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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 | 584 ratings
RUBYCON
Tangerine Dream
4.26 | 189 ratings
MIRAGE
Schulze, Klaus
4.17 | 527 ratings
PHAEDRA
Tangerine Dream
4.15 | 178 ratings
TIMEWIND
Schulze, Klaus
4.20 | 99 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.15 | 180 ratings
X
Schulze, Klaus
4.44 | 22 ratings
GREEN RAY
Zanov
4.08 | 128 ratings
NEW AGE OF EARTH
Ashra
4.08 | 116 ratings
AMBIENT 4 : ON LAND
Eno, Brian
4.10 | 80 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.41 | 18 ratings
CATCH WAVE
Kosugi, Takehisa
4.16 | 40 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.06 | 74 ratings
BODY LOVE VOL. 2
Schulze, Klaus
3.97 | 308 ratings
FORCE MAJEURE
Tangerine Dream
4.23 | 26 ratings
LUCIFER RISING
Beausoleil, Bobby
4.63 | 10 ratings
IN COURSE OF TIME
Zanov
4.05 | 50 ratings
MUSIK VON
Harmonia
3.94 | 208 ratings
ANOTHER GREEN WORLD
Eno, Brian
3.93 | 213 ratings
TRANS-EUROPE EXPRESS (TRANS-EUROPA EXPRESS)
Kraftwerk
3.91 | 364 ratings
STRATOSFEAR
Tangerine Dream
3.92 | 248 ratings
THE MAN-MACHINE (DIE MENSCH-MASCHINE)
Kraftwerk
4.10 | 24 ratings
LOGOS
Wakhevitch, Igor
4.09 | 25 ratings
ICELAND
Pinhas, Richard
4.27 | 14 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.15 | 19 ratings
BALLET STATIQUE
Schnitzler, Conrad
3.92 | 66 ratings
STAND BY
Heldon
3.89 | 98 ratings
MY LIFE IN THE BUSH OF GHOSTS (WITH DAVID BYRNE)
Eno, Brian
4.14 | 18 ratings
SONANZE
Cacciapaglia, Roberto
4.08 | 22 ratings
20 JAZZ FUNK GREATS
Throbbing Gristle
3.95 | 40 ratings
THE PEARL (WITH BRIAN ENO & DANIEL LANOIS)
Budd, Harold
3.84 | 195 ratings
TANGRAM
Tangerine Dream
3.89 | 62 ratings
SMALL CRAFT ON A MILK SEA
Eno, Brian
4.22 | 13 ratings
AN ELECTRIC STORM
White Noise
4.46 | 8 ratings
ABANDONED CITIES
Budd, Harold
3.87 | 48 ratings
AMBIENT 2 - THE PLATEAUX OF MIRROR (WITH BRIAN ENO)
Budd, Harold
3.85 | 53 ratings
KONTINUUM
Schulze, Klaus
3.79 | 143 ratings
COMPUTER WORLD (COMPUTERWELT)
Kraftwerk
4.75 | 5 ratings
LEXIKON I
Benkő, László
4.98 | 4 ratings
THE HIDDEN SPRING
Alio Die
3.95 | 23 ratings
DOCTEUR FAUST
Wakhevitch, Igor
4.17 | 11 ratings
RAVEDEATH, 1972
Hecker, Tim
4.26 | 9 ratings
HORSE ROTORVATOR
Coil
4.85 | 4 ratings
LONG LOST RELATIVES
Syrinx
3.81 | 42 ratings
THE EQUATORIAL STARS
Fripp And Eno
3.92 | 21 ratings
TECHNODELIC
Yellow Magic Orchestra
4.45 | 6 ratings
VOYAGE CÉRÉBRAL
Bocquet, Didier
3.79 | 54 ratings
STUNTMAN
Froese, Edgar
3.90 | 22 ratings
CHRONOLYSE
Pinhas, Richard
3.74 | 95 ratings
CYBORG
Schulze, Klaus
4.78 | 4 ratings
DAZZLE REFLECTION
Aube
4.31 | 7 ratings
LOVE'S SECRET DOMAIN
Coil
3.76 | 66 ratings
PICTURE MUSIC
Schulze, Klaus
3.98 | 15 ratings
UBERFALLIG
Schickert, Günter
3.73 | 117 ratings
UNDERWATER SUNLIGHT
Tangerine Dream
3.85 | 26 ratings
SURFACE TO AIR
Zombi
3.72 | 119 ratings
MOONDAWN
Schulze, Klaus
3.74 | 78 ratings
BLACKOUTS
Ashra
4.74 | 4 ratings
THE VOID
Lynne, Bjorn
4.39 | 6 ratings
ZUG
Schnitzler, Conrad
3.79 | 37 ratings
PURGATORIO (DANTE ALIGHIERI - LA DIVINA COMMEDIA)
Tangerine Dream
3.77 | 49 ratings
ANOTHER DAY ON EARTH
Eno, Brian
4.27 | 7 ratings
EN FORM FOR BLĹ
Aethenor
3.78 | 37 ratings
HELDON IV: AGNETA NILSSON
Heldon
3.70 | 127 ratings
BEFORE AND AFTER SCIENCE
Eno, Brian
3.86 | 20 ratings
TIMESQUARE - DREAM MIXES II
Tangerine Dream
3.95 | 13 ratings
MIDNIGHT IN SPACE
Hydrus
3.81 | 24 ratings
YELLOW MAGIC ORCHESTRA
Yellow Magic Orchestra
3.73 | 48 ratings
AFTER THE HEAT (WITH DIETER MOEBIUS & HANS-JOACHIM ROEDELIUS)
Eno, Brian
3.70 | 73 ratings
APOLLO : ATMOSPHERES & SOUNDTRACKS
Eno, Brian
3.82 | 23 ratings
HATHOR
Wakhevitch, Igor
4.13 | 8 ratings
ADONIA
Ose
4.91 | 3 ratings
DEN GĹTFULLA MÄNNISKAN
Malmberg, Eric
4.91 | 3 ratings
SIL MUIR
Sil Muir
3.66 | 242 ratings
ZEIT 'LARGO IN 4 MOVEMENTS'
Tangerine Dream
3.70 | 65 ratings
AQUA
Froese, Edgar
3.78 | 26 ratings
EPITAPH FOR VENUS
Galactic Explorers
4.00 | 10 ratings
TRIP IN THE CENTER HEAD
Space Art
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
4.06 | 8 ratings
EBONDŔZZAR
Peak
3.73 | 30 ratings
THE KEEP (OST)
Tangerine Dream
4.77 | 3 ratings
FORGOTTEN REALM
Hall Of Mirrors
3.88 | 13 ratings
L'ETHIQUE
Pinhas, Richard
3.64 | 131 ratings
HERE COME THE WARM JETS
Eno, Brian
4.45 | 4 ratings
ZOETROPE
Lustmord
3.82 | 16 ratings
COSMIC GROUND
Cosmic Ground
3.98 | 9 ratings
ADYTHON
Milano, Claudio
4.08 | 7 ratings
BRUITS ET TEMPS ANALOGUES
Vian, Patrick
3.94 | 10 ratings
SYNTHESIST
Grosskopf, Harald
4.08 | 7 ratings
PÔLE
Besombes, Philippe
3.63 | 118 ratings
AMBIENT 1 - MUSIC FOR AIRPORTS
Eno, Brian
4.15 | 6 ratings
WARMTH OF EARTH
Artemiev, Edward
3.75 | 22 ratings
AUTOMAT
Automat
3.76 | 21 ratings
DRUMS BETWEEN THE BELLS (WITH RICK HOLLAND)
Eno, Brian
3.93 | 10 ratings
ELECTRONIC MIND WAVES
Elektriktus
3.71 | 30 ratings
DEPARTURE FROM THE NORTHERN WASTELAND
Hoenig, Michael
4.67 | 3 ratings
MOSAIQUE
Schroeder, Robert
4.67 | 3 ratings
THE SIXTH EAR
Raicevic, Nik
3.76 | 18 ratings
COLD NOSE
Falsini, Franco

Progressive Electronic overlooked and obscure gems albums new


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

HATHOR
Wakhevitch, Igor
HARMONIC ASCENDANT
Schroeder, Robert
SYNTHESIST
Grosskopf, Harald
HELDON IV: AGNETA NILSSON
Heldon

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Latest Progressive Electronic Music Reviews


 Music From The Galaxies by TERENZI, DR. FIORELLA album cover Studio Album, 1991
3.00 | 2 ratings

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Music From The Galaxies
Dr. Fiorella Terenzi Progressive Electronic

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

3 stars This is rather odd album, but very intriguing.

What Dr. Fiorella Terenzi has done is develop a method of translating radiation detected from objects in space, in this case from a distant galaxy, in this case one known only as UGC 6697, into audible sounds. The radiation waves cycle between 1 billion and 1 trillion Hertz, so she has "mathematically reduced the high frequency" into something humans can hear (between 20 and 20,000 Hertz).

The result are sounds that often sound like some of the early analog synthesizer pioneers like Keith Emerson and Klaus Schultz. Dr. Terenzi takes these sounds, and pieces them together, making the pieces less like music, and more like a sound collage of a trip through intergalactic space (if audio tones were not actually impossible is space).

Only the last track, Cosmic Time, qualifies as traditional music. It is a new age style composition written and performed by Gordon Bahary, with Dr. Terenzi blending her sounds into the music. Compositionally and tonally, the music sounds very much like Andreas Vollenweider's popular tracks, and the galactic sounds lift the music above the banality of most new age.

When this album was released I was working ay a CD store located at M.I.T., and as such we probably sold more copies of this album than most, but the purely nebulous (see what I did there?) nature of the majority of the tracks makes this appropriate for only occasional listening.

I'd rate this between 2 and three stars, and probably closer to 3.

 Kuolema by SINIAALTO album cover Studio Album, 2007
3.00 | 1 ratings

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Kuolema
Siniaalto Progressive Electronic

Review by Matti
Collaborator Neo-Prog Team

— First review of this album —
3 stars SINIAALTO (= Blue Wave) is a Finnish electronic trio who uses vintage equipment and draws influence from the Berlin school, ie. Tangerine Dream, Klaus Schulze, etc. Their homepage promises a new album to be released soon - finally, as this one from 2007 is the latest release. The titles here hint at a conceptual approach; Kuolema means Death, and the five tracks could be translated as 1) Journey to the Zone, 2) On the Brink of Madness, 3) Rest Pulse, 4) Panic, 5) Buried in the Water. Sounds very sinister, but the music itself is not necessarily THAT threatening, not all the time at least. However the term Dark Ambient fits equally well.

The journey starts with a pulsative soundscape in a Tangerine Dream reminding manner, though definitely not to the point of being a complete soundalike. Anyway TD is the best reference that comes to my mind, perhaps albums such as Phaedra or Sorcerer. The opener's melancholic final section consists mostly of distorted and shaky electric-piano notes. The next track has a low repetitive pattern on the bottom, ghostly wails of nearly human-sounding synths that are to be replaced with those Rhodes notes and later more threateningly sharp "knife stabs", so to speak (one association is a certain brief section of 'The Fall of the House of Usher' in The Alan Parsons Project debut). The mood is dark, and the 12˝ minutes do get a bit tiring in such airless and deep waters.

Also the third track lasts nearly 13 minutes (the two last tracks get a little shorter, but on the other hand, compared to Klaus Schulze's average lengths these all are pretty short!!). The "pulse" may be of the rest state, but some sense of thread is built along the way. This is an interestingly ambivalent part as it offers some kind of slightly calmer and lighter interlude but still not without the darkness. The "Panic" section starts actually in a delicate manner with a soft Rhodes doodling comparable to the intro of PINK FLOYD's 'Sheep'. The multilayered synth carpet for the rest of the track has the inevitable reminescence of Tangerine Dream. I feel uncomfortable to constantly make that comparison. The sounds are not as fascinating and many-sided as TD at their best. The friendlier way to put it would be that Siniaalto have a more or less identifiable own sound.

On the long run the sound pallette is kept rather similar more than is good to the whole, as well as the mood. Nevertheless this is surely worth checking for the dedicated listeners of the genre, though I don't think it would become a favourite album of anyone.

 Horse Rotorvator  by COIL album cover Studio Album, 1986
4.26 | 9 ratings

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Horse Rotorvator
Coil Progressive Electronic

Review by siLLy puPPy

4 stars HORSE ROTORVATOR is the second official release by the avant-garde electronic band COIL, who were clearly on another planet in 1986 when they were making this kind of stuff. If you dropped down in that time period you wouldn't hear anything even remotely similar to this being played in public at least. This was and still is highly experimental music that evokes nightmarish darkened depths where only the insane can thrive. I guess I am one of those insane individuals because I have always loved the bizarre soundscapes that COIL painted. This second release by the band is actually a transition album incorporating the sinister vocal dark wave type tracks from the debut album (almost reminding me of a more hellish version of Soft Cell at times) with the depressive instrumental ambient music that would become their staple for pretty much the rest of their career. The music is surprisingly varied and they clearly had a way of identifying more ways of constructing creepy music than any other act in history.

As I listen to this I am simply in awe at how simple the music seems when it begins and then how amazingly complex it can get as one sound creeps in after another and before you know it is a tapestry of sound for the manic, depraved and absolute crazed. I guess the whole point is to induce a psychotic frenzy, a neo-freakout or whatever you want to call it. The song titles alone suggest a strong desire to eschew even a meager bit of conformity. Tracks like "The Anal Staircase," "Penetralia," "Circles Of Mania" and "The First Five Minutes After Death" only confirm that this gifted group that consists of John Balance and Peter Christopherson as the creative core are one of the most twisted and subversive musical acts that has ever put out recordings. Be warned for if you listen to this you may feel a sense of dread, despair and impending doom unlike any other that even other depressive forms of music can achieve. Oh yes. I love it so very much.

 Thursday Evening by SPARKLE IN GREY album cover Studio Album, 2013
3.95 | 4 ratings

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Thursday Evening
Sparkle In Grey Progressive Electronic

Review by admireArt

4 stars Progressive Post-Math/Rock, Crossover, Eclectic , RiO/AV, Rock Progressivo Italiano with touches of Prog/Electronics with a subtle political/ecological posture !

Yes! All that happens here, not during the whole album, but in each song! Every second counts, every possible development of a musical structure is explored, without shame and opposite to that with a poignant "punk-like" and "focused experimentation" attitude in their performance and songwriting respectively. These all adds up to the frantic intensity, which wraps you up to high peaks, just to let you "sweet-downfall" from there, to be caught again and again until you are already hooked on and delighted.

Italian progressive band SPARKLE in GREY's, 2013, "Thurdsday Evening" , again, has one of the most deceiving, misleading and un-market wise art/covers one could choose to use with this kind of music. Instead of pointing out more or less as to what really is going on inside this marvel, it LOOKS like an 80's art/cover for a "disco" collection. Deceiving, but unimportant, once you are caught inside.

Again as in their previous effort, the strings (violin) have a prominent place in settling up the more touching and heartfelt moments and also again the "electronics" are just an average part of this effort (not counting that it was "electronically recorded" as any other record, but those were nott mashed up in this category, as the untaggable Sparkle in Grey music is).

Bold, energetic, dynamic, creative, diverse, original and above all masterfully unpretentious!

Sparkle in Grey, sparkles also in high musical artistry.

****4.5 "evolving their sound to new heights" PA stars!

PD: Remember not exactly prog/electronic. In fact everything else and then that!

 11/11/11 by ENDOPLASMIC FLOW album cover Studio Album, 2012
3.95 | 2 ratings

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11/11/11
Endoplasmic Flow Progressive Electronic

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Multinational ensemble ENDOPLASMIC FLOW is a creative entity that appears not to be that interested in sharing information. There's not too much information about them on the net; they don't even have a dedicated homepage, and the promotional material I received left out a few details one would normally expect, like a biography, track names on the album and suchlike. From what I understand "11/11/11" is their sixth official release, and is a compilation of selected pieces from a massive 11 piece CD-R set of music they released on November 11th 2011.

If you enjoy electronic music that shies away from the most well trodden paths and has a taste for slow, careful constructions of electronic ambient music Endoplasmic Flow may just have a winner at hand with "11/11/11". The style explored has been described as avant-garde electronic music and industrial ambient both by others, and it is within that dual context I'll place this production myself. A well made, tranquil journey into a musical landscape void of emotions, where machines go about their duties in a slow deliberate clockwork manner that, incidentally, is both musical and enjoyable for those with a taste for the dark side of the creative arts.

 Who Put John Cage On The Guest List? by HEMMELIG TEMPO album cover Studio Album, 2009
3.00 | 1 ratings

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Who Put John Cage On The Guest List?
Hemmelig Tempo Progressive Electronic

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars Norwegian project HEMMELIG TEMPO is a unit that apparently has been active for quite some time, best known for live, improvised performances, frequently performed within a multimedia context. "Who Put John Cage on the Guest List?" is their debut album, and was released through Musea Records' sub-label Gazul in 2011.

Highly experimental and uncompromising electronic soundscapes are what Hemmelig Tempo provides on their debut album "Who Put John Cage on the Guest List". A production that I suspect will have a narrowly defined audience; those fond of electronic noise productions perhaps the key part of their target crowd. A very well made disc for the especially interested, those unaccustomed to music of this kind better approach with some caution however.

 Blue Motion by BLUE MOTION album cover Studio Album, 1980
3.33 | 9 ratings

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Blue Motion
Blue Motion Progressive Electronic

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Don't look too much into the genre this band is classified in: it's a cross of symphonic and avant- garde, but no electronics at all.

Though this Circus' successor (since it features both Grieder and Hauser), don't expect that the two bands sound similar. Circus' unusual line-up (no keyboards or electric guitar) gave them a unique and inimitable sound, but Blue Motion is a double KB and drums instrumental affair. In the present project, wind-player Stefan Grieder drops the horns and concentrates on keys, giving the band a distinctive sound, compared to other KB-led trios. Amongst the KB used, we'll hear a Hammond, a Clavinet, a Rhodes, an ARP and a grand piano. A priori, you'd think that this kind of KB-led trio thingie was a thing of the past by this album's release, but Blue Motion is definitely to be ranked in the UFO category along with Flamen Dialis and a couple other Continental Europe projects of the times.

Basically, this album is centred on two lengthy epics (opening each side), and a flurry of short pieces (9 of them are inferior to 3 minutes), and obviously those two 12-mins (minimum) pieces are the foundations. The 14-mins Stromboli opens on a wild Emersonian Hammond and soon replaced by a piano and Clavinet duo, the whole thing powered by Hauser's always amazing drumming. With plenty of twists and twirls, you'll get dizzy trying to follow Grieder and Amman's constant explorations. An eruption of the volcano certainly is less exciting than this wild extravaganza. The rest of the A-side could be seen as a sometimes-dissonant and disjointed suite with the following Fingers is a calm piano exploration, while Moontales is dominated by the Hammond, but underlined by the Clavinet. Hauser's amazing xylophone (Motions) and Grieder's dissonant piano (Fingers 2) are much reminiscent of Circus' Dawn piece, and both pieces are followed by the title track, which segues into the splendid piano-only 31/8.

The 11-mins Stonehenge opens the flipside, which opens on a calm piano, but the accompanying Hammond and Clavinet are slowly elevating the pace, and Hauser's always entertaining drums and percussions are certainly driving the keyboards overboard. Therest of the album is taken up by variations of Motions and Moontales, though Grieder finds a Parking spot for his piano, before a grandiose end in Slow Motion

Blue Motion's sole album received a Laser's Edge release some 20 years ago, but you can still find another version on the mini-lp specialist Japanese label Belle Antique, though it's probably one of the more botched up reissues of theirs, at least of the cardboard side of things. And the so-called SHM disc was taken directly from LE's remaster, so one can wonder what the added value is for such an expensive rekidd. Despite that, it might be the only solution to lay your hand on this baby; and believe me: it's certainly worth the investigations and investment. While it may not be of the calibre of Circus' first two albums, but it is a worthy offshoot.

 Syn-Code by SOFTWARE album cover Studio Album, 1987
3.23 | 4 ratings

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Syn-Code
Software Progressive Electronic

Review by admireArt

3 stars So close to heaven...

German duo Peter Mergener and Michael Weisser's 1987, live "Syn-Code-Symphony for Computer and DNA Molecules" album, certainly projects one of the most amazing and disappointing results at the same time. The album consists of three songs, the first two run 20 minutes (give n' take) each, and the third 9 and a half .

The first song "Syn-Code-Rain.." is a marvelous and original electronic trip, feeding on all kind of influences but never sounding like none. They feed on the "Pink ", as they visit the blues, as they do with close to this sub-genre contemporaries and other cats. But I insist, without sounding like rip-offs of those guys. How? Well, they always stick to their guns and this is by not moving their ensemble beyond analog-synths and their respective sounds and "noises", without trying to imitate "bass" or "electrics". This song is an easy 4.5 star, according to PA's parameters.

Next comes the slow downfall. Track 2 "Syn-Code-Ocean...", as if really trying to come up with something completely opposed to the previous track, they choose the maybe novel in those days, 80's horrendous drum-box dance methods. No, not all the track is like that. It starts in a very promising manner but eventually becomes an 80's MTV anyone's song. It then kind of recomposes itself by oblitarating the "drums" and turning into something more "opera-like". This is the 3 star minus song of the album.

The third part, the coda of the concert, "Syn-Code-Sunset...." starts from scratch a very evocative and spacy (and kind of short, in comparisson to track 2) trip that resembles more the music of Michael Cretu's ENIGMA than the "official" PA's electronic proggers. A relief considering the previous "momentary lapse of reason". This one is a 4 star song.

If I could feel comfortable rating this album 4 stars I would. But that "80's MTV" detour sets it short of the "flawless" & "essential" PA's tagging credentials needed.

Anyway, highly recommendable to aquire, but you have been forwarned!

3.9 PA stars!

 Electronic-Universe Part I by SOFTWARE album cover Studio Album, 1985
3.64 | 5 ratings

BUY
Electronic-Universe Part I
Software Progressive Electronic

Review by admireArt

3 stars Playful and meditative electronic music.

From Germany (again), a prog electronic duo named "Software", which besides its obvious name reference, the "soft" also serves to represent their musical tendency, in this their "ELECTRONIC UNIVERSE-Part 1", 1985, album.

More "baroque classical" inspired songwriting, than let's say experimental, moving closer to "friendly" , softspoken and intriguing musical figures, but also delivering long passages of very "electronic abstract ambients" , which contrast the mid-tempo and slow-tempo structures.

The most obvious comparisson will be with Klaus Schulze's non-pulse music, but the reference will be kept at a proper distance always, by their playful but intelligent compositions and approach.

An electronic trip that is surely enjoyable, although kind of short of becoming "essential".

3.5 PA stars.

 Shadows procession  by AEON album cover Studio Album, 2011
2.00 | 1 ratings

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Shadows procession
Aeon Progressive Electronic

Review by progaeopteryx
Prog Reviewer

— First review of this album —
2 stars Shadows Procession is the second album by the electronic progressive duo Aeon created by sound designers Stephane Rapetti and Alessandro Gadoni. This is also the second part of the "Triptyque Du Voyage" consisting of this album, Labyrinth, and Spark.

For me, this album is an improvement over the duo's debut album released back in 1999. But still, the failures that plagued that album are almost as prevalent on this album. These are basically electroacoustic sound collages. They tend to be generally rhythmic in nature, though often lack melodies (or rather one appears in the middle of the song and then promptly disappears). Each song seems to be made up of a base collage of electronics, textures, and guitar effects. Atop this base can be any sort of combination of electronics effects, guitar effects, or sound effects. Often the result is eerie sounding (an aspect I often like), but the endless repetition and the sameness from song to song just drives me to tears. Occasionally there is a glimmer of inspiration that unfolds, but then it quickly gets absorbed back into a cacophonic mess of noise.

Like their debut album, this one is also not my "cup of tea."

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Progressive Electronic bands/artists list

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KOROIEV Spain
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
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AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
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ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ASCOIL SUN Finland
ASHRA Germany
ATOMINE ELEKTRINE Sweden
AUBE Japan
AUTOMAT Italy
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MARVIN AYRES United Kingdom
HARVEY BAINBRIDGE United Kingdom
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BOBBY BEAUSOLEIL United States
CARLOS BELTRÁN Mexico
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PHILIPPE BESOMBES France
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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
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DIONNE-BREGENT Canada
HEINRICH DRESSEL Italy
EARTHSTAR Multi-National
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BRIAN ENO United Kingdom
ENVENOMIST United States
EXPO 70 United States
F.G EXPERIMENTAL LABORATORY Switzerland
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FFWD United Kingdom
FHIEVEL Italy
FIVE THOUSAND SPIRITS Italy
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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
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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
HORSE PALACE Canada
HARUOMI HOSONO Japan
EPPIE E. HULSHOF Netherlands
HYDRAVION France
HYDRUS Italy
GIUSEPPE IELASI Italy
IVERSEN Norway
JAZZCOMPUTER.ORG France
JESDAT Spain
EDDIE JOBSON United Kingdom
JONATHAN Germany
ARIEL KALMA Australia
JÜRGEN KARG Germany
KASHMIR Switzerland
KHA - YM France
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MIHA KRALJ Yugoslavia
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RICHARD LAINHART United States
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IGOR LEN Russia
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IAN MACFARLANE Australia
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ERIC MALMBERG Sweden
MARIBOR Italy
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MEERKAT Italy
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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
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NEVER KNOWN Italy
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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
STEPHEN PARSICK Germany
PEAK Australia
PETER M. Italy
PHROZENLIGHT Netherlands
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NIC POTTER United Kingdom
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PROPELLER ISLAND Germany
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PULSE EMITTER United States
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ROGUE SPORE Ireland
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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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