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PROGRESSIVE ELECTRONIC

A Progressive Rock Sub-genre


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Progressive Electronic definition

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

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

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

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

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

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

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

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

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

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

Philippe BLACHE

Current Team as at 09/06/2012

Philippe
Alex (Sheavy)

Progressive Electronic Top Albums


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

4.27 | 601 ratings
RUBYCON
Tangerine Dream
4.25 | 198 ratings
MIRAGE
Schulze, Klaus
4.17 | 539 ratings
PHAEDRA
Tangerine Dream
4.15 | 185 ratings
TIMEWIND
Schulze, Klaus
4.15 | 188 ratings
X
Schulze, Klaus
4.18 | 107 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.38 | 24 ratings
GREEN RAY
Zanov
4.48 | 18 ratings
CATCH WAVE
Kosugi, Takehisa
4.07 | 133 ratings
NEW AGE OF EARTH
Ashra
4.08 | 84 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.04 | 120 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.14 | 41 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
3.98 | 316 ratings
FORCE MAJEURE
Tangerine Dream
4.05 | 78 ratings
BODY LOVE VOL. 2
Schulze, Klaus
4.22 | 27 ratings
LUCIFER RISING
Beausoleil, Bobby
4.63 | 10 ratings
IN COURSE OF TIME
Zanov
4.03 | 53 ratings
MUSIK VON
Harmonia
3.91 | 378 ratings
STRATOSFEAR
Tangerine Dream
3.93 | 213 ratings
ANOTHER GREEN WORLD
Eno, Brian
3.91 | 220 ratings
TRANS-EUROPE EXPRESS (TRANS-EUROPA EXPRESS)
Kraftwerk
3.91 | 255 ratings
THE MAN-MACHINE (DIE MENSCH-MASCHINE)
Kraftwerk
4.07 | 27 ratings
ICELAND
Pinhas, Richard
4.23 | 16 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.07 | 26 ratings
LOGOS
Wakhevitch, Igor
4.10 | 22 ratings
BALLET STATIQUE
Schnitzler, Conrad
3.91 | 68 ratings
STAND BY
Heldon
3.87 | 102 ratings
MY LIFE IN THE BUSH OF GHOSTS (WITH DAVID BYRNE)
Eno, Brian
3.84 | 203 ratings
TANGRAM
Tangerine Dream
4.08 | 21 ratings
SONANZE
Cacciapaglia, Roberto
4.02 | 24 ratings
20 JAZZ FUNK GREATS
Throbbing Gristle
4.14 | 16 ratings
AN ELECTRIC STORM
White Noise
4.46 | 8 ratings
ABANDONED CITIES
Budd, Harold
3.85 | 65 ratings
SMALL CRAFT ON A MILK SEA
Eno, Brian
3.86 | 56 ratings
KONTINUUM
Schulze, Klaus
3.86 | 51 ratings
AMBIENT 2 - THE PLATEAUX OF MIRROR (WITH BRIAN ENO)
Budd, Harold
4.39 | 8 ratings
ZUG
Schnitzler, Conrad
4.75 | 5 ratings
LEXIKON I
Benkő, László
5.00 | 4 ratings
THE HIDDEN SPRING
Alio Die
3.77 | 148 ratings
COMPUTER WORLD (COMPUTERWELT)
Kraftwerk
3.93 | 25 ratings
DOCTEUR FAUST
Wakhevitch, Igor
4.17 | 11 ratings
RAVEDEATH, 1972
Hecker, Tim
4.26 | 9 ratings
HORSE ROTORVATOR
Coil
3.82 | 44 ratings
THE PEARL (WITH BRIAN ENO & DANIEL LANOIS)
Budd, Harold
3.87 | 29 ratings
SURFACE TO AIR
Zombi
4.85 | 4 ratings
LONG LOST RELATIVES
Syrinx
3.78 | 57 ratings
STUNTMAN
Froese, Edgar
3.75 | 100 ratings
CYBORG
Schulze, Klaus
4.83 | 4 ratings
SIL MUIR
Sil Muir
4.43 | 6 ratings
VOYAGE CÉRÉBRAL
Bocquet, Didier
3.89 | 23 ratings
TECHNODELIC
Yellow Magic Orchestra
4.24 | 8 ratings
LOVE'S SECRET DOMAIN
Coil
3.95 | 17 ratings
UBERFALLIG
Schickert, Günter
3.73 | 122 ratings
UNDERWATER SUNLIGHT
Tangerine Dream
3.73 | 82 ratings
BLACKOUTS
Ashra
4.74 | 4 ratings
THE VOID
Lynne, Bjorn
3.78 | 42 ratings
PURGATORIO (DANTE ALIGHIERI - LA DIVINA COMMEDIA)
Tangerine Dream
4.27 | 7 ratings
EN FORM FOR BLÅ
Aethenor
3.93 | 16 ratings
MIDNIGHT IN SPACE
Hydrus
3.78 | 38 ratings
HELDON IV: AGNETA NILSSON
Heldon
3.75 | 47 ratings
THE EQUATORIAL STARS
Fripp And Eno
3.69 | 126 ratings
MOONDAWN
Schulze, Klaus
3.69 | 131 ratings
BEFORE AND AFTER SCIENCE
Eno, Brian
3.71 | 71 ratings
PICTURE MUSIC
Schulze, Klaus
3.84 | 22 ratings
TIMESQUARE - DREAM MIXES II
Tangerine Dream
3.81 | 24 ratings
CHRONOLYSE
Pinhas, Richard
3.79 | 27 ratings
YELLOW MAGIC ORCHESTRA
Yellow Magic Orchestra
3.66 | 249 ratings
ZEIT 'LARGO IN 4 MOVEMENTS'
Tangerine Dream
4.13 | 8 ratings
ADONIA
Ose
3.70 | 68 ratings
AQUA
Froese, Edgar
3.72 | 53 ratings
ANOTHER DAY ON EARTH
Eno, Brian
3.80 | 24 ratings
HATHOR
Wakhevitch, Igor
4.91 | 3 ratings
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
3.77 | 28 ratings
EPITAPH FOR VENUS
Galactic Explorers
4.00 | 10 ratings
TRIP IN THE CENTER HEAD
Space Art
3.68 | 76 ratings
APOLLO : ATMOSPHERES & SOUNDTRACKS
Eno, Brian
4.03 | 9 ratings
EBONDÀZZAR
Peak
4.82 | 3 ratings
HERITAGE
Neuronium
4.82 | 3 ratings
THE LAST STRANDS OF FORTITUDE
6LA8
3.94 | 11 ratings
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
3.73 | 33 ratings
DEPARTURE FROM THE NORTHERN WASTELAND
Hoenig, Michael
3.69 | 52 ratings
AFTER THE HEAT (WITH DIETER MOEBIUS & HANS-JOACHIM ROEDELIUS)
Eno, Brian
4.12 | 7 ratings
PÔLE
Besombes, Philippe
4.77 | 3 ratings
FORGOTTEN REALM
Hall Of Mirrors
3.92 | 11 ratings
SYNTHESIST
Grosskopf, Harald
4.17 | 6 ratings
SCHWARZ (ERUPTION)
Schnitzler, Conrad
3.98 | 9 ratings
ADYTHON
Milano, Claudio
4.08 | 7 ratings
BRUITS ET TEMPS ANALOGUES
Vian, Patrick
3.63 | 135 ratings
HERE COME THE WARM JETS
Eno, Brian
4.08 | 7 ratings
FROZEN NORTH
Radio Massacre International
3.71 | 32 ratings
THE KEEP (OST)
Tangerine Dream
4.15 | 6 ratings
WARMTH OF EARTH
Artemiev, Edward
3.93 | 10 ratings
ELECTRONIC MIND WAVES
Elektriktus
4.67 | 3 ratings
MOSAIQUE
Schroeder, Robert
4.67 | 3 ratings
THE SIXTH EAR
Raicevic, Nik
3.61 | 123 ratings
AMBIENT 1 - MUSIC FOR AIRPORTS
Eno, Brian
4.20 | 5 ratings
CHROMIUM ECHOES
Neuronium
3.71 | 24 ratings
AUTOMAT
Automat
3.80 | 14 ratings
NAGUAL (LES AILES DE LA PERCEPTION)
Wakhevitch, Igor
3.96 | 8 ratings
EMISSARIES
Radio Massacre International
3.96 | 8 ratings
LOVELY THUNDER
Budd, Harold

Progressive Electronic overlooked and obscure gems albums new


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

ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale
HARMONIC ASCENDANT
Schroeder, Robert
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico
SYNTHESIST
Grosskopf, Harald

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Latest Progressive Electronic Music Reviews


 Tyranny Of Beauty by TANGERINE DREAM album cover Studio Album, 1995
2.89 | 38 ratings

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Tyranny Of Beauty
Tangerine Dream Progressive Electronic

Review by Stalvern

1 stars

Probably the worst of all Tangerine Dream albums, and one of the worst things that I've ever heard - the mid-'90s were a real dark age for Tangerine Dream, and Tyranny of Beauty is its nadir. The band certainly needed to move on from the dull muzak of the Private Music albums and Rockoon, but while this new period brought back a measure of the ambition that had deserted the band with Christopher Franke, that ambition was now applied in the most perverse of ways.

In their golden years, Tangerine Dream explored the furthest reaches of synthesized sound; at the close of the '80s, they contented themselves with cheap, generic keyboard tones; here (and, to a lesser degree, on the preceding Turn of the Tides), the focus has switched completely to guitars, all but burying what rudiments of electronics remain. This is hardly a problem in itself - Edgar Froese's icy, airy solos had been highlights on some of the band's best works - but the greasy, histrionic playing here abandons all taste and class, spewing out endless solos as indulgent as Frank Zappa's and as showy as David Gilmour's without the sense of either.

The album opens with "Catwalk", its lone highlight and incidentally the least guitar-oriented of its songs. It's trivial stuff and painfully outdated, sounding almost like a turn-of-the-decade Madonna backing track (think "Vogue" or "Deeper and Deeper") even as it flagrantly samples the leading-edge sounds of Underworld's dubnobasswithmyheadman, but it does boast a decent amount of energy, a comparatively light mix, and a genuinely impressive acoustic guitar solo in the middle. Unfortunately, things take an immediate nosedive afterward; the next piece, "Birdwatcher's Dream" combines sappy chord changes with The Wall-wannabe arpeggios and features an ugly, '80s "snap" sound in its climax, and it's only the start of the truly rotten material on here. "Little Blonde in the Park of Attractions" is one of the worst tracks on the disk, with the loudest, shreddiest guitar work and cheesily "dark" drumbeats near the end, and "Living in a Fountain Pen" (God, these titles) is a fitting neighbor, with a schlocky, "folk-style" acoustic section and toothlessly "tough" distorted power chords elsewhere. But the most offensive moment is easily "Stratosfear 1995" - an absolute travesty that takes a Tangerine Dream classic and smothers it under a leaden "rocking" beat, blaring hair-metal guitars, and lazy new beep-boop synthesizer tones, with the original song still audible, crushed and helpless, beneath it all!

After that, things start to calm down, and the album blends together in my mind as a haze of lower-key ramblings against more ignorable backdrops, although the early-'90s "dance" piano line and bongo drums in "Bridge in Cold Tears" (not "Bride", as it so happens) linger unpleasantly in my memory. Eventually, it ends with a slow Händel piece, featureless and spiritless (the "string" pads seem to have been deliberately set to sound as cheap and unconvincing as possible, though the clarinet is nice), but a pleasant enough way to wind things down. I can't decide whether to praise it more for its composition or damn it more for its performance, but it's the first enjoyable thing here since "Catwalk", for what precious little that that's worth. Finally, some releases of the album add a contemporary B-side called "Quasar" as a bonus track - I looked it up on YouTube, and it's a perfectly generic techno thumper, which inherently makes it better than almost everything on the album proper.

Speaking for both Tyranny of Beauty and Turn of the Tides - I don't plan on sitting down to review more than one of these stinkers, and this one was the more satisfying target - I can see why these albums got made; after the lightweight facelessness of stuff like Optical Race and Melrose, Froese was probably itching to get back into more substantial territory. But why in this way? Electronic music was the biggest that it had ever been in the mid-'90s, and not just club music, but ambitious stuff in the spirit of what Tangerine Dream had built their name on - when even a "dance" band like The Orb could get away with recording something as sprawling and atmospheric as Orbus Terrarum, the time for a Tangerine Dream comeback was clearly ripe. Even the band themselves must have understood this, as the Underworld samples here prove that they were keeping up with current electronic developments. But, incredibly, they threw that opportunity away, and this sorry music is the consequence.

 Light Of Lost Summers by JAZZCOMPUTER.ORG album cover Studio Album, 2007
3.18 | 2 ratings

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Light Of Lost Summers
Jazzcomputer.org Progressive Electronic

Review by admireArt

3 stars Smooth Jazz meets progressive/electronics.

Light of Lost Summers (2007), JAZZCOMPUTER a.k.a. Yves Potin's album has a fair share of very interesting musical proposals that tend to blend really modern electronics with a kind of sometimes imaginative "New Age Jazz", but then again sometimes with a quiet "cliched" version of modern "mainstream" Jazz..

Ironically, the best parts of the compositions are those which are closer to the prog/electronics of nowadays, the infamous "Ambient" tagging . Surrounding himself with many instruments from various parts of the world (Udu, Koto, Harp, Tablas, Timpani, Nagadas and guitars.), which he combines with "spacy" synths. So there are some heavy electronic thunderstorms alongside and simultaneously counterpointing some mellow or melodical Jazz structures.

As such it all sounds magnificent, but his Jazz songwriting does not fall that far from the kind of clean cut ,"mainstream style", aseptic, easy listening Jazz that was intended for less demanding audiences. (Not to sound disrespectful to George Benson or Wynton Marasalis, but that type of "smooth" Jazz style.)

To sum it up, great electronic moments, composition wise and also more than once he gets the blending to sound daring, but on the other hand, the constant appearance of corny Jazzistic melodies or soloings spoils the whole fun.

***3.5 " Promising without doubt, but still on the making" PA stars.

 Lustwandel by ROEDELIUS, HANS JOACHIM album cover Studio Album, 1981
3.95 | 8 ratings

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Lustwandel
Hans Joachim Roedelius Progressive Electronic

Review by admireArt

4 stars Masterful!

Roedelius' straight forward conception of his own ultra-refined musical language, takes free course via his piano and "electronic" arrangements in this his 1981, sixth solo album, "LUSTWANDEL".

The acoustic piano plays a major role, as usual, but the arrangements around it are more than mere accompaniment to embelish it. The extraordinary arrangements become more than once the main voices of the songs. And its songwriting is close to pure genius, more than once.

As if it to explain somehow his musical language to newcomers, it will be absurd not to relate them to "modern classical music" but also unwise not to mention its "german medieval folk music" roots or the sometimes "latin" syncopated flavor. In fact it is so well balanced, that any kind of "stylistic border" disappears by its sheer good and bright music composition and its precise and elegant arrangements.

So, travel into the far evocative past, without leaving your present day comforts and its modern "charms".

For prog/acoustic piano buffs a must, for the rest of the proggers an easy ****4 PA stars!

 Stolen And Contaminated Songs by COIL album cover Studio Album, 1992
3.55 | 4 ratings

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Stolen And Contaminated Songs
Coil Progressive Electronic

Review by admireArt

3 stars COIL lets it "guard" down!

The metamorphical prog/electronic "obscure" band par excellence, presents in this the first (there are 2) "Stolen And Contaminated Songs", 1992, recording, outtakes and unreleased songs from their previous CD, the quiet extraordinary and intense "Love's Secret Domain"(which is featured among the 100 best prog/electronic records here in PA).

Very relaxed in its songwriting, it is shinier than most of COIL's "abstract and obscure" preferences. In fact, it is even playful and danceable at times. But do not worry COIL followers, this "Love's Secret Domain" kind of sequel, is still as "dark" and "humorous" as it is usually expected.

Although its "friendly" and "lighter" moods, some of the songs, do repeat each other's structures. Nevertheless the highlights do match any of the best parts of "Love's Secret Domain", and the unrelated directly to this previous project songs, are full of new lines and songwriting proposals.

Being one of COIL's followers, I need to be impartial as a "judge/reviewer", therefore an excellent addition for a COIL's audiophile and collector, and a very good introduction into COIL's ever expanding/changing, prog/Avant Garde/ Electronics, for those, yet to come, "COILERS".

***3.5 PA stars.

 Surface to Air by ZOMBI album cover Studio Album, 2006
3.87 | 29 ratings

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Surface to Air
Zombi Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

4 stars I seem to be partial to Electronic bands that use at least some traditional "rock" instruments, and if they also use mellotron then i'm even more impressed. ZOMBI are the American duo of Steve Moore(bass & synths) and A.E. Paterra(drums & synths). These two guys have to be big fans of RUSH by the way they sound on the drums and bass respectively. Heck even the background synths bring to mind the "Moving Pictures" album. ZOMBI use a variety of analog synths and the various sounds they produce are impressive to say the least. I should also mention that there is some variety on this record from a couple of heavy Space Rock tunes to a TANGERINE DREAM-like track, to the epic that is very cinematic and at times haunting. Normally variety isn't my thing on an album but every song is incredible.

"Challenger" has a very RUSH-like start and check out the ground-shaking bass when it kicks in. Lots of background synths throughout this one. A great sounding tune that is quite heavy. "Digitalis" has this electronic beat that leads the way as synths then atmosphere join in. Killer sound 2 1/2 minutes in as the mellotron is added. "Legacy" like the opening track features some excellent bass and drum work. This drives the song along as background synths then other synths that pulse help out with the rhythm section. So good! This is quite repetitive as they seem to jam. Fantastic! "Surface To Air" has this dramatic start as we get this urgent sound full of suspense. Again the drumming is very upfront and incredible at the same time. A calm after 3 minutes as the synths roll in. So much atmosphere here then the drums kick in around 5 minutes as it builds. Nice.

"Night Rhythms" is the 18 1/2 minute closer. GOBLIN did come to mind with the cinematic nature of this track and the at times eerie atmosphere. A grand display of majestic synths slowly pulse then mellotron joins in. A change before 2 minutes as synths growl then haunting synths take over. The growly synths return as they pulse. Mellotron 4 minutes in then it turns haunting again a minute later. Mellotron choirs and an uptempo beat join in. Nice. A calm a minute later then the sequencers kick in with cymbals, then spacey synths follow. Growly bass after 9 minutes then the tempo picks up before 10 1/2 minutes. It settles back a minute later with dual synths pulsating wildly. It's cool to hear the drums and synth beat together around 16 minutes in. Spacey synths join in as well.

Probably closer to 4.5 stars and at around 45 minutes in length...just right.

 Radio Sputnik by ARC album cover Live, 2000
4.00 | 1 ratings

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Radio Sputnik
ARC Progressive Electronic

Review by admireArt

— First review of this album —
4 stars Welcome to other machines!

Ian Boddy and Mark Shreeve's ARC, 2000, live recording "Radio Sputnik", is hauntingly attractive, song by song, there are 8, yet "structured" to be performed, as a single composition or "live" experience.

The well known prog/electronic whereabouts and composition skills, of both musicians, find an "unexpected" place to flourish and explode entirely and at the same time. And yes! They do "EXPLODE" in this "privileged", for those who attended, concert in the 5th Alfa-Centauri (electronic music) Festival.

ARC presented pieces from their first release, "Octane" as well as some newer and more complex unreleased material.

What makes this album relevant beyond itself, is the astonishing definition of an OWN and UNIQUE "third" musical progressive electronic language, constructed and structured perfectly tight by both musicians simultaneously, yet constantly daring to cross over, no matter how comfortable staying in a single place can be .

All kind of tempo, electronic music proposals, full of highly inspired performances and an unobtrusive creative collaboration, but always with the challenging goal to go higher and higher.

Hard labor and letting go all "loans", turns out to be a formula for such an extraordinary result. .

****4.5 " Experience sublimating pure progressive/electronic heaven!" PA stars.

 Picture Music by SCHULZE, KLAUS album cover Studio Album, 1975
3.71 | 71 ratings

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Picture Music
Klaus Schulze Progressive Electronic

Review by Stalvern

4 stars

Schulze's first true expression of his classic sequencer style (Blackdance was a step toward it, but it still relied heavily on the organ and Mellotron tones of his first two albums), and easily worthy of the attention given his more popular subsequent releases. The sound is stripped down from the shadowy haze of before, but the reduced instrumentation never sounds inadequate; Schulze's talent for atmosphere is as clear on this album as ever. And the music itself, even at this early stage, is some of his most engaging work ever.

The first side, "Totem", is absolute brilliance. There are only about three or so melodic lines playing at any given point - and on the monophonic synthesizers of the day, no chords to speak of - but they're executed masterfully. The main voice is a drippy, echoing tone that sounds about twenty years ahead of its time, the kind of sound that you'd expect from Autechre or Aphex Twin in the mid-'90s (!), picking out a dark, jagged theme that matches it perfectly, with muted moans and whistles ominously backing it. Analyzed and written out, it comes off as somewhat sparse, but the tones are chosen and mixed to maximum effect - the music's atmosphere is disproportionately vast, bringing up images of the lightless life at the floor of an ocean trench, or maybe astronauts at the edge of their life support against the black void of deep space. It is structured, building into fullness, then rising into a heavy climax before trailing off in a weary coda, but that atmosphere is never compromised by these developments. It's funny that Schulze would wait until now to call his work "picture music", given that impressions and images had always been his main focus, but the phrase is hardly undeserved.

After "Totem", "Mental Door" is a bit of a letdown, but it's still great. It's Schulze jamming against himself, blazing Moog lines fighting manic drumming (his first recorded performance on the kit since Electronic Meditation and sounding none too friendly after being pent up for five years), and this works for and against the album. For, because this kind of energy is always welcome, especially as a counterpoint to the hanging menace of the first side, but against, because after emerging from its foggy introduction, it abandons any hint of atmosphere in favor of that energy, which is disappointing coming from a musician like Schulze. (He'd eventually get both together for X's "Friedrich Nietzsche" and "Frank Herbert", putting this song's one-sidedness into further perspective.) But what Schulze does here he does to the fullest, never once letting up for the entire jam, and never forgetting to keep things varied and interesting. (His coolest trick is to punctuate it every once in a while with a sustained keyboard note while bashing out a straight rhythm on the cymbals; the effect is a bit like the appearances of the little electric piano motif in Miles Davis's "Spanish Key", but aggressive instead of amiable.) When the end eventually comes, it releases the jam's mounting tension in a final cymbal crash and high note (tragically not quite synchronized, but I don't see how Schulze could have fixed that in a tape edit without bringing the rest of the ending out of sync) before settling into a relaxed, fulfilled coda, closing out the album.

It's understandable that Picture Music has something of a low profile among Schulze albums, lacking Timewind's lushness or X's scale (or even the cult appeal of Irrlicht and Cyborg), and generally denied its rightful historical significance in favor of Blackdance ever since the chronology was resolved, but it'll always be a favorite of mine. Hopefully, someday, people will give it its due.

 Hypnotannenbaumdronefuzz by BAKER, AIDAN album cover Studio Album, 2014
3.91 | 2 ratings

BUY
Hypnotannenbaumdronefuzz
Aidan Baker Progressive Electronic

Review by admireArt

4 stars Forget all about the noise, bring back the melody!

Multi-instrumentalis Aidan Baker's 2014, 40 minutes long, 3 piece project , "Hypnotannenbaumdronefuzz", focuses entirely on melody, beyond his previous experiments with noise. Again, he projects a low-keyed , no frills, up front, songwriting, similar to that of his earlier efforts.

Each piece relies on its own melody line, which is an almost invisible thread, that moves along extraordinary, yet almost imperceptible arrangements. The variety in its instrumentation, enhances its scope and depth. But nevertheless, its slow-paced melodical moods set the evocative and nocturnal tone of the whole project.

****4 "Imaginative, creative, hypnotic, laid back and up front, small masterpiece", PA stars.

PD. By the way its PA section is still missing like half of his albums, eventually I will upload the other ones I own.

 Underground by JOBIM, GUSTAVO album cover Studio Album, 2014
2.09 | 2 ratings

BUY
Underground
Gustavo Jobim Progressive Electronic

Review by admireArt

2 stars A factory of useless noises!

I never learn.... Anyway! Gustavo Jobim's 2014, two piece album "Underground", is, to put it simply, unbearable. Maybe that was his intention. Who knows, who cares? (As I write, I am listening to it for the 2nd time.)

If you kind of missed or skipped 70 years (give n take) of electronic music experiments, maybe, and maybe then, you will fall for this raw electronics,experimental project.

I went to his Bandcamp page, bought this one and downloaded another one for free. I sure wish it had been the other way around, although I have not listened yet to my other pick! (also 2014.)

Ok! Two 25-30 minutes long "compositions" , based, to call it somehow, in the conceptual tone of raw, abstract, electronic experimentation with noises. So, what's new? Absolutely nothing, not even on the "sound-programming" mode. Não!, Nicht!, Ni madres! , 別, Not at all!

Pretentious electronic "Art", for those audiophiles who never have had the privilege of playing, less owning, a synth, forget about 2 or more!

As for me, I repeat, a useless factory of "a zillion times heard", cacophonic, raw, experimental and over-indulgent progressive electronics.

**2, " I don't fall for this pseudo intellectual "Art" (which is not necessarily intelligent) , that only exposes the lack of creativity and original composition in music.", PA stars.

 Now by ROACH, STEVE album cover Studio Album, 1982
4.00 | 1 ratings

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Now
Steve Roach Progressive Electronic

Review by admireArt

— First review of this album —
4 stars Steve Roach's first catalogue of possible electronic routes.

Steve Roach's 1982 release, "NOW", encompasses a wide variety of "electronic" stylings. Never falling for the 80's synth-vogue and clearly stepping away, also, from TD's "spacy" sounds, but still close to those Berlin School's electronic music asthetiques.

One can easily detect the more comfortable and close to his pioneering then, "Ambient" music passion and nature. Those are the songs that foretell where he will eventually be heading, but in this, his first release, it is all still cooking and it smells good!

5 pieces, 5 different possible progressive/electronic environments. The "cosmic" sequenced one, the out of this world "tribal" song, the dynamic minimalistic one, the all "ambient" and the TD like song, not in that order, I am just recapitulating.

Of all the possible music routes Steve Roach will eventually lead, his clear thought and bright music songwriting "muse", apparently was there from the start.

****4 "Promising since day one!" PA stars.

Data cached

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
AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
ANNA SJALV TREDJE Sweden
ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ASCOIL SUN Finland
ASHRA Germany
ATOMINE ELEKTRINE Sweden
AUBE Japan
AUTOMAT Italy
AWENSON France
MARVIN AYRES United Kingdom
HARVEY BAINBRIDGE United Kingdom
AIDAN BAKER Canada
SIMON BALESTRAZZI Italy
BAFFO BANFI Italy
BASS COMMUNION United Kingdom
PETER BAUMANN Germany
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
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
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK 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
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRÀ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
DIN A TESTBILD Germany
DIONNE-BREGENT 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
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 AND ENO United Kingdom
EDGAR FROESE Germany
PETER FROHMADER Germany
KEITH FULLERTON WHITMAN United States
FUTURO ANTICO Multi-National
GALACTIC EXPLORERS Germany
MICHAEL GARRISON United States
MORT GARSON Canada
GRAHAM GETTY United Kingdom
SACHA GIBSON United Kingdom
BRUCE GILBERT United Kingdom
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
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
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
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
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
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
SATAN ALFA BEEL ATEM Japan
SAYER United States
GÜNTER SCHICKERT Germany
CONRAD SCHNITZLER Germany
EBERHARD SCHOENER Germany
ROBERT SCHROEDER Germany
KLAUS SCHULZE Germany
SEESSELBERG Germany
SHOGUN KUNITOKI Finland
MARK SHREEVE United Kingdom
SIJ Ukraine
SIL MUIR Italy
SINIAALTO Finland
SOFTWARE Germany
SONISK BLODBAD Multi-National
SPACE ALLIANCE Italy
SPACE ART France
SPACE MACHINE Japan
SPACECRAFT France
SPARKLE IN GREY Italy
SPERM Finland
STARDRIVE United States
MICHAEL STEARNS United States
SUBINTERIOR Italy
SYRINX Canada
JUTA TAKAHASHI Japan
TANGERINE DREAM Germany
TANGRAM Hungary
TELAIO MAGNETICO Italy
DR. FIORELLA TERENZI Italy
THOUGHT GUILD United States
THROBBING GRISTLE United Kingdom
ASMUS TIETCHENS Germany
TIPU SABZAWAAR Multi-National
TOMUTONTTU Finland
TONTO'S EXPANDING HEAD BAND United Kingdom
TOTAL STATION Russia
TRANQUILLITY Germany
TRANSPARENT ILLUSION United Kingdom
ROLF TROSTEL Germany
UDDER MILK DECAY United Kingdom
MATTEO UGGERI Italy
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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