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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 | 799 ratings
RUBYCON
Tangerine Dream
4.26 | 239 ratings
MIRAGE
Schulze, Klaus
4.21 | 233 ratings
TIMEWIND
Schulze, Klaus
4.56 | 26 ratings
CATCH WAVE
Kosugi, Takehisa
4.14 | 677 ratings
PHAEDRA
Tangerine Dream
4.18 | 123 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.11 | 210 ratings
X
Schulze, Klaus
4.26 | 42 ratings
AN ELECTRIC STORM
White Noise
4.36 | 27 ratings
IN COURSE OF TIME
Zanov
4.26 | 31 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.04 | 155 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.16 | 45 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.22 | 33 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.14 | 47 ratings
FILAMENTS
Rich, Robert
4.01 | 162 ratings
NEW AGE OF EARTH
Ashra
4.54 | 13 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
3.98 | 400 ratings
FORCE MAJEURE
Tangerine Dream
3.99 | 279 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.10 | 41 ratings
GREEN RAY
Zanov
3.95 | 327 ratings
THE MAN-MACHINE [AKA: DIE MENSCH-MASCHINE]
Kraftwerk
4.14 | 31 ratings
20 JAZZ FUNK GREATS
Throbbing Gristle
3.93 | 474 ratings
STRATOSFEAR
Tangerine Dream
3.96 | 128 ratings
BRIAN ENO & DAVID BYRNE: MY LIFE IN THE BUSH OF GHOSTS
Eno, Brian
4.53 | 11 ratings
LONG LOST RELATIVES
Syrinx
4.24 | 19 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.28 | 17 ratings
ABANDONED CITIES
Budd, Harold
3.96 | 101 ratings
BODY LOVE (OST)
Schulze, Klaus
4.20 | 21 ratings
PARADISO
Tangerine Dream
3.90 | 260 ratings
TANGRAM
Tangerine Dream
4.26 | 17 ratings
HORSE ROTORVATOR
Coil
4.95 | 6 ratings
THE HIDDEN SPRING
Alio Die
4.45 | 11 ratings
BLACKER
Radio Massacre International
3.93 | 96 ratings
BODY LOVE - VOL. 2
Schulze, Klaus
3.89 | 282 ratings
TRANS-EUROPE EXPRESS [AKA: TRANS-EUROPA EXPRESS]
Kraftwerk
3.94 | 76 ratings
SMALL CRAFT ON A MILK SEA
Eno, Brian
4.11 | 25 ratings
SONANZE
Cacciapaglia, Roberto
4.12 | 24 ratings
RAVEDEATH, 1972
Hecker, Tim
4.00 | 43 ratings
EARTHEN
Alpha Wave Movement
4.08 | 28 ratings
LOGOS
Wakhevitch, Igor
4.86 | 6 ratings
DECONSECRATED AND PURE
Alio Die
3.92 | 71 ratings
MUSIK VON
Harmonia
3.91 | 77 ratings
STAND BY
Heldon
4.80 | 6 ratings
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
3.92 | 60 ratings
AMBIENT 2 - THE PLATEAUX OF MIRROR (WITH BRIAN ENO)
Budd, Harold
4.65 | 7 ratings
TRANCE SPIRITS
Roach, Steve
4.05 | 25 ratings
BALLET STATIQUE
Schnitzler, Conrad
4.01 | 31 ratings
ICELAND
Pinhas, Richard
4.34 | 11 ratings
LOVE'S SECRET DOMAIN
Coil
4.29 | 12 ratings
SEAMLESSLY BLISS
Alio Die
3.91 | 52 ratings
THE EQUATORIAL STARS
Fripp & Eno
4.43 | 9 ratings
THE VOID
Lynne, Bjorn
4.18 | 15 ratings
NUMINA + ZERO OHMS: BROKEN STARS THROUGH BRILLIANT CLOUDS
Numina
4.02 | 26 ratings
DOCTEUR FAUST
Wakhevitch, Igor
4.72 | 6 ratings
DOCUMENTS 1975
Harmonia
3.91 | 50 ratings
THE PEARL (WITH BRIAN ENO & DANIEL LANOIS)
Budd, Harold
4.86 | 5 ratings
HONEYSUCKLE
Alio Die
4.27 | 11 ratings
ZUG
Schnitzler, Conrad
3.81 | 154 ratings
UNDERWATER SUNLIGHT
Tangerine Dream
3.80 | 209 ratings
COMPUTER WORLD [AKA: COMPUTERWELT]
Kraftwerk
4.50 | 7 ratings
ALIO DIE & SYLVI ALLI: AMIDST THE CIRCLING SPIRES
Alio Die
4.15 | 13 ratings
ADONIA
Ose
4.60 | 6 ratings
SHADOW OF TIME
Roach, Steve
3.79 | 178 ratings
BEFORE AND AFTER SCIENCE
Eno, Brian
4.75 | 5 ratings
LEXIKON I
Benkő, László
4.75 | 5 ratings
HARMONIC CURRENTS
Alpha Wave Movement
4.16 | 12 ratings
FROZEN NORTH
Radio Massacre International
4.43 | 7 ratings
THE ELECTRIC LUCIFER
Haack, Bruce
3.98 | 20 ratings
UBERFALLIG
Schickert, Günter
3.95 | 22 ratings
D.O.A. THE THIRD AND FINAL REPORT
Throbbing Gristle
3.78 | 103 ratings
APOLLO - ATMOSPHERES & SOUNDTRACKS (OST)
Eno, Brian
3.80 | 65 ratings
ENO, MOEBIUS & ROEDELIUS: AFTER THE HEAT
Eno, Brian
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
4.10 | 12 ratings
EMISSARIES
Radio Massacre International
3.84 | 36 ratings
SURFACE TO AIR
Zombi
4.00 | 16 ratings
WARMTH OF EARTH
Artemiev, Edward
4.36 | 7 ratings
VOYAGE CÉRÉBRAL
Bocquet, Didier
4.83 | 4 ratings
SIL MUIR
Sil Muir
3.76 | 96 ratings
PICTURE MUSIC
Schulze, Klaus
4.43 | 6 ratings
TRACER
Omit (Clinton Williams)
3.76 | 80 ratings
EVENING STAR
Fripp & Eno
4.78 | 4 ratings
BACK FROM BEYOND
MacFarlane, Ian
3.80 | 45 ratings
IN BLUE
Schulze, Klaus
3.73 | 178 ratings
HERE COME THE WARM JETS
Eno, Brian
3.83 | 33 ratings
EPITAPH FOR VENUS
Galactic Explorers
3.77 | 63 ratings
ANOTHER DAY ON EARTH
Eno, Brian
4.74 | 4 ratings
QUANTUM CONSCIOUSNESS
Five Thousand Spirits
4.74 | 4 ratings
CONDUITS AND ESTUARIES
Rapoon
4.11 | 10 ratings
MINOS
Languirand, Pascal
3.74 | 96 ratings
BLACKOUTS
Ashra
4.28 | 7 ratings
THE DELICATE FOREVER
Roach, Steve
4.36 | 6 ratings
THE LAST STRANDS OF FORTITUDE
6LA8
3.71 | 154 ratings
MOONDAWN
Schulze, Klaus
3.89 | 19 ratings
MIDNIGHT IN SPACE
Hydrus
4.34 | 6 ratings
STARS FALL DARKLY
Yeti Rain
5.00 | 3 ratings
BLUE DREAM
Sequentia Legenda
4.33 | 6 ratings
THE CLOUDS OF TITAN
Radio Massacre International
3.96 | 14 ratings
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
4.00 | 12 ratings
EBONDÀZZAR
Peak
4.00 | 12 ratings
THE WOZARD OF IZ: AN ELECTRONIC ODYSSEY
Garson, Mort

Progressive Electronic overlooked and obscure gems albums new


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

HELDON IV: AGNETA NILSSON
Heldon
SYNTHETIK 1
seesselberg
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico

Latest Progressive Electronic Music Reviews


 Nada by HAMEL, PETER MICHAEL album cover Studio Album, 1977
3.92 | 4 ratings

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Nada
Peter Michael Hamel Progressive Electronic

Review by Progfan97402

4 stars I found a copy of this for cheap, the 1980 American pressing of this on Celestial Harmonies. This album was first released in 1977 in Germany on Wergo, and when it was released in America, the artwork and packaging made this album look more like what you'll be expecting is insipid New Age. Had I known nothing about this album prior to purchasing, I'd probably pass this by and end up regretting it. By this point he moved away from the Terry Riley-type minimalist music of his 1972 double album Hamel (I am not familiar with Between, but I should remedy that if I can find a copy) and in Nada went right in the world of Schulze style electronic music. The title track features minimalist synth patterns utilizing the Elka Rhapsody (amusingly the album states it was an organ responsible for this, and there's not a single jot of organ in this album). It has that nice '70s feel to it which I really like. "Silence" sounds more like abstract avant garde to my ears. "Slow Motion" sounds like a piano variation of the title track. It's all played on piano, and I usually find the piano boring and overrated, but this was surprisingly effective piece of minimalist piano music. "Beyond the Wall of Sleep" takes all of side two, and it really isn't too different from the title track, except longer, and it starts off slower and then picks up speed as it progresses and then slows down towards the end. There doesn't appear to be much in the way of world music influences here, the Berlin school and minimalist music is most dominant, and it actually works well. Nice album well worth having.
 Kotrill by POLE album cover Studio Album, 1975
5.00 | 1 ratings

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Kotrill
Pole Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

— First review of this album —
5 stars The obscure act PÔLE which originated in the avant-garde underground of 1975 Paris, France is much more than a mere experimental act that released a mere two albums and then disappeared into the netherworld only to leave scant traces of its very existence. On the contrary the PÔLE appellation is synonymous in the underground world of avant-garde noise music as the epitome of far out and alien soundscapes. The name in fact belongs to the record label that released a handful of wide ranging genre LPs of different artists from 1975-77 and then disappeared without a trace. The label was founded by Paul Putti with his wife Evelyne Henri who would sign up some of the strangest left field acts of the day and even engaged in the most unorthodox salesmanship antics of pitching them door-to-door. The very first of these groups on the label would be Putti's own musical creation which despite the confusion was also named PÔLE. As a label, Putti would go on to release several albums from 15 different artists but as an experiment artist collective they would only release a mere two LPs that would both come out in 1975 with KOTRILL being the first and much more experimental of the two. PÔLE wasn't really a group per se but rather a collection of tracks with different experimental sound artists participating randomly throughout the two albums. To make things somewhat more confusing a so- called third album was released in 1975 (although with Putti, i'm not sure i subscribe to the logic) under the Besombes-Rizet moniker and guess what the album title was. Yep, it was PÔLE of course!

"Kotrill" (16:35) begins with a sputtering electronic sound rhythmically upping the tempo as counterpoints of electronically induced sputterings join in and drop out to create a free flowing river of synthesized sounds that meander on to infinity. The pitch is tense and gradually changes higher and lower as the percussive spastic drip sounds drop in and out randomly. The back masking of vocals eventually joins in as the dissonant electronic callithump parade strolls down free improv alley. The gist of this piece is that one element dominates while the others slightly change it up around it. As one drops out, the other becomes the leader. After a while a synthesized "free fall" sounds like it jumps out of an airplane for a while before it's joined by a jittery hyperactive "typewriter" sounding electronic percussive attack. All of these different elements take turns entering the scene and then dropping out. This title track is a very effective alien sounding track that offers hidden patterns embedded within but totally out of the context of anything remotely melodic. Despite the absence of melodies, the rhythmic drive becomes quite pronounced by the end of the track practically obliterating the cosmic electronica swooshiness in the background.

"Osiris" (3:30) is the "little" track stuck between the two lengthy behemoths. This one begins with what sounds like a theremin raising and lowering pitches with a percussive monastery type gong or something of the sort creating a background soundscape while whizzing electronica buzz around like angry hornets coming and going as randomly as pollinating honeybees in a blooming springtime meadow. As the percussion drops out the electronic buzzings start to talk to each other and create unnerving tension that ends sounding like a UFO just abducted someone and hyperspaced out of the galaxy.

"Villin Gen" (20:52) is the second sprawling track that begins with an unnerving drone sound that sustains one note before a second note joins it and sustains longer than expected. An unexpected melody slowly unfurls reminding of a very chilled out "Saucerful Of Secrets." The background ambience sounds like a UFO hovering in the distance just close enough to feel the uncertainty of its nebulous intentions. As the track continues the simple organ notes become entrancing with only a faint heartbeat type of percussion in the background. The UFO flying sounds also take a back seat but never really leave and change pitch and tempo and sometimes even drop out. In the middle it becomes more drone induced with water dripping. As the heartbeat loop continues on, the track slowly unwinds and fades out. This one is the most minimalist of the three tracks and the most hypnotizing as it sprawls on.

KOTRILL sounds like no other album and rightfully earned a place on the tripper's Holy Bible of experimental music "Nurse With Wound List." While it could be compared to early electronic pioneers like Finland's The Sperm or the more experimental freak outs of Can on Tago Mago, those are only the closest approximations. PÔLE was fairly ahead of its time for electronic music and created soundscapes totally unlike anything the Berlin School scene or other free form experimentation of the day were releasing. It wouldn't be until the 80s and 90s that other electronic acts would catch up and create equally alienating soundscapes utterly divorced from convention. Unfortunately the two PÔLE albums along with the entire catalogue of the label were only released on vinyl LP. Although there was a second pressing by the Tapioca label, these albums remain some of the most mysterious and obscure of what the 70s had to offer and easily go for hundreds of dollars. Needless to say they are in dire need of being rediscovered and re-released for a new era. I find this type of free form noise mixed with scant musical elements to be a very difficult tightrope act to accomplish. As with all minimalism, it takes a heavy dose of restraint to prevent a total derailment of connection and with KOTRILL there is a perfect flow of elements that align in the exact right places. I'm simply enthralled with KOTRILL like i am with scant few other albums of this sort. Someone PLEASE re-release this! It needs rediscovery! This one is only for the most adventurous seekers of all things lysergic ;)

 Inside The Dream by POLE album cover Studio Album, 1975
5.00 | 1 ratings

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Inside The Dream
Pole Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

— First review of this album —
5 stars After setting up his PÔLE record label, Paul Putti released his first album "Kotrill" as an artist collective also called PÔLE. His second release INSIDE THE DREAM once again featured Putti on synthesizers but a new cast of members was included and therefore a completely different sound and feel are present with little resemblance between the two LPs. While both albums are steeped in subtle creeping synth-laden soundscapes with alienating counterpoints in sound experimentation, INSIDE THE DREAM is the much more accessible of the two releases and expands the instrumentation beyond the electronica and adds acoustic guitar, bass and even electric lead guitar. Like "Kotrill" there are two long sprawling tracks that cover most of the album and one other that is dwarfed in their wake. While Putti is once again the leader on INSIDE THE DREAM, he is joined by Jean-Louis Rizet and although i'm not sold in the actual classification of a third album supposedly carried to torch to create a 3rd PÔLE album under the Besomebes- Rizet moniker. And just to make it all the more confusing released an album titled PÔLE! Now how's that for avant-garde?

"Inside The Dream" (25:00) begins with an acoustic guitar softly strumming pleasant folky chord progressions with a little chirping in the background and as the guitar slowly fades into prominence a little synthesized atmosphere begins peeking through the folk- laden soundscape and then something completely absent from "Kotrill" emerges - vocals! While the acoustic folk melody loops around the key chord structures an oscillating electronic sound vigorously vibrates behind it before exiting the picture. Another different melodic synth line takes its place. After a while the hypnotic acoustic begins to bring early Pink Floyd to mind with the soft sensual psychedelic folk of tracks like "If" from Atom Heart Mother. While one would think that the repetitive nature of the undulating folk would become stagnate, the subtle electronic effects keep things changing up just enough to keep the whole thing flowing and then about half way through the acoustic guitar takes a back seat and avant-garde electronic oscillations sound like interdimensional beings reprogramming the space-time continuum to insert secret messages from the other side. After they subside the acoustic guitar chord sequences shift gear. After a while the guitar and electronica trade off in free form style in completely unpredictable ways. Toward the end a percussive drive emerges as a glissando guitar sliding action takes over. A bass also joins the party making this a full-fledged melody! Welcome to tripper's paradise!

"Outside The Nightmare" (15:00) takes a completely different approach and begins with a pulsating electronic sound that cedes to a less structured buzzing sound. Get the folk outa here and let the freakery unfurl! This one is much more free form but the certain aspects continue to peek in and out of the random parade of sound. As the track progresses more layers of sound pile up creating a smorgasbord tapestry of electronic embellishments. While a drone layer slowly changes its pitch, a more percussive drive drips forth and swooshing effects sweep around like a random plastic bag circling the city streets on a windy day occasionally becoming trapped in sonic eddies. A slightly X-files type of alien music creeps in with tinkling keys that truly sound totally out there. This is exactly the type of music i imagine when i think of ETs making contact and taking us to their galactic jukebox for their chill time! As if all those freakery weren't enough, it continues with what sounds like psychedelic sirens engaged in a choir of shrill utterings juxtaposed into alien musical scales. This is certainly one of the weirdest and most satisfying electronic experiments i've ever heard although this one does bring Berlin School tripsters Klaus Schulze, Cluster or Tangerine Dream to mind although in their most adventurous undertakings!

"In The Maelstrom" (5:00) is more a rhythmic affair that has a steady Krautrock beat as heard from Kraftwerk or Neu! although the synthesizers are layered to create a dense tapestry of counterpoint melodies. The sounds are dark and brooding but deliver a steady rhythmic drive with key changes in the melody at regular intervals.

While INSIDE THE DREAM is not nearly as alienating or shocking as "Kotrill" it is also a perfectly paced album. Generally speaking, the two PÔLE albums will appeal to two different spectrums of the adventurous music seekers. "Kotrill" will thrill lovers of chaos, noise, free form and the utterly alienating whereas INSIDE THE DREAM will please those who love the progressive electronic sound when accompanied by some sort of traditional music structure. This one is much more based in melodic developments and never strays far from steady percussive drives. Personally i find both sides of the spectrum equally exhilarating and i cannot find one flaw in either of the PÔLE albums. To me they released the perfect pair of super cool experimental music and look forward to the day when they finally get the attention they deserve and are re-released for a new modern world of tripsters.

 In Person (Live) by KITARO album cover Live, 1980
4.00 | 1 ratings

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In Person (Live)
Kitaro Progressive Electronic

Review by kenethlevine
Special Collaborator Prog-Folk Team

— First review of this album —
4 stars I am not intimately familiar with the breadth of KITARO's work as part of FAR EAST FAMILY BAND in the 1970s or as a solo/collaborative artist since, but he occupies one of those inextirpable corridors of my memory thanks to this album. On some releases its full title is "In Person Digital", and so it was presented in its entirety on a French language radio station in Quebec City on a lonely summer evening in 1982. I must have known it would be special because I recorded it all on cassette, eventually buying the LP. It might have mesmerized me more then than it would the modern listener today, but it might just be a work of widespread emotional resonance, an impassioned breakthrough for a release so dominated by electronica.

"Prologue" could be lifted from the intro to any number of earlier TANGERINE DREAM albums, an amorphous brew that passes barely filtered into "Eternal Spring". It is only halfway through this track that we realize the artists will actually play distinguishable notes, and very distinguished they are. One hypnotic sequence on a synth that sounds like a keyboard is overlaid by a counter melody on another synth. A far eastern flair is discerned but not forcibly so. As the exercise fades out, in fades "Westbound", certainly the most powerful piece here if not in the entire Kitaro discography. It too has a Tangerine Dream-esque feel with rhythmic keyboards and real percussion volleying back and forth, losing themselves in each others' auras, while exquisite violin contributions by Yasuo Kojima could induce goosebumps on a duck. As an aside, one of the Kitaro "Silk Road" albums contains a piece with the same title that sounds nothing like it. The laconic melody of "Silver Moon" is sometimes called "Silk Road" on other Kitaro releases. I'm really not trying to confuse you! It's also one track that uses mellotron, of the choral variety. "Peace" again accentuates violin with an appealing musical box accompaniment that craftily re-imagines some of the themes of "Westbound".

On the original LP, side 2 began in much the way of side 1, with an extended atmospheric piece. However, it more closely resembles some of MIKE OLDFIELD's work on "Incantations" than what came before. By this point it's quite clear that KITARO is a master of many trades, among them compilation and editing. When the mist clears and "Morning Prayer" emerges, its impact is not quite as arresting as on side 1, but just as well executed. "Tienshan" is similar but superior, with the lead synths sounding more like moogs, raspy and bubbly. At the end of the interlude-like "Four Changes", we hear birdsong, which fades into the opening acoustic guitar chords of the epic "Magical Sand Dancing". Taking his cue from the earlier electronic wizards, the integration of acoustic guitar augments the already ponderous mood with another dimension in reflection. while the weeping synths are reminiscent of TOMITA himself.

Without a whisper of audience sound, "In Person Digital" is KITARO's private concert to fans, to each and every one in their living room, dorm room, dedicated home theatres, yoga studio, or monasteries. I utilize the religious reference to imply levels of spirituality I can't fathom but know are there. Indeed, if Kitaro is the master of anything, and I think he is, it is of parlaying electronica into spiritual vision with authenticity. Your attendance is recommended.

 All The Pieces Fit Forever (2017) by BRÜCKNER, MICHAEL album cover Studio Album, 2017
4.00 | 1 ratings

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All The Pieces Fit Forever (2017)
Michael Brückner Progressive Electronic

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

— First review of this album —
4 stars Modern eclectic progressive-electronic artist Michael Brückner has a couple of releases currently out, the first being the dark vintage Berlin School instrumental stunner with Alien Nature entitled `The Dark Path' distributed through the Syn-Gate label, and this one `All The Pieces Fit Forever 2017', a collection that actually dates back ten years earlier. It was initially a series of unrelated pieces awaiting contributions from other musical guests, but although this never happened at the time of their creation, a decade later six very different musical artists all offered their own input and completely reworked the original recordings in a variety of fascinating ways! It now stands as one of the most unique works released from Brückner to date that offers a definite modern approach and contemporary electronic sound mixed with a range of rich worldly flavours and also includes some unexpected instrument choices.

Although the focal point is the properly finished new version, it's important to see where the original recordings were at in the first place, and they're included here as a bonus on the second disc of the set. Around its pulsing and gurgling rising/falling programming, opener `Jigsaw Riksha' slinks (perhaps accidentally?!) into a Canterbury sound-flavoured laid back jazzy saunter with its sparkling electric piano, quite an unexpected style to hear on an album from Mr Brückner! The lightly melancholic `Pole Connector' is gently dark electronica that glides into the slyest of grooves, `Broken Mirrors' is a low-key trip-hopper that teases a cool dub sound with the most subtle of Hammond organ, and the eclectic `The Big Division' is almost psychedelic with plenty of fuzzy electronics bubbling around a variety of strident beats. The mellow `Puzzled' floats with sparkling electronics, and the fifty-one minute title track is equal parts a mysterious humming drone and unhurried glacial drift that carefully introduces the most minute of rhythmic elements.

But it's with the new contributors for the pieces that completely rework the material in many vital and adventurous ways! Emerging Portuguese artist and Prog Archives website's own esteemed wunderkind Samuel Cadima aka Meltdowner truly recreates the opener `Jigsaw Riksha' with a subtle coating of eerie treated guitar drones, almost revealing a Pink Floyd-like dreaminess (apparently there's kazoo buried in his contribution as well, which will please Corporal Clegg). Soprano singer Clare Butterfield-Elséy aka Rosmerta adds both a wordless vocal full of an aching longing and a striking spoken word passage to `Pole Connector', Kemal Deniz's ravishing Bağlama (a traditional Turkish stringed instrument, something of a variation of the lute) replaces the trip-hop cool of `Broken Mirrors' with a heavy eastern-flavoured drama, and Ben I Sabbah's sparkling electric phin guitar chimes calm down `The Big Division's' bouncing unpredictability and gives it a shimmering ambience. E.U.P.R.P.I, the alias of Bulgarian guitarist Mirian Kolev gives `Puzzled' a graceful serene ambient makeover, and Australian artist Suzannah Moon aka MegaMoonMaiden (who was a key influence in encouraging Michael to recommence these recordings and project overall) not only enhances the fifty-one minute title track with crystalline chimes, meditative flute and tribal percussion, but her ethereal voice and haunting spoken word recitations call like a siren's cry weaving in and around the extended piece.

Some editions of the collection come with bonus tracks - the twenty-one minute `Collecting the Shards' is a dreamlike drone crossed with the spectral expanse of early Klaus Schulze and reaching landscapes of Steve Roach, and a further 2017 instrumental mix of `All of the Pieces Fit Forever' adds just a bit of liveliness and more prominent rhythmic details to give the piece more momentum, making it the superior vocal-free version.

Some listeners may find some of the original album a little lightweight, and diverse collections such as this - essentially three albums worth of material - and especially ones that mix both vocal and instrumental pieces, are always difficult to constantly win everyone over all the time. But if you appreciate constantly experimenting and exploring artists that continuously challenge themselves, don't feel the need to adhere to the style of the vintage masters, who hone their sound and deliver something different with each release, then Michael Brückner's `All The Pieces Fit Forever 2017' is a winning, evocative and colourful musical statement well worth investigating, made even more enchanting by its fine range of guests.

Four stars.

 Eolian Reflections by ALPHA WAVE MOVEMENT album cover Studio Album, 2014
3.98 | 7 ratings

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Eolian Reflections
Alpha Wave Movement Progressive Electronic

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

4 stars Alpha Wave Movement's Gregory Kyryluk is already establishing himself as one of the modern prog-electronic masters with a large back catalogue of superb and atmospheric titles of great variety. Some perfectly fuse vintage Berlin School mystery with modern deep-space ambience like the classic `Architexture of Silence' from 2013, `Yasumu' and `Harmonic Currents' are deeply meditative and others are more obviously melodic such as `Horizons' or the recent `Kinetic'. Then there's 2014's `Eolian Reflections' that blends many of those styles into one exquisite work, containing six unhurried electronic pieces that rarely drifts into more static drone territory, instead offering endless subtle graceful movement, sometimes with just the lightest of grounded earthy tribal elements and never actually resembling `cosmic' music for even a second.

A gentle twinkling melody flits around opener `Canyon Reverie's dreamy and placid sighing ambient washes, the most subtle of didgeridoo groans quietly beside Kitaro-like electronic breezes and permeating exotic ethnic flavours throughout the quietly dramatic `Cliff Dwellers Dominion', and the low-key `Dune Reflections' comes the closest to a Steve Roach-like piece with its pristine and sustaining fuzzy hum that continually approaches and falls away. The shorter `Full Moon At Window Arch's languid shimmerings are teeming with life and wonder, `Natural Geometry's eerie ripples drowsy float over a subtle variety of percussive elements and acoustic guitar-like chimes, and luxurious pools of heavenly electronic caresses glisten throughout closer `The Crossroads Of Time & Silence'.

`Eolian Reflections' is a beautiful progressive-electronic work that just might be one of Gregory's most quietly defining Alpha Wave Movement releases to date. It retains a very warm humanity, something that's not easy to achieve when solely utilising electronics, and is ideal for newcomers who want a good representation of intelligent ambient/prog-electronic music that remains colourful, inviting and artful from a smart and varied modern composer.

Four stars.

 Dream by KITARO album cover Studio Album, 1992
3.61 | 6 ratings

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Dream
Kitaro Progressive Electronic

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Symphony of dreams

Noticing that Kitaro was added to Prog archives recently, I recalled this album that I first heard years ago which features Jon Anderson on vocals. Being an absolute Yes maniac, I am always interested in hearing anything that a Yes member is involved in. Giving it a more serious listen now, I am enjoying it more than I remembered.

Since Dream is so far my only experience of Kitaro's music I cannot relate it to his other works, but it can be compared to some of Jon Anderson's solo stuff as well as with Anderson's contributions to the works of Mike Oldfield and Vangelis. One year before the release of Dream in 1992, Yes had released Union - an album that included some "New-Age"-like pieces such as Angkor Wat and Take The Water To The Mountain. These numbers might also give you an idea of what the vocal tracks on Dream sound like.

Anderson wrote the lyrics and contributed lead vocals to three tracks on this otherwise instrumental album. The vocal tracks are Lady of Dreams, Agreement, and Island of Life. His voice can also be heard on Dream Of Chant, which is as the title implies a chant. My favourite track is Agreement.

Dream is a nice addition to a comprehensive Jon Anderson and extended Yes-related collection.

 Born Again Pagans (released under the name Coil vs ELpH) by COIL album cover Singles/EPs/Fan Club/Promo, 1994
3.00 | 1 ratings

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Born Again Pagans (released under the name Coil vs ELpH)
Coil Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

— First review of this album —
3 stars In addition to the numerous albums released from the unique experimental electronic entity known as COIL, the band also released many albums under aliases as side projects such as Black Light District, Time Machines and Sickness of Snakes. BORN AGAIN PAGANS (EP) is the first release that introduces their alter ego ELpH which was name of the invisible member that created random musical compositions from their equipment as a by product of their recordings or just unsolicited noise. This is the first of the ELpH releases credited as COIL vs ELpH (a full-length ELpH vs COIL would come out the next year) and continues the wild world of experimentation that John Balance, Peter Christopherson, Drew McDowall and Danny Hyde were conjuring up with their bizarre alien sonicscapes that take the listener into totally new musical dimensions. This one has also been referred to as the "Protection EP."

This short 21 minute and 34 second EP consists of only one COIL track and three by ELpH. The COIL track is basically a hyper psytrance type of house music with all the appropriate counterpoint noise effects to make it weird but when the dance beat kicks in it's time to hit the dance floor! The three ELpH tracks are the complete opposite and for the most part are meandering ethereal ambient tracks. "Glimpse" sounds like some sort of hidden chant buried underneath a sea of ambient effects and electronic haze with occasional burst of percussive bubbles emerging from the underworld. "Crawling Spirit" is a more sinister dark ambient stroll into a tube of horror with a terrifying tension creeping along like a possessed caterpillar from below hell. The ethereal swirling of synth noises only adds to the horrific mood. "pHILM #1" consumes nearly half the EP and lightens up the mood with a more ambient display of synth noises ushering in the chants that were heard in "Glimpse." Actually this is the same track only augmented and extended and given the proper creepiness injections.

BORN AGAIN PAGANS is a testament to the demented imagination of COIL being weird even by their own standards (and that's saying something). Ultimately this is an interesting piece of experimental electronica but not the best these guys dished out. I much prefer the following ELpH vs COIL "Worship The Glitch" to this one, but even so, this is one wild electronic ambient ride that fits in with the weirdest of the weird. Unfortunately this and many other COIL releases are out of print and can be a little tricky to find. While this is available on YouTube for your listening pleasure, i must say that this and most COIL albums are so intricately designed that for maximum enjoyment one should employ the use of the highest quality stereo system or headphones to be found for the ambient effects are worth the price of admission alone.

 Discreet Music by ENO, BRIAN album cover Studio Album, 1975
3.45 | 97 ratings

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Discreet Music
Brian Eno Progressive Electronic

Review by aglasshouse

5 stars Brian Eno is often thought of the thinking man of progressive music. Although many thinking men exist in the genre, Eno was the one who thought the hardest, particularly in both the abstract and the minimalist. The way he perceived music as a whole both in how it's psychologically defined and how it exists in space were paramount in bringing a new mindset to the pop music world.

However when you take all this and compress it down into one album, it garners a different look. Specifically, one tagged as "ambient". In recent years this term has a stigma attached to it, and generally will cause a quick dismissal from those who you bring it up to. Sure, countless very simple projects have also called themselves ambient, but as Eno has stated, what ambient really means is practically impossible to pin down these days. Mr. Eno may be a bit forgetful however, as he seems to have forgotten that he practically created modern ambient electronic music back in 1975. Discreet Music is one of the most unadulterated expressions of noise and vibration, a sound that seems disembodied from human thought and is something that just purely....exists. Of course Kraftwerk often experimented with ambient/avant-garde electronics before Eno even began working with Robert Fripp in 1973, but what Kraftwerk either didn't care to or failed to realize at the time that ambient music is what Eno created; sprawling, hour-or-more- long, meandering behemoths of various rhythmic tones and electronic fluidity that do well to not branch off uncomfortably by being overly dynamic. This not only creates a pleasant sound, but also removes the chance of having any slip ups if you go off the avant-garde deep end, which even Eno has done in the past. Kraftwerk understood the meaning of this quite well even before Eno did, with 1974's Autobahn epic replete with vehicle imagery, but it took another year for another musician to perfect it, and that just so happened to be Eno.

The rest of the album aside from the title track epic is three different variations of Canon in D Major by Johann Pachelbel. While not being the centrepiece, Eno's interpretations of the classic 'Pachabel's Canon' which, while being in basic terms the same Canon you've heard for years, are indeed testaments to Eno's mixing of industrial music with the classical. 'Fullness of the Wind' I believe is the best of the three.

What I think Discreet Music represents is a wholesome and unbroken part of Eno's career, which both represents a then stepping stone but also a timeless element in one of the most prolific electronic musician's music. That, and it's a signal for other artists even today to expound on it to find the deepest crevasses the human spirit can travel to. Either that, or I'm just blowing it out of proportion. Part of me, though, thinks I'm right.

 Asia (Live in Asia) by KITARO album cover Live, 1984
4.00 | 2 ratings

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Asia (Live in Asia)
Kitaro Progressive Electronic

Review by tdfloyd

4 stars Asia is my introduction album to Kitaro. I had originally seen the video for Cloud on VH1's show named New Visions. The show had world, solo piano, and New Age music. In the wide band of New Age music was a musician named Kitaro. Never heard of him before but that is why I liked the show. Anyway, Cloud was not like 95% of the music being played. It was soothing to start but gradually built into a powerful instrumental song. Thundering drums and a guitarist who had spent some time listening to David Gilmour plus Kitaros soaring keyboards. Not very New Age like to me, but it's just a label.

I have many of his albums and the live ones usually have more muscle than the original versions of the songs. Asia is no exception. I still return to this album often as Kitaro strikes a balance between instrumental rock, symphonic prog and contemplative New Age.

A strong 4 stars.

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12 FOLLOWERS United States
6LA8 Pakistan
ACI Germany
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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
ALLUSTE Italy
ALPHA WAVE MOVEMENT United States
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AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
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ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ARZATHON Sweden
ASCOIL SUN Finland
ASHRA Germany
THE ASTROBOY Portugal
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
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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
BLACK UNICORN United States
TIM BLAKE France
BLUE MOTION Switzerland
BLUE SAUSAGE INFANT United States
WOLFGANG BOCK Germany
DIDIER BOCQUET France
IAN BODDY United Kingdom
GASTON BORREANI Italy
ADAM CERTAMEN BOWNIK Poland
OLIVIER BRIAND France
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
CALDERA United States
TOM CAMERON United States
DALLAS CAMPBELL United States
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK United Kingdom
JOHN CHRISTIAN United Kingdom
CHRISTINE 23 ONNA Japan
THE CIRCULAR RUINS United Kingdom
CLOUDLAND BALLROOM Ireland
CLOUDLAND CANYON United States
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COIL United Kingdom
COMA VIRUS Germany
PASCAL COMELADE France
COMPUTERCHEMIST United Kingdom
CONTRASTATE United Kingdom
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COSMIC HOFFMANN Germany
CRAWL UNIT United States
CREMATOR United Kingdom
CROP CIRCLES France
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FRANCESCO CURRÀ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
DEUTSCHE WERTARBEIT Germany
NICOLAS DICK France
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
DOLULUS Switzerland
HEINRICH DRESSEL Italy
E-MUSIKGRUPPE LUX OHR Finland
EARTHSTAR Multi-National
EDEN France
ELEKTRIKTUS Italy
ELICOIDE Italy
EMERALDS United States
J.D EMMANUEL United States
ENDOPLASMIC FLOW Multi-National
BRIAN ENO United Kingdom
ENVENOMIST United States
EXPO 70 United States
F.G EXPERIMENTAL LABORATORY Switzerland
FRANCO FALSINI Italy
FANGER & SCHÖNWÄLDER Germany
FARBFELDE United States
FASER Germany
FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
FHIEVEL Italy
FIVE THOUSAND SPIRITS Italy
FLAMEN DIALIS France
FORMA United States
FOVEA HEX Ireland
FREE SYSTEM PROJEKT Netherlands
FRIPP & ENO United Kingdom
EDGAR FROESE Germany
PETER FROHMADER Germany
KEITH FULLERTON WHITMAN United States
FUTURO ANTICO Multi-National
GALACTIC EXPLORERS Germany
MICHAEL GARRISON United States
MORT GARSON Canada
GRAHAM GETTY United Kingdom
SACHA GIBSON United Kingdom
BRUCE GILBERT United Kingdom
GIRÓN Spain
MATHIAS GRASSOW Germany
GRAUGLANZ Germany
GREGOR CÜRTEN & ANSELM ROGMANS Germany
RANDY GREIF United States
RAGNAR GRIPPE Sweden
HARALD GROSSKOPF Germany
SVEN GRÜNBERG Estonia
GEORGES GRÜNBLATT France
JEAN GUÉRIN France
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PETER MICHAEL HAMEL Germany
HARMONIA Germany
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HEADSHOCK United Kingdom
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HEMMELIG TEMPO Norway
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JACK HERTZ United States
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HORSE PALACE Canada
HARUOMI HOSONO Japan
PETER HOWELL & THE RADIOPHONIC WORKSHOP United Kingdom
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GIUSEPPE IELASI Italy
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IVERSEN Norway
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JIHEL France
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EDDIE JOBSON United Kingdom
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MAGINA Portugal
PEPE MAINA Italy
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THE ALMAN MULO BAND United Kingdom
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PETE NAMLOOK Germany
NAUTILUS Germany
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NEMESIS Finland
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NIMH Italy
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NODE United Kingdom
NUMINA United States
OMIT (CLINTON WILLIAMS) New Zealand
OÖPHOI Italy
OSCILLOTRON Sweden
OSE France
P'COCK Germany
PALADIN United Kingdom
STEPHEN PARSICK Germany
PEAK Australia
PETER M. Italy
PHROZENLIGHT Netherlands
RICHARD PINHAS France
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POLE France
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THE PRESENT MOMENT United States
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PRZEMYSLAW RUDZ Poland
PULSE EMITTER United States
PYTHAGORON United States
QUARKS Chile
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NIK RAICEVIC United States
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RAISON D'ETRE Sweden
RAPOON United Kingdom
REALTIME Germany
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REDSHIFT United Kingdom
JONAS REINHARDT United States
ALEJANDRO VILLALÓN RENAUD Mexico
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ROGUE SPORE Ireland
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SAB Japan
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SUBINTERIOR Italy
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TANGRAM Hungary
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JOEL VANDROOGENBROECK Switzerland
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VOLT Netherlands
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WHITE NOISE United Kingdom
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TERJE WINTHER Norway
WINTHERSTORMER Norway
WO0 Serbia
BERNHARD WÖSTHEINRICH Germany
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X-TG United Kingdom
XIU Italy
BERNARD XOLOTL France
YELLOW MAGIC ORCHESTRA Japan
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YOU Germany
ZA SIÓDMA GÓRA Poland
EDWARD M. ZAJDA United States
ZALYS France
ZANOV France
ZED France
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ZYGOAT United States

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