmonia discography, a dark track filed to the brim with skittering instruments, including a never before or since used by them nagoja harp. This alone makes "Documents" a revelatory release, showing a never before seen part of the supergroup's creative consciousness. Its studio cousin is "Proto-Deluxe", a standard though as usual fun and relaxing cut of theirs. The other revelations come from the live cuts, which merge their electronic styles and experiments with psychkraut jamming that compares to live Floyd and the first Ash Ra Tempel album. This is another very different side of the band. Altogether, this is a revealing and excellent little collection, proving once and for all the varied, versatile, and enduring creativity of these legendary musicians.

 Baumann/Koek by BAUMANN/KOEK album cover Studio Album, 1978
4.00 | 1 ratings

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Baumann/Koek
Baumann/Koek Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group Moderator

— First review of this album —
4 stars A celebrated fantasia electronica. Pretty happy to meet such an obscurity, a premature delivery.

Their view and opinion on electronic music (obviously inspired by Berlin School) is extensive and depth-psychological. Sound itself recorded upon the two sides of lp can be really felt as simplicity but the sound structure should not be simply repetitive, convoluted masses of sound mixture but also philosophical "beep after beep" movement and stillness. From the beginnig "Yarabbim" we can make a connection with such a dreamy, hearty, dim, and a tad bitter multi-coloured psychedelia.Exactly suitable for the opening of their spiritual world. "TD-Mem" is the favourite track for me, featuring subtle 1/f vibration, plus larger tonic ironic catastrophic paragraphic kinesis. This combination as above mentioned is stimulatively impressive. Cool, clear, incisive phrases fly over my brain again and again. On the other hand, some tribal beats and ear-achy pressures around warped synthesizer sound basis can be heard via the first track upon B-Side "Gamabol", that reminds me of another creation by Zendik. "Where" is in the same vein like melodic Mittelwinternacht '71. Not flat like this electronic vanguard but very colourful and developing. The last "Sequencer-Roll" might be created as a rock and roll-like joke by the two creators of genius, I suggest. Laugh and dance upon the last stage, quite interesting.

In conclusion, let me say as follows. This creation should be dedicated to all Progressive Electronic freaks. An excellent (and obscure in future) shot by Bureau B. Bravo.

 Stimmt by BAKER, AIDAN album cover Studio Album, 2015
4.00 | 1 ratings

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Stimmt
Aidan Baker Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars Aidan Baker's discography could hardly be pinned down to a single Prog sub-genre. His abilities and relentless exploring spirit, rarely denies itself the opportunity to express, whatever he needs to express in the styling it needs to be expressed. In some unknowingly way, he fits the PSIKE club almost to perfection (the Indo-Raga styling is still missing up to now and as far as I know).

Anyway, "Stimmt", 2015, is no exception. Closer to Krautrock even Psychedelic or Heavy prog, rather than electronic prog as such. Its charms are abundant as its energized performances, adding the topping with unique and mutable songwriting signatures.

Track 1- Dance of the Entartet is heavy prog related. Its exploding electric guitar chords certainly set it in this category. 4 stars

Track 2- Atemlos, slow paced cosmic Krautrock, tainted with a bluesy like rhythm and a "Frippiesque" distant guitar soloing. 3 stars

Track 3- Transverse Motion, a slowly ascending Krautrock rocker, plays along the lines of straight forward simplicity and highly rich and complex arrangements, alongside extreme noise filters and its inevitable uprising pinnacle. 4 stars

Track 4- Mir. Dreamy percussions open the stage for an even dreamier electric guitar melody line and a highly hypnotic synths background accompanied by abstract whispers, which built up one of this releases most memorable highlights (Steven Wilson like but without any cheesy momentums). 4.5 stars

Track 5- Starken. Counterpoints the previous track's sweetness with Black Sabbathesque deep falling electric guitar minor chords, as its clashing drumming and its pin-pointing deep bottom bass line. Fun considering the Black Sabbath structure and its unexpected influence in Baker's catalogue. 3 stars.

Track 6- Somate I, could be set in the dark/drone/shoegaze/noise styling, yet its unfriendliness is close to RiO's standards. 3.5 stars.

Track 7- Somate II, still runs on its sibling direction but offers a more polished "roughness" and experimental focus that could turn to be the delight of any RiO's or AV's follower. 4 stars

Track 8- Quer, returns to the heavy prog mood and proposes a more Aidan Baker approach, therefore its uniqueness overshadows its rootings and offers in return an extraordinary (but kind of short) sonic experience. 3.5 stars.

Resolut, the closing 9th track, probably this work's best track, moves between all the previous track's stylistic elements, transmuting them into a single, perfectly balanced and flawless composition. 5 stars.

Adding up these abstact numberings > 2/3s + 2/3.5s + 3/4s + 1/4.5 + 1/5 equals **** 4 PA stars.

 Infinite Mind by CLOUDLAND BALLROOM album cover Studio Album, 2011
3.00 | 1 ratings

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Infinite Mind
Cloudland Ballroom Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
3 stars James R. Moore aka CLOUDLAND BALLROOM's "Infinite Mind", 2011, is a two compositions, 17 +- minutes each, release which explores the possibilities of the Berlin School's "cosmic" electronic nature, built up on analog symphonic like grounds and played alongside and simultaneously throughout both tracks.

I know these close encounters towards symphonic music expression has been tried endlessly in almost all Prog's subgenres, according to the Prog-musician/s' roots and of course this electronic prog district is no exception.

Well! Track one, "Infinite Mind (Part 1)", compulsively undermines its uniqueness in favor of foreign electronic languages. More than once its original findings will be overshadowed by its own influences or this genre's ones. Meaning it is almost impossible to detach it from the very best stage of the pillars of this prog branch- Klaus Schulze and Tangerine Dream. Somehow it makes me feel the urge to listen, again, one of those artists best 70's releases.

Track 2 , "Infinite Mind (Part 2)", tips the balance towards the symphonic structured side of music composition and because of the same, turns far more daring and attractive. Its previous track's influences, in opposition, sound just exactly like that, influences and not compositional structures, therefore it opens up and displays James R. Moore's own musical idiom and proposal.

***3 good, could be better, PA stars.

 Reminiscences by LOREAU, BERTRAND album cover Studio Album, 2009
3.00 | 1 ratings

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Reminiscences
Bertrand Loreau Progressive Electronic

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars Bertrand LOREAU is a French composer and musician, who's been an active recording artist since the early '90s. He was trained in classical piano as a child in the '60s, but during the '70s he got more and more intrigued by keyboards in general and the early electronic synthesizers in particular. After attending a Klaus Schulze concert in 1977, an artist he's still a great fan of, he decided to venture out himself some day to create music in a similar vein. When he and Musea Records discovered each other in 1992 he was given the opportunity to do just that, and his most recent effort "Reminiscences" is his seventh full-length release to be issued on the Musea Records sublabel Dreaming.

While the contents of this compilation of Loreau's oldest material may not be regarded as cutting edge electronic music by the standards of the time when they were made, those intrigued by meditative, new age tinged music of the electronic variety should find "Reminiscences" to be a nice addition to their collection. And those who truly enjoy the sound of vintage electronic instruments will probably have added this effort to their list of future purchases prior to reaching this conclusion.

 Triumph Standard 12 by RUNE MARTINSEN & ØYSTEIN JØRGENSEN album cover Singles/EPs/Fan Club/Promo, 2014
3.00 | 1 ratings

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Triumph Standard 12
Rune Martinsen & Øystein Jørgensen Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
3 stars This, 1, 20 minutes track, released by Rune Martinsen & Øystein Jørgensen (although its release inverts the names) is constructed solely with sounds from an old typewriter "Triumph Standard 12" from 1939. No other instruments used. Of course it gets through different manipulations, effects and filterings.

Once I read this, well it got my attention. Kind of an "spoiler alert" as I, while listening, started to notice the endless possibilities of this idea and started to sense that a lot of my "sonic ideas" would not happen as such in this EP. I mean, maybe their idea was to use the fewer alterations possible, but as the idea grows on my behalf, I get the feeling that the concept of the music is far more relevant for this duo, than the music itself, therefore its creative spirit does not explode beyond itself.

Concrete and Incidental electronic music a la John CAGE with a frugal use of experimentation and a strong tendency to build a minimal, raw and desolated environment, which grows into a drone like solitary timbre tainted by also solitary tappings and a fading reverb.

It would not offend your ears yet it kind of gets caught in its own concept, music/noise wise.

***3 PA stars

 Force Majeure by TANGERINE DREAM album cover Studio Album, 1979
3.99 | 362 ratings

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Force Majeure
Tangerine Dream Progressive Electronic

Review by maccentris

5 stars When you love a masterpiece the way I love Force Majeure, you just can't imagine your life without it. My favorite album, EVER, and my favorite song.

FIRST OF: no vocals.

This is real psychedelic rock from the 70s, expect that and much more. It is ambient, electronic and progressive. The synth sounds, arpeggios, and cacophony of sounds will blow your mind. There is really not much to say, you just have to listen. If you're familiar with early Tangerine Dream, you know that this is one of the most amazing highlights in their career. If you're a GTA5 freak, please know this will not sound like the GTA5 stuff but I can assure you, if you're open minded; you wont be disappointed.

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OSE France
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SAB Japan
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SOFTWARE Germany
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SUBINTERIOR Italy
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YOU Germany
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