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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


The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of
- Sheavy
- Meltdowner
- siLLy puPPy
- Rivertree


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 | 789 ratings
RUBYCON
Tangerine Dream
4.26 | 238 ratings
MIRAGE
Schulze, Klaus
4.21 | 231 ratings
TIMEWIND
Schulze, Klaus
4.57 | 25 ratings
CATCH WAVE
Kosugi, Takehisa
4.14 | 670 ratings
PHAEDRA
Tangerine Dream
4.18 | 122 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.11 | 208 ratings
X
Schulze, Klaus
4.26 | 40 ratings
AN ELECTRIC STORM
White Noise
4.37 | 26 ratings
IN COURSE OF TIME
Zanov
4.28 | 31 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.22 | 33 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.03 | 154 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.16 | 44 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.02 | 159 ratings
NEW AGE OF EARTH
Ashra
4.12 | 48 ratings
FILAMENTS
Rich, Robert
3.98 | 396 ratings
FORCE MAJEURE
Tangerine Dream
3.98 | 276 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.55 | 12 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
3.95 | 469 ratings
STRATOSFEAR
Tangerine Dream
4.11 | 39 ratings
GREEN RAY
Zanov
3.94 | 323 ratings
THE MAN-MACHINE [AKA: DIE MENSCH-MASCHINE]
Kraftwerk
4.14 | 30 ratings
20 JAZZ FUNK GREATS
Throbbing Gristle
4.64 | 9 ratings
LONG LOST RELATIVES
Syrinx
4.00 | 64 ratings
MUSIK VON
Harmonia
3.95 | 126 ratings
BRIAN ENO & DAVID BYRNE: MY LIFE IN THE BUSH OF GHOSTS
Eno, Brian
4.28 | 17 ratings
ABANDONED CITIES
Budd, Harold
3.96 | 100 ratings
BODY LOVE (OST)
Schulze, Klaus
4.20 | 21 ratings
PARADISO
Tangerine Dream
4.95 | 6 ratings
THE HIDDEN SPRING
Alio Die
3.91 | 258 ratings
TANGRAM
Tangerine Dream
4.26 | 17 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.45 | 11 ratings
BLACKER
Radio Massacre International
3.93 | 95 ratings
BODY LOVE - VOL. 2
Schulze, Klaus
3.89 | 280 ratings
TRANS-EUROPE EXPRESS [AKA: TRANS-EUROPA EXPRESS]
Kraftwerk
4.25 | 16 ratings
HORSE ROTORVATOR
Coil
4.12 | 24 ratings
RAVEDEATH, 1972
Hecker, Tim
4.08 | 28 ratings
LOGOS
Wakhevitch, Igor
3.94 | 75 ratings
SMALL CRAFT ON A MILK SEA
Eno, Brian
3.99 | 43 ratings
EARTHEN
Alpha Wave Movement
4.10 | 24 ratings
SONANZE
Cacciapaglia, Roberto
3.91 | 75 ratings
STAND BY
Heldon
4.80 | 6 ratings
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
4.65 | 7 ratings
TRANCE SPIRITS
Roach, Steve
3.92 | 60 ratings
AMBIENT 2 - THE PLATEAUX OF MIRROR (WITH BRIAN ENO)
Budd, Harold
4.34 | 11 ratings
LOVE'S SECRET DOMAIN
Coil
4.95 | 5 ratings
DECONSECRATED AND PURE
Alio Die
4.06 | 24 ratings
BALLET STATIQUE
Schnitzler, Conrad
4.01 | 29 ratings
ICELAND
Pinhas, Richard
4.43 | 9 ratings
SEAMLESSLY BLISS
Alio Die
4.73 | 6 ratings
ALIO DIE & SYLVI ALLI: AMIDST THE CIRCLING SPIRES
Alio Die
4.18 | 15 ratings
NUMINA + ZERO OHMS: BROKEN STARS THROUGH BRILLIANT CLOUDS
Numina
4.48 | 8 ratings
THE VOID
Lynne, Bjorn
3.91 | 52 ratings
THE EQUATORIAL STARS
Fripp & Eno
4.02 | 25 ratings
DOCTEUR FAUST
Wakhevitch, Igor
3.90 | 50 ratings
THE PEARL (WITH BRIAN ENO & DANIEL LANOIS)
Budd, Harold
4.27 | 11 ratings
ZUG
Schnitzler, Conrad
3.81 | 154 ratings
UNDERWATER SUNLIGHT
Tangerine Dream
3.79 | 207 ratings
COMPUTER WORLD [AKA: COMPUTERWELT]
Kraftwerk
4.75 | 5 ratings
LEXIKON I
Benkő, László
4.75 | 5 ratings
HARMONIC CURRENTS
Alpha Wave Movement
4.17 | 12 ratings
ADONIA
Ose
4.16 | 12 ratings
FROZEN NORTH
Radio Massacre International
4.95 | 4 ratings
HONEYSUCKLE
Alio Die
3.78 | 177 ratings
BEFORE AND AFTER SCIENCE
Eno, Brian
4.07 | 15 ratings
WARMTH OF EARTH
Artemiev, Edward
4.00 | 19 ratings
D.O.A. THE THIRD AND FINAL REPORT
Throbbing Gristle
3.98 | 19 ratings
UBERFALLIG
Schickert, Günter
4.50 | 6 ratings
THE ELECTRIC LUCIFER
Haack, Bruce
4.38 | 7 ratings
THE PLACE WHERE THE BLACK STARS HANG
Lustmord
4.63 | 5 ratings
ELECTRONEGATIVITY - THE CASSETTE CONCERT SERIES NO.3
Schnitzler, Conrad
3.77 | 102 ratings
APOLLO - ATMOSPHERES & SOUNDTRACKS (OST)
Eno, Brian
4.10 | 12 ratings
EMISSARIES
Radio Massacre International
4.36 | 7 ratings
VOYAGE CÉRÉBRAL
Bocquet, Didier
4.83 | 4 ratings
SIL MUIR
Sil Muir
3.84 | 36 ratings
SURFACE TO AIR
Zombi
3.76 | 94 ratings
PICTURE MUSIC
Schulze, Klaus
4.43 | 6 ratings
TRACER
Omit (Clinton Williams)
3.78 | 64 ratings
ENO, MOEBIUS & ROEDELIUS: AFTER THE HEAT
Eno, Brian
3.80 | 45 ratings
IN BLUE
Schulze, Klaus
4.75 | 4 ratings
THE SIXTH EAR
Raicevic, Nik
3.76 | 77 ratings
EVENING STAR
Fripp & Eno
4.74 | 4 ratings
QUANTUM CONSCIOUSNESS
Five Thousand Spirits
4.74 | 4 ratings
CONDUITS AND ESTUARIES
Rapoon
4.74 | 4 ratings
SHADOW OF TIME
Roach, Steve
3.83 | 32 ratings
EPITAPH FOR VENUS
Galactic Explorers
3.73 | 176 ratings
HERE COME THE WARM JETS
Eno, Brian
4.28 | 7 ratings
THE DELICATE FOREVER
Roach, Steve
4.36 | 6 ratings
THE LAST STRANDS OF FORTITUDE
6LA8
3.76 | 62 ratings
ANOTHER DAY ON EARTH
Eno, Brian
3.74 | 96 ratings
BLACKOUTS
Ashra
5.00 | 3 ratings
BLUE DREAM
Sequentia Legenda
4.34 | 6 ratings
STARS FALL DARKLY
Yeti Rain
4.33 | 6 ratings
THE CLOUDS OF TITAN
Radio Massacre International
4.11 | 9 ratings
MINOS
Languirand, Pascal
3.71 | 152 ratings
MOONDAWN
Schulze, Klaus
4.95 | 3 ratings
DOCUMENTS 1975
Harmonia
3.89 | 18 ratings
MIDNIGHT IN SPACE
Hydrus
3.73 | 71 ratings
STUNTMAN
Froese, Edgar
4.90 | 3 ratings
BARDO
Oöphoi
3.96 | 13 ratings
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter

Progressive Electronic overlooked and obscure gems albums new


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

TUSSILAGO FANFARA
Anna Sjalv Tredje
TIME REPLICATED
Bownik, Adam Certamen
SYNTHETIK 1
seesselberg
SYNTHESIST
Grosskopf, Harald

Latest Progressive Electronic Music Reviews


 BSP Live Series - 2010.11.16, Paris by BAKER, AIDAN album cover Live, 2010
4.00 | 1 ratings

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BSP Live Series - 2010.11.16, Paris
Aidan Baker Progressive Electronic

Review by admireArt
Prog Reviewer

— First review of this album —
4 stars A live display of focused/experimental/music/noise mutations which turn out to be as daring and uncompromised as enticing and surprising.

This unnamed 38 minutes composition, divided into 2 parts, "BSP Live Series/2010.11.16 - LesInstant Chavires, Paris" beholds many remarkable features alongside its apparent economy in instruments and performers, one will suspect, when reading the credits as Aidan Baker takes full responsibility of all recorded sounds and only guitar as instrument.

Apparently, as told, but expect a full gallery of electronic/acoustic sound possibilities (including bright but well measured percussive elements, here and there) by the addition of loops which eventually grow outside themselves to become massive entities conjuring hypnotic and raw to the bone structures whose guiding lights are the well threaded melodic lines which as always are the real deal of this (and any) release.

This noise related, electronic, "symphonic" like project keeps one's attention hooked from start to finish due to the before mentioned attribute. And of course Aidan Baker's musical language has many influences but sounds like none but himself and on this one extremely charged!

In between the exact borders of Krautrock, Progessive Electronic and pure and explosive Avant Garde.

****4 PA stars

 Ergine / Epimer by BAKER, AIDAN album cover Studio Album, 2016
3.00 | 1 ratings

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Ergine / Epimer
Aidan Baker Progressive Electronic

Review by admireArt
Prog Reviewer

— First review of this album —
3 stars Aidan Baker's 2016 "Ergine/Epimer" turns out to be somehow uneven yet intriguing but above all hard to rate impartially. A 2 long compositions release which presents mirror alternate versions of the same.

The first "original" 2 tracks are constructed dronescapes which differentiate from their twin Ambient Versions by being accompanied by acoustic drums which , by the way, are an integral part of Aidan Baker's instrument playing skills repertoire, alongside cello, bass and of course guitars and synths.

Even though as an outsider I could not state which came first the egg or the hen, both "original" versions do not do the trick for me and although Mr. Baker is an expert drum player here the drumming seems to hold back both tracks.

Following up or constructing these kind of dronescapes with an acoustic drum set, ends up in a kind of military march feel, which more than just that, but because of the lack of more creative solutions of the same, overshadows what it was supposed to be following or constructing. He is not the first one to attempt this and ironically he is not the first one to end up playing this military like drum-marches.

In some way, I think, that is why mirror drum-less versions were included in this release, but then again the egg or the hen?

Now the the saddest part of the whole experiment is that with drums or without them the music composition as such lacks really enticing melodic lines as he usually delivers but of course humanly impossible always. And this one rests on the second "not always" category.

Now as far as rating it, I as always, rate any releases with a self created and original musical language no less than 3 stars, this project more than once goes upward that constellation but short of 4.

***3.5 PA stars.

 In Course Of Time by ZANOV album cover Studio Album, 1982
4.37 | 26 ratings

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In Course Of Time
Zanov Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Who says only Germans can do this Berlin School style of progressive electronic space music? Not Pierre Zalkazanov, who keeps the spirit of mid-1970s Tangerine Dream and Klaus Schulze alive for the 1980s on In Course of Time. Released in 1982 in Canada before a 1983 release in Zalkazanov's native France, at the period it may have seemed a bit of a throwback, especially compared to the material his countryman Jean-Michel Jarre was turning out at around the same time. Nonetheless, "In Course of Time" it has picked up a certain sense of timelessness. Use when you want the soundtrack of your life to be reminiscent of a deep space explorer craft.
 Antarctica by HERTZ, JACK album cover Studio Album, 2016
4.00 | 1 ratings

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Antarctica
Jack Hertz Progressive Electronic

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

— First review of this album —
4 stars The coldest, driest, and windiest continent on Earth has inspired several music artists over the years - keyboard icon Vangelis himself offered a lovely soundtrack of the same name in 1983 - and this time it's sound experimentalist Jack Hertz who delivers a themed work on the ice covered desert for the Aural Films label. Jack's music can cover a whole range of styles, from progressive-electronic/Berlin School to ambient and well beyond, but it's in pristine icy drones, eerie sound-collages and calmer ruminations that `Antarctica' has its sound.

Opener `Frozen Wave' is a sustaining and panning machine groan with a howling but not hostile ebb and flow, `Sun Run' perfectly balances ringing crystalline cold with pure ambient touches, and `Coldness' is an unwavering hovering drone similar to the opener. `Polynya' is teeming with life and is a warmer lulling ambient embrace not dissimilar to the gentler early Steve Roach pieces with cooing synth caresses, making it one of the highlights. `The Calving' is a cavernous, rumbling and submerged sound collage, the dream-like `Cravasse' is groaning and piercing with maddening pin-drop trickling machine pulses, soothing ambient washes lap around the crashing rumble of `Thunder Hill', and the completely sublime `Endless Blue' is a softly panning hum of shimmering synth slivers against spacey isolation that almost reminds of Tangerine Dream's defining proto- dark ambient classic `Zeit'.

In many ways, `Antarctica' is an uncompromising and difficult work that many will find too vague, uneventful or just downright cold, especially on the two longer early tracks. It admittedly holds a frequently suffocating, overwhelming mood with only a few softer moments to provide some relief, but it's actually quite a darkly beautiful album if you let it seep in. Newcomers to Jack's music would probably be better off starting with the more accessible `Planet Red' set or even the drowsy`Secret Coves' (both also from 2016), but `Antarctica' is best suited to long-time electronic or dark ambient listeners, or those prog-electronic listeners who don't mind their music on the minimal and experimental side.

Three and a half stars (but seasoned electronic/experimental fans can make this a four).

 Minimum Maximum by KRAFTWERK album cover DVD/Video, 2005
3.90 | 31 ratings

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Minimum Maximum
Kraftwerk Progressive Electronic

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars If this is the future of concerts music, we should stop hiring humans to play those instruments, because we can just program our music and let the machines do the rest. Oh, yes we still have to push a few buttons... And to give a good impression to the audience, we still need some animations to go along with the music. Let's say that if you have heard many times "the guys were static on stage", you haven't seen anything yet here. So what's the point of looking at this concert? It's a way of testing your home theater to hear the impressive display of the surround sound blasting your rears speakers with special effects and keyboards sounds. Oh, yes there is the music, cold, repetitive, poppy, the perfect robot music! I wonder at times if these guys were human, they seem to talk. I am sure that they are making a parody of robotic music where we can't be sure that the music here has been created by humans... Did I forgot to say that that we have here in 2 hours of music great compositions by one of the most influential bands of that genre.4 robots!
 Eno & Hyde: High Life by ENO, BRIAN album cover Studio Album, 2014
3.41 | 13 ratings

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Eno & Hyde: High Life
Brian Eno Progressive Electronic

Review by Neu!mann
Prog Reviewer

4 stars One of the more enjoyable and accessible of Brian Eno's recent efforts has its roots in the fertile soil he was cultivating with David Byrne in the early '80s, updated to a modern digital vernacular. A few of the songs ("DBF" being the obvious example) could have been outtakes from the "Remain in Light" album sessions, and the artwork itself is a visual echo of Peter Saville's video image on the cover of the Eno/Byrne classic "My Life in the Bush of Ghosts".

But this was 2014, not 1981, and much of the new album sounds like it was composed and performed on laptop computers, with minimal human input on traditional instruments. On the other hand, when the end results are so playful and creative does it really matter how they were generated? For an artist once known as a self-confessed funkophobe (in his immediate post-Roxy Music adolescence), Eno certainly has his groove on here.

Not for the first time, of course. He embraced Funk and Afrobeat rhythms long ago, with the Talking Heads and other kindred spirits, but rarely to such a plugged-in degree. I defy even the clumsiest left-footed Proghead to hear the bouncy "Time to Waste It" or the more upbeat "Lilac" and resist the temptation to oscillate his hips, just a little.

In the end it's a fascinating detour for the otherwise ambient artisan, and definitely a collaboration. Eno's finger (and voice) prints are all over the album, and yet he's often the second banana next to guitarist and Grooveboxer Karl Hyde (yes, the Groovebox is a real thing: part drum machine, part sequencer, part computer hard drive). Not to worry, though: he may have only been along for the ride, but Eno was still the primary navigator, as always demonstrating his unerring sense of musical direction.

[ Consumer endorsement: the vinyl edition of the album is by far the best bargain, and not just for old-time's sake. It includes two songs omitted from the CD, for no apparent reason except, of course, the demands of petty commerce. The first ("On a Grey Day") is a dreamy ballad and soundscape collage, crooned with melodic resignation; the second ("Slow Down, Sit Down & Breathe") presents a more urgent and aggressive electro-pop thing, with deadpan spoken vocals atop a busy rhythm guitar. Both would have fit on the compact disc, with room to spare ]

 Painting In The Dark by ROACH, STEVE album cover Studio Album, 2016
4.00 | 1 ratings

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Painting In The Dark
Steve Roach Progressive Electronic

Review by admireArt
Prog Reviewer

— First review of this album —
4 stars Steve Roach's "Painting in the Dark", the third late 2016 release, is slow paced intense as to demand full attention and time for it to flourish entirely to its avid listeners. Nevertheless what one encounters in its shimmering and mysterious long corridors keeps the attention span hooked by its creative flow and perfectly threaded transitions on each track (there are six) and between each other, which makes the whole experience both micro and macro conceptual.

There is a subtle and unusual encounter in some sections, composition wise, with contemporary classical music structures transposed to his own electronic music language of course, yet analog strings are present here and there as to make a clear statement of his inner drive and intention in those sections.

It is quiet amusing to mention that the impersonal, detached and somewhat unfriendly moods of this deep ride are probably its best attribute as they place the listener in unexplored cosmic territories in which common human emotions are no longer common thus enhancing its intriguing alien nature and its unorthodox and uncompromising beauty.

****4 PA stars.

 Tombs of the Blind Dead by ZOLTAN album cover Singles/EPs/Fan Club/Promo, 2014
4.00 | 1 ratings

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Tombs of the Blind Dead
Zoltan Progressive Electronic

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

— First review of this album —
4 stars Zoltan are a UK trio who cross Goblin-like eerie synth sounds with progressive-electronic atmospheres. They put out a phenomenal debut back in 2012 with `First Stage Zoltan' (an album in serious need of more attention), and they've followed it up over the last couple of years with the full-length `Sixty Minute Zoom' in 2014 and a series of EP's of interpretations of obscure horror movie soundtracks. First up was 2013's `Psychomania' from 1972 ("The greatest and grooviest British zombie biker movie ever made" boasts the DVD cover, surely a crowded sub-genre!) and offered an adaption of music from the `Phantasm' movies in 2016, a series that always had an incredible Mellotron-driven theme to rank alongside the best horror movie scores. But in between in 2014 came this tribute LP to a series of cult horror films, one that works as both a respectful companion piece to the films its based on, but also stands as a creeping and eerie progressive-electronic, experimental/ambient and darkly symphonic work in its own right.

`Tombs of the Blind Dead' was a Spanish-Portuguese film from 1972 that spawned three sequels and revolved around a group of reanimated Templar Knight corpses hunting down victims who have stumbled upon the ruins of an abandoned monastery where they were buried. The corpses are blind, because their eyes were pecked out by birds while their hanged bodies rotted on the gallows after being put to death for witchcraft and heresy in the 14th century! The first film is the iconic one, and although its probably not a particularly coherent or even well-acted example of the genre (but forget the acting, tune in for the small role from gorgeous actress María Elena Arpón, who went by the stage name of Helen Harp in this particular film, a stunning girl!), the unique concept coupled with fascinating slow motion footage of the corpses shuffling through the ruins tracking down their victims by sound alone proved deeply hypnotic, and it had a shocking and violent finale where the Knights raid a train full of innocent people. The sequels were hit and miss but all had their moments, and they enjoy a small but devoted following amongst horror movie fanatics.

Zoltan's vinyl only EP of the same name adapts four pieces, one from each film. Opener `Tombs of the Blind Dead' is a brooding storm of groaning gothic cries and cutting Mellotron slices over a constant stop/start monolithic pounding drumbeat, and `Return of the Blind Dead' is a trudging Mellotron theme over dreamy electric piano shimmers. The urgent and up-tempo `The Ghost Galleon' races along with thick chugging bouncing bass and psychedelic bleeding electronics sounding not unlike the final minutes of `Dr. Frankenstein' off Goblin's classic `Roller' album from 1976, and `Night of the Seagulls' opens as a lurking nightmarish soundscape of faraway creeping spectral organ and humming fuzzy droning distortion before lurching into an infernal plodding early King Crimson-like searing Mellotron march - intense stuff!

`Tombs of the Blind Dead' will appeal to dark prog freaks who enjoyed Morte Macabre's 1998 Mellotron-fuelled classic `Symphonic Holocaust', the classic albums of Goblin and fans of Fabio Frizzi's soundtrack works. Most of the tracks are more chilling sound collages than actual tunes, but it all works to great effect and maintains a consistently gloomy, disorientating and overwhelming atmosphere, with the stylish sleeve notes and a striking vinyl presentation overall making for a very alluring set. Resistance is futile, simply give in and be consumed by the Blind Dead!

Four stars.

 Vestiges by RICH, ROBERT album cover Studio Album, 2016
3.00 | 1 ratings

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Vestiges
Robert Rich Progressive Electronic

Review by admireArt
Prog Reviewer

— First review of this album —
3 stars Sadly not all rainbows end up over a bowl of gold.

A slow and imperceptible departure towards a more cosmic environment, opposite to his quiet unimpressive, not only becase "What We Left Behind" (released a couple of months before) is totally inclined into the New Age like earthly musical environments but because it was scarce of "New" music composition creativeness (in that styling), this "Vestiges", 2016, as mentioned, sets on to more Space music grounds with some heavy earthly touches meeting in the middle of this crossroad and somehow turning back in time to his first releases in a more sophisticated way.

Once I wrote in these Robert Rich reviews that I found a certain thinness in his music compositions which if abused tended to lead nowhere. Well, that peculiar quality overshadows, if not alone in length and time, also in creativity some better suited tracks on this one.

Ironically, which makes these reviews so subjective, the highly praised 16 minutes "Anchorless on Quiet Tide" published among his followers does not tick my bomb. Nevertheless the other 15+ minutes long track "Obscured by Leaf Shadows" is quiet rich and enticing.

So, taking into account that this is a 6 track release, an hour and a couple of minutes long and the before mentioned tracks take off half of the content and a couple of other tracks are just too thin, sums (or substracts) up or down for a 3 out of 6 effort, which of course derives into a decent, far from magnificent, ***3 PA stars rating.

 Deadly Care (OST) by TANGERINE DREAM album cover Studio Album, 1992
2.08 | 18 ratings

BUY
Deadly Care (OST)
Tangerine Dream Progressive Electronic

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

2 stars This is one of the many movie soundtracks released by Tangerine Dream in the '80s. Actually Christopher Franke was still in duo with Edgar Froese.

I haven't seen the movie, but I guess it was quite a sad story. The music is extremely melodic, with no rhythm at all. Apart of few tracks like in example "The Hospital Room" whose first half reminded me of Camel's RAIN DANCES, there's very few in this album that scores only 33 minutes in length, also considering that some tracks contain reprises and quotes from the main theme.

"More Pills" is another 1 minute track which could have been extended, but unfortunately it remains just a sort of false start. I mean that taken one by one they are decent, but none of them can be remembered after the first listen, if not for the title track which has several reprises.

This music was likely appropriate for a movie which, I have read, is about a nurse in a war zone getting involved in drugs. From a progressive point of view it's absolutely non-essential. Not the worst thing released by TD in that period, but it can be forgotten in the huge production of this kind in these years.

Forgettable.

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