PROGRESSIVE ELECTRONIC

— First review of this album —

How to describe the instrumental music of this obscure Finnish band with a Japanese name? To say it's psychedelic mixture of hectic, percussive space rock and electronic music feels hopelessly insufficient. Words like crazy or hypnotic may capture some of its essence. The sound is totally unique, created by synths, percussion, recorder, piano, electric harpsichord, sitar, theremin and other devices. One comparison could be the Düsseldorf branch of Krautrock, ie. bands such as Kraftwerk, NEU! or Cluster. But no, none of them is quite like this.

It's very open and undetermined what kind of emotions or associations the listener will get, since the music stays very abstract all the time, and the track titles give no guidance either. One can's say whether it's cold, gloomy and disturbing, or the opposite, funny, looney, tongue-in-cheek, even refreshing in its overdose of energy and innovation. The tempo is mostly quite fast and the percussion is merciless, but again to say this feels partly misguiding. I'm wondering why I get any pleasure of this seemingly idiotic bastard of music. Hell, it has something in common with Zeuhl (the branch of prog I've never felt much sympathy for) - or has it? I'm still too unexperienced with Zeuhl to be sure.

I guess it all comes down to the sound which is so cleverly constructed. Especially I like the semblance of church organ, reminiscent of some early Klaus Schulze stuff. One track happens to be called 'Holvikirkko' (Cathedral). The other titles, mostly made-up names of persons or places, don't make much sense which is of course the point. Vinonaamakasio??? Oblique Face Kalkulator? (Kasio is a non-existent word whereas Casio, as you know, is a calculator brand.) What about the cover design? An interesting mixture of digital abstraction and green flora. Schulze, Edgar Froese and also Brian Eno have had something similar. Perhaps they're more or less in the same page of the whole musical Atlas with Shogun Kunitoki, but at least Eno has never been this manic.

35 minutes go with a blink of an eye (unless it's an endless torture or yawn, depending on the listener). What was that? Did I really enjoy it? I press PLAY once more and jump again into the carousel.

Well, I guess, ASHRA or specifically, Manuel Göttsching's following of the "minimalistic", unique musical language of his clear influence Steve Reich, heads into what is not mere plagiarism, which is the easy way out, no, he as a self demanding composer, who has felt the vibes of the "electronic-music" future in Reich's structures, takes those "elements" and as such, makes them work as compositional elements, not as Reich's structures. It is clear Manuel Göttsching has "breathed" this "air".

Now, the "naked truth", if you are either> a-"disgusted", b-"repelled", c-"offended" by A-"Trance/Dance/electronics including "Floor/Dance/Trance", B-"Non-TD "copy-kats" electronics", C-"intelligent music", D- "ambiental structures", E-"worry too much if music is prog or not", or all of the above. Well skip on to the next review, if you please. (You won't miss a thing.)

A clear influence of Reich's music as far as using independent "minimal lines" and percussions. But, by its own, a pioneering source of the" future" (from 1998 to 2013) of what now young people understand as "electronic" music. And yes even in that "Un-Prog" land, a lot of good "electronic music" has been happening. "Underworld" (the band not the pic), to name my favorite, among others.

So do not feel compelled to enjoy this extraordinary, 15 years ahead of its time, progressive electronic, masterful "live" performance. Not to make a "big fuzz" of how glad I am, I got this ASHRA's "Sauce Hollandaise", for now, ****4 PA stars.

"Essential" if you got to this point of the review.

This one is hard to rate impartially. But that is the idea of universal information.

So here it goes.........I never considered Harmonia as a "guitar leaded" band. Their studio albums, by rule, never stick to the same option of styling, among so many choices of electronic gadgets usually found in studios and the ones each brought in. The best part of this "Live-1974" cd, is that you will never have noticed it is "live". No applauses, cheers, whistling nor stuff like that. The "live" music went directly to the tape.

The performance is constructed as a sole base. The songs, most of the time are intense in repetition, more than in creativity. The incessant drum box beats more than once overshadow, the frontal music. Now, talking straight, they have to rely constantly in the "human" nature of the electric guitar performance, which of course has always been an integral part in their "studio" albums, but never that much, as to become too much.

So, an outdated drum box sound, a somehow leadind guitar, which at times is not that creative, because it is holding the whole song alone, because the other two guys are busy, "live" controlling their synths, sequencers, drum boxes and other simmilar tools.

The song writing has its occasional awesome heights, the "drone" like "live" experience should have been amazing, but as recorded material or album as such, ***3.5 "I admire the band, but this is "universal" information" PA stars.

To be honest, the only reason I figure out, for such a few and so-so ratings for this ASHRA's "Walikin' in the Desert" (1989), is that it is, at the time and now, completely "un-Kraut" or TD (by the way). That's it. Beyond that, there is no other "real" reason, I can figure out.

The first song "first movement - two keyboards", is a "minimalistic" composition, very much in the spirit of Steve Reich's "Piano Phase" (1967), but totally different in goal and successful by its own. Still very far, forget Kraut, even "P/Electronic" as such. The mere use of acoustic keys, marks the whole difference.

Next comes the second movement named "Six Voices", which are electronic, but also include a flute like voice and a subtle but impossing "dark' chorus. The melody is intelligent, kind of a "serious business", yet flows by the addition of a vibraphone which counterpoints the now clearer skies. It is sweet but not "sickening-sweet", a thin and very well respected approach makes it perfect. (to some it could sound like Mr. Oldfield, without honey) still not "Kraut" found as such.

The third movement, "Four Guitars", goes for the same approach as the first, but now with 4 simmultaneous lines of electrics, going alongside, playing against and with each other. This is one of the recorded reasons, why M. Gottsching (guitars/keys) was and is so relevant to the whole "Prog" scene. When he is good, he is great, this song is "shocking proof!". Close to "kraut" but not the "Temple".

Fourth movement - "Twelve Samples", is closer to "world" fusion music. As understood, these 12 samples run along, although they, as independent structures, will not stand alone. In the vein of middle Eastern music, without no big emphasis, beyond being a mere good electronic/experimental song. This one could be the 3 star owner.

The last track, "Desert - Eight Tracks", takes from its predecessor, the experimental tone, but its construction goes otherwise, this one is by all standards "pure', Lo/Fi, electronic- Kraut, or at least, its "future".

So, I will highly recommend to approach this "near-masterpiece", without pre-conceptions or prejudices, in able to "see" the "caliber" of this work. By all means 4****PA stars. Enjoy!

— First review of this album —

Quiet unappreciated, even though he is a late-pioneer (1980) of the sub-genre, maybe because he is not associated with big "names", besides Robert Rich ("React" 2008, "Lithosphere" 2005) and Markus Reuter ("Dervish" 2009), who also are kind of Progressive electronic, "obscure" artists.

So, directly to where it matters, "Slide" is Electronic/Psychedelic/Space Rock, without vocalist, plus splashes of "electric/slide guitar", some artificial drums here and there and simple good electronics.

His songwriting approach is enhanced by "contrasts" between robotic structures as a background to more "animal/human" elements. He never abuses the construction of "sequencer riffs", which by the way of personal experience, have almost by rule "shelf life". His songwriting also never sticks to the same kind of patterns, not even in the same song, because of the same, these changes refresh the air of the musical environment, constantly with a "new" and different "structures" or melody. Therefore, "pulse riffs" have a constant but brief appearance everytime the show up, which makes them surprising, not imposing, due to the fact that they are just parts of the whole, not the full structure.

The part I like the most of these "Slide" songs, is that each has inside "miniature" songs, and each song a different "personality". This makes the full experience totally dynamic, even though there is "Ambiental", "Psychedelic" , "Spacy", "Rock/Trance" and "Electronic" transitions, they move so fast, that it simply makes each "mini" structure unique, both as individual songs and as a part of a song of a whole album of songs. The song that is not as good as the rest (IMO), is certainly "Yesterday's Memories" too "eightish" and boring for my likes. The rest is worth getting. ****4 PA stars.

— First review of this album —

Two languages merge as one, but not a "third" appears.

I have been, listening to this record since I got it early this year. I have to confess, I was expecting, somehow, or, a more balanced musical "language" between 2 electronic composers, or more "electric-guitars" from Schickert, at least. But that was a "fantasy", reality speaks louder.

These two guys respect each other too much, so they let go their drives in small "dossages", cautiously. The eventual flow of events, trigger a third spectrum, but performance like talking, these 2 guys, never step on each other's foot. Therefore, more than a "meeting of minds, musical experiment", I come to term with the idea of a Klaus Schulze album, who has as a guest Gunther Schickert. Of course by "guest" I don't mean invisible, Schickert is there, but I did expect more of his "electric guitar frenzy".

Not being the case, Schulze "language" predominates most of the musical transitions, through the first song or session, as it is called in this re-release in CD (2013) of an original and limited, 1975 release on tape. (When tapes were the "future",.. with time, the physical materials of cassettes, became obsolete). So the mere fact that this very "talked about" "sessions", were at last released in "today's" format is a real thrill.

The second song, as the third, were added to this re-release, "Spirits of the Dead" and "Happy Country Life". Both, upgrade this work from mere great, to "I want it". Both compositions remind me of Laraaji's musical language, but these sessions, as told, were recorded in 1975. (Laraaji, came upon around 1980 in Eno's second Ambient record). Anyway, they save the day with a wild set of electronics, and a shadow of 'droning" white noise, which makes the compositional structure move other way, than Laraaji's. And of coures, it also comes close to the already developed, Steve Reich's minimal "dymamic"structures, the final part of the third song to be specific.

Well, the rating goes like this. Expect more a combined and balanced performance (even "sober" I will add). Like the approach to perfectly written compositions with touches of daring experimentation, rather than "electronic music experiments", of a recording session. Closer to Schulze's side of composition, than Schickert's.

And since I've been listening to it, it still holds a bag of "underlying' surprises".......****4 (flat) PA stars. (For any kind of "P/E" followers, not that sure about the rest.)

Really, a stunning album. Although one might have contradictory impressions about TD's studio albums from 80's, the live recordings are all killers. Here the band presents itself as gloriously as in Ricochet and Encore, but a bit of new age melodic sensibility constitutes a really welcome musical bonus. The format is the same as in their previous live recordings - side long tracks only.

Side A is especially beautiful and may be their best live piece ever. I have the Amiga edition of this concert, given to me by my friend, who bought it at the local fair at app. $1. Funny, isn't it?

I must first correct a few of the above reviewers and then will move on to the review proper.

TD are not a Progressive Rock band They are in a category all their own .And I surprised they get recognized here on ProgArchives . But so be it. Great listeners know quality works of music when they hear it !

Chris Franke played drums on certain segments of compositions and tape playback during this concert /tour .He was actually a drummer prior to joining TD. He replaced of all people Klaus Schulze who had been TD's drummer at that time. Baumann did no drumming for TD. There are no overdubs during the mixing of Richocet the Lp was mixed from multiple performances in England and France during their autumn 1975 tour. The M400 Mellotron was played by Froese, Franke and Baumann at various times during a tour . They were two onstage depending on their state of readiness- note: they were not a very roadworthy instrument. The M400 can play simultaneous sounds. TD had custom tape banks made specifically for them so an inifnite number of instruments can be 'stacked' depending on what tape banks are used.

Now I will not pontificate of TD For they stand on their own and need no fanfare. So I will keep this review very brief.

Side 1 Richocet Pt 1: TD at the height of their sequencer use and still incorporating percussion as they have on earlier epics. Froese's elect guitar is even more prominent during this period. Waves of drumming resound thru out the first half then quickly die away awash in early electronics.

Side 2 Richocet Pt 2: Trademark TD Mellotron flute and piano here in the intro. These themes and motifs will be influencing the next tour and future recordings such as Stratosphere, Encore (the 2nd Live lp for them- a double Lp !) TD's Mellotron flute carries one off to the shoulder of Orion and then drops them into a deep melancholy world of longing.

Enough said now listen, alone in a quiet room or outside gazing at the star filled night.....

With such a name, I somehow, was expecting something more like Tim Hecker's "dark" electronics. No it is more like TD with touches of distorted moogs, and bits of white noise, here and there. Around track "part 3", the musical language of RMI, flourishes in flashes and splashes, although it does not really get away from the "dark tones" of TD's "Ricochet". Song 4, "part 4", starts with some "cool" white noise and a nice sequencer riff, but the melody soon starts again to set you back to TD's domain. I start to think that I should have chosen for my review, TD instead of RMI. (but I've already done those). Anyway, my expectations for such a great title like "The God of Electricity", will seem more like a tribute of recognition, RMI offers to TD's "Rubycon", "Ricochet" and specifically "Stratosfear" albums.

I will try later *Radio Massacre International's "Maelstrom", which I hope gets better, as far as original music composition goes. In "The God of Electricity" it is quiet scarce, and not that daring, beyond some cacophonies of white noise and noise alone, at the end of "part 5". Part 6 will have mellowed down some really "obscure/dramatic" previous song, but as it is, it is just a nice "mellow" distorted electric guitar song, which so far is the only real "original" non TD song, although, it could be anyone's Folk/Blues/Rock electronic song, with a blurry background mellotron. Part 8 returns again to the "Rubycon' years with added touches of rain.. To be honest, I was really enthusiastic about this band, quiet a disappointment, if you grew up with the golden "era" of TD.

This is the kind of work that needs to many justifications to be listened with empathy, and I will recommend it, ONLY, if you have already bought it, and kind of see it as "tribute" to TD's great years "redux", performed by a younger generation of electronic musicians.

AND if you kind of feel they owe you music for such a *massive name of a band, turn to Tim Hecker's "Ravedeath", that is a real electronic radio "massacre" and even "international". (Tim's Canadian)

***3 PA stars, if you see it as a "tribute", I repeat, of TD'S greatest works, besides that, you are on your own.

With " Zeit " Tangerine Dream create a space epic, "2001: A Space Odyssey" style, dedicated to the philosophical concept of time. With this cd they perfected the insights, which had begun to explore in " Alpha Centauri ", long suites for cosmic electronic synthesizers. " Zeit " is a real "trip" electronic no melody, and very minimal, that hypnotizes all the time! Perhaps the same Tangerine they wanted to keep playing this " mantra " electronic without pause! " Zeit ' came out' in a double vinyl and already the dark cover foreshadowed interplanetary travel and cosmic dark atmosphere . The album is divided into four movements and it starts with " The Birth of Liquid Plejades " The sound of the cello makes you get up from the floor for seven minutes, you can hear the influence of Ligeti and his compositions for string quartet, then enters the Moog played by the distinguished guest Florian Fricke and the mind begins to make a journey into inner space aided by a minimal and transcendent synth, as long as the song ends abruptly, leaving a feeling of awakening from a nightmare magmatic and hypnotic . The journey continues with the dark " Neboulous Dawn," the representation of the rising of the dawn nebula, on some planet that does not belong to our galaxy. The reverberations of the VCS3 synth of Franke and Baumann, and the generator of Froese reach the goal, coming slowly in the psyche of the listener. " Origin of Supernatural Probabilities " is the third movement which opens the second side and begins quietly with the chords of the guitar, continuing in an incredible journey with synthetic beats and sounds of the cosmos, always played by the generator of Froese: a song worthy of a saga -dark SF, between galaxies and uncharted worlds. The title track " Zeit " closes this epic sci-fi in a dramatic atmosphere, it looks like the soundtrack of an astral disaster. This is the track most minimal and dark cosmic of cd, which could continue indefinitely if not culminate unfortunately the end to wake up from this trip cathartic and enlightening. Few records like " Zeit " marked a turning point in the history of electronic music of '900, setting new standards, that is where all the electronic music from ambient up to industrial have taken inspiration. A incredible work that should not be missed in any collection.