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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 | 831 ratings
RUBYCON
Tangerine Dream
4.26 | 251 ratings
MIRAGE
Schulze, Klaus
4.54 | 30 ratings
CATCH WAVE
Kosugi, Takehisa
4.21 | 243 ratings
TIMEWIND
Schulze, Klaus
4.14 | 710 ratings
PHAEDRA
Tangerine Dream
4.19 | 130 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.37 | 29 ratings
IN COURSE OF TIME
Zanov
4.11 | 221 ratings
X
Schulze, Klaus
4.25 | 46 ratings
GREEN RAY
Zanov
4.23 | 47 ratings
AN ELECTRIC STORM
White Noise
4.53 | 16 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.55 | 14 ratings
LONG LOST RELATIVES
Syrinx
4.23 | 34 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.19 | 40 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.14 | 49 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.03 | 163 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.01 | 170 ratings
NEW AGE OF EARTH
Ashra
4.85 | 8 ratings
DECONSECRATED AND PURE
Alio Die
3.98 | 421 ratings
FORCE MAJEURE
Tangerine Dream
3.98 | 291 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.93 | 7 ratings
THE HIDDEN SPRING
Alio Die
4.27 | 22 ratings
HORSE ROTORVATOR
Coil
4.14 | 35 ratings
20 JAZZ FUNK GREATS
Throbbing Gristle
4.07 | 57 ratings
FILAMENTS
Rich, Robert
4.78 | 8 ratings
HONEYSUCKLE
Alio Die
4.24 | 23 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.27 | 20 ratings
ABANDONED CITIES
Budd, Harold
3.95 | 342 ratings
THE MAN-MACHINE [AKA: DIE MENSCH-MASCHINE]
Kraftwerk
3.93 | 493 ratings
STRATOSFEAR
Tangerine Dream
3.97 | 131 ratings
BRIAN ENO & DAVID BYRNE: MY LIFE IN THE BUSH OF GHOSTS
Eno, Brian
4.50 | 11 ratings
BLACKER
Radio Massacre International
4.55 | 10 ratings
TRANCE SPIRITS
Roach, Steve
4.70 | 8 ratings
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
4.33 | 15 ratings
LOVE'S SECRET DOMAIN
Coil
3.97 | 107 ratings
BODY LOVE (OST)
Schulze, Klaus
4.13 | 26 ratings
SONANZE
Cacciapaglia, Roberto
4.43 | 11 ratings
THE VOID
Lynne, Bjorn
4.12 | 26 ratings
RAVEDEATH, 1972
Hecker, Tim
3.95 | 102 ratings
BODY LOVE - VOL. 2
Schulze, Klaus
4.01 | 49 ratings
EARTHEN
Alpha Wave Movement
3.90 | 278 ratings
TANGRAM
Tangerine Dream
3.95 | 78 ratings
SMALL CRAFT ON A MILK SEA
Eno, Brian
4.08 | 29 ratings
LOGOS
Wakhevitch, Igor
3.89 | 297 ratings
TRANS-EUROPE EXPRESS [AKA: TRANS-EUROPA EXPRESS]
Kraftwerk
4.59 | 8 ratings
DOCUMENTS 1975
Harmonia
4.59 | 8 ratings
THEY GROW LAYERS OF LIFE WITHIN
Alio Die
4.69 | 7 ratings
LEXIKON I
Benkő, László
4.19 | 17 ratings
NUMINA + ZERO OHMS: BROKEN STARS THROUGH BRILLIANT CLOUDS
Numina
4.19 | 17 ratings
SHADOW OF TIME
Roach, Steve
3.92 | 85 ratings
STAND BY
Heldon
4.01 | 33 ratings
ICELAND
Pinhas, Richard
4.05 | 26 ratings
BALLET STATIQUE
Schnitzler, Conrad
3.93 | 62 ratings
AMBIENT 2 - THE PLATEAUX OF MIRROR (WITH BRIAN ENO)
Budd, Harold
3.91 | 76 ratings
MUSIK VON
Harmonia
4.35 | 10 ratings
VOYAGE CÉRÉBRAL
Bocquet, Didier
3.93 | 54 ratings
THE EQUATORIAL STARS
Fripp & Eno
4.26 | 12 ratings
ZUG
Schnitzler, Conrad
4.47 | 8 ratings
ALIO DIE & SYLVI ALLI: AMIDST THE CIRCLING SPIRES
Alio Die
4.01 | 28 ratings
DOCTEUR FAUST
Wakhevitch, Igor
4.14 | 16 ratings
SEAMLESSLY BLISS
Alio Die
4.33 | 10 ratings
SPIRAL REVELATION
Roach, Steve
4.67 | 6 ratings
SILK ROAD
Kitaro
4.83 | 5 ratings
HARMONIC CURRENTS
Alpha Wave Movement
3.91 | 52 ratings
THE PEARL (WITH BRIAN ENO & DANIEL LANOIS)
Budd, Harold
3.84 | 225 ratings
COMPUTER WORLD [AKA: COMPUTERWELT]
Kraftwerk
4.00 | 26 ratings
D.O.A. THE THIRD AND FINAL REPORT
Throbbing Gristle
4.79 | 5 ratings
SIL MUIR
Sil Muir
3.98 | 27 ratings
PARADISO
Tangerine Dream
4.60 | 6 ratings
ELECTRONEGATIVITY - THE CASSETTE CONCERT SERIES NO.3
Schnitzler, Conrad
5.00 | 4 ratings
URGA
Artemiev, Edward
4.75 | 5 ratings
BACK FROM BEYOND
MacFarlane, Ian
4.97 | 4 ratings
BLUE DREAM
Sequentia Legenda
3.82 | 164 ratings
UNDERWATER SUNLIGHT
Tangerine Dream
3.99 | 23 ratings
UBERFALLIG
Schickert, Günter
4.00 | 22 ratings
ADONIA
Ose
4.02 | 20 ratings
WARMTH OF EARTH
Artemiev, Edward
4.37 | 8 ratings
THE PLACE WHERE THE BLACK STARS HANG
Lustmord
4.71 | 5 ratings
QUANTUM CONSCIOUSNESS
Five Thousand Spirits
4.71 | 5 ratings
CONDUITS AND ESTUARIES
Rapoon
4.29 | 9 ratings
THE DELICATE FOREVER
Roach, Steve
4.13 | 13 ratings
FROZEN NORTH
Radio Massacre International
4.42 | 7 ratings
TRACER
Omit (Clinton Williams)
4.50 | 6 ratings
A DEEPER SILENCE
Roach, Steve
4.64 | 5 ratings
PENUMBRA
Breidablik
3.79 | 182 ratings
BEFORE AND AFTER SCIENCE
Eno, Brian
4.83 | 4 ratings
A TAPESTRY FOR SOURCERERS
Five Thousand Spirits
4.36 | 7 ratings
THE LAST STRANDS OF FORTITUDE
6LA8
4.08 | 13 ratings
ANDROGYN
Schulze, Klaus
3.79 | 105 ratings
APOLLO - ATMOSPHERES & SOUNDTRACKS (OST)
Eno, Brian
3.81 | 67 ratings
ENO, MOEBIUS & ROEDELIUS: AFTER THE HEAT
Eno, Brian
3.83 | 51 ratings
IN BLUE
Schulze, Klaus
4.33 | 7 ratings
STARS FALL DARKLY
Yeti Rain
4.25 | 8 ratings
KLAUS SCHULZE & SOLAR MOON SYSTEM: ULTIMATE DOCKING
Schulze, Klaus
4.75 | 4 ratings
WILD 2
Redshift
3.84 | 39 ratings
SURFACE TO AIR
Zombi
4.02 | 14 ratings
THE WOZARD OF IZ: AN ELECTRONIC ODYSSEY
Garson, Mort
4.10 | 11 ratings
MINOS
Languirand, Pascal
4.06 | 12 ratings
EMISSARIES
Radio Massacre International
3.84 | 36 ratings
EPITAPH FOR VENUS
Galactic Explorers
3.77 | 103 ratings
PICTURE MUSIC
Schulze, Klaus

Progressive Electronic overlooked and obscure gems albums new


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

TIME REPLICATED
Bownik, Adam Certamen
TUSSILAGO FANFARA
Anna Sjalv Tredje
HATHOR
Wakhevitch, Igor
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric

Latest Progressive Electronic Music Reviews


 Cyborg by SCHULZE, KLAUS album cover Studio Album, 1973
3.68 | 134 ratings

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Cyborg
Klaus Schulze Progressive Electronic

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

4 stars The whole reason KLAUS SCHULZE had broken ties with two of the most innovative Krautrock bands, Tangerine Dream and Ash Ra Tempel was very much because of the wasted time in the democratic process of compiling ideas, hashing them out and bringing them to fruition. While there are pros and cons to being in a group lineup or going alone, SCHULZE opted for the latter as his restless free spirit and creative visions weren't finding actualization in the group process and were becoming watered down at best. Despite the compromise games that did come into play with many of the early Krautrock bands, the majority of these groups did not experience much success or recognition at the time when they were recording all those classics. Instead it would take the public many years to catch up to the visionary sounds laid down during those days. Despite drifting even further into the clouds and ever more distant from any possible instant gratification in terms of the world of financial success, SCHULZE was literally driven to create unthinkably long and alienating soundscapes that seemingly materialized in his head.

While most of the German scene was gravitating toward a more rock oriented style of kosmisch psychedelia, SCHULZE was much more ambitious in scope and followed more in the footsteps of minimalist composers such as Terry Riley, Steve Reich and even Stockhausen and Varèse than Pink Floyd which led him to create sounds with an emphasis on sustained drones, repetitive phrasing and the complete meltdown of barriers that usually segregated rhythms from melodies and timbres from tempos. Like most of the early pioneers, SCHULZE was limited by his financial ability to buy the best equipment for his visions and was forced to improvise the best he could with the low budget machinery he had access to and adapt his limitless imagination around a finite display of recording equipment to carry it out. After his departure from the aforementioned bands, SCHULZE immediately recorded his debut "Irrlicht" and experimented with modifying broken amps that would cause feedback, tremolo and sound effects and with ample amounts of ingenuity created one of the strangest albums the world had ever heard.

On his second album " CYBORG, " the money situation hadn't changed one bit and neither had the state of his battered equipment including his one VCS3 synthesizer which cranked out the eerie and surreal soundscapes on the debut. For his second album he added a lot more organ sounds and synthesized percussion through a Revox tape machine loop. In the same vein as the debut SCHULZE also once again solicited the helping hands of students at the Colluquim Music Orchestra whose rehearsals he recorded in order to splice and dice with a razor blade to physical change their very dynamics in terms of running time and delivery which as you could imagine was a painstaking process that required the patience of saint to administer. But patience was a virtue he had mastered and not only did KLAUS manage to record four lengthy behemoth electronic tracks that would emerge as a double album but also had so much extra material that he would eventually release a box set of bonus tracks in the future. With music this so far removed from reality it's utterly amazing that SCHULZE managed to create four unique tracks that float off into the cosmos but never lose their true identity.

The opener "Synphära" is the most traditional sounding track of the lot that utilizes a church organ to slowly lure the listener into the more esoteric tracks that follow. Embellished by a pulsating drone, a Gothic organ repeats a simple melody throughout its run while extraterrestrial synth swirls bubble up from nowhere and usurp control as if the Crab Nebula's spectral signature had suddenly been transcribed into musical notation. Similarly "Conphära" follows a similar journey to the stars with an even stronger pulsar sort of drone with a stronger staccato presence and more richly layered atmospheres that do some sort of cosmic dance as they hypnotize like ice sculpture ballerinas in the vacuum of space. "Chromengel" adds a more earthly vibe with heavy use of violins and cellos that reverberate while fluttering helicopter type blade sounds launch the track even further toward planet Lysergia. The string section gives it a bit of a classical soundtrack feel bit the spectral sounds of the synthesizer effects keep it floating far from the clutches of Earth's gravitational field. The loops of sounds take on lives of there own as if the listener has entered a cosmic aviary with strange sonic birds flapping around from all directions. "Neuronengesang" or what i call "The Haircut Clipper Song" is dominated by a buzzing sound that reminds me of having my head sheered as a child with a buzzsaw sound effect that approaches my ear, passes by and then moves away. This is the basis of the track while ethereal sound effects build into dense cloud forests of sound with some droning, some pulsating and some flittering about aimlessly.

" CYBORG " was way too far ahead of its time for most of the music buying public but it did receive significant praise from top music critics. The nuanced multi-layered sonicscapes were the soundtracks of dreams where freeform hypnotizing sound effects coalesced into myriad compilations of bombinating assonance that find an orgy of oxyphonic pitches merge with raucous yet haunting tautophonic assemblies of empyreal surrealism. " CYBORG " takes a monumental step past the terrifying frigid nature of "Irrlicht" and explores a miraculous layout of merging musical forces with none of the limitations that rock music can impose with segmented percussive beats. Otherworldly and almost knocking on heaven's door, " CYBORG " has a less alienating feel than the debut and demonstrated the limitless possibilities of the human ingenuity with the scarcest of resources. I recommend the 2006 remastered version with the bonus track "But Beautiful" which showcases yet another stunning track only with SCHULZE performing all his sound effect magic in a live setting. The track clearly demonstrates that SCHULZE was no studio dependent junkie and effortlessly created order out of a seemingly untamable assortment of disparate sound palettes. Despite this massive undertaking, SCHULZE would continue to produce some of the most surreal sounds ever laid down to tape with great prolificacy. While some of the later albums are more accomplished, " CYBORG " is not one to be missed.

 Jonathan  by JONATHAN album cover Studio Album, 1978
2.95 | 6 ratings

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Jonathan
Jonathan Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

3 stars JONATHAN were a duo out of Germany who released this lone album back in 1978. Without question an Electronic recording with the former member of EULENSPYGEL adding drums while the other member adds a variety of keyboards including minimoog, synths and electric piano. We do get a couple of guests helping out including another keyboardist adding much of what the other keyboardist plays but also grand piano. He's on three songs while we get some guest bass on the one track called "Funky's Visit" and yes what is Funk without bass. This clocks in at a tidy 35 minutes over the seven tracks.

"Li Song" gets us started and it's drums we first hear as they slowly beat away before some growly synths arrive slowly pulsing then some spacey synths. I like this until another synth comes in over top leading and I just don't like the tone of it at all. Kind of ruins the song for me.

"Raising Winds" opens with sounds that hum as we get this sad cry from the synths I believe. A beat before a minute along with some twittering sounds. This is laid back and exotic sounding as it gets louder 1 1/2 minutes in. It kicks in fairly heavily before 2 1/2 minutes and the tempo picks up. Drums and synths lead the way. It's okay.

"Funky's Visit" is funky believe it or not but first we get an experimental intro that is brief. Then an active beat with growly synths and other synths take over. When the bass kicks in it becomes somewhat jazzy. I do like the bass here a lot. "Waters" opens with um water sounds. Synths join in with this catchy melody. An okay track.

"Moved Earth" is my favourite and I wish the rest of the album was more like this. We get some nice deep synths as grand piano and atmosphere join in. This is really good. I like the depth of sound. The drums kick in and before 2 minutes I'm head banging. This is like Space Rock. Interesting that it starts to wind down before 5 minutes as you'd think the song was done but after some brief silence it starts up again but now it's much different as drums and sampled thunder take over. I really like this idea especially with such a good drummer. Another change before 7 minutes as synths, cymbals and keys end it.

"Stormy Days" opens with the atmosphere rising as the synths and rumbling drums join in. Soon we get a steady sound of synths and drums around a minute. It turns experimental as drums and synths continue around 3 minutes in. Back to the previous soundscape but the synth tone changes as this plays out. A pretty good tune.

Melotary" ends it and it opens with drums as atmosphere and keys join in. The drumming seems to be random and marching-like. It kicks in rather heavily and the tempo picks up before 1 1/2 minutes. Great sound here, impressive like the song "Moved Earth". It does settle back down like the beginning 3 minutes in.

This might be obscure in part because the only re-issue was in 1993 but I also wonder how much demand there would be for it. A pretty good album overall and I really like that album cover.

 First Stage Zoltan  by ZOLTAN album cover Studio Album, 2012
4.00 | 5 ratings

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First Stage Zoltan
Zoltan Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

5 stars The biggest shock for me when I started to check out the background of this band and album was that Andy Thompson the owner and operator of the Planet Mellotron site that has been an invaluable resource for me for many years was actually part of this band. I knew Andy was in LITMUS but I had no idea that ZOLTAN was his current band with his brother Matt who many will know as being a founding member of GUAPO plus his many side projects. We also get Andrew Prestidge on drums. You should see the picture of the array of keyboards in the liner notes, or just check out Andy's site under the review for this album. They list 16 different items including Andy's M400 mellotron of course. This isn't a mellotron album by the way, oh it's on 4 of the 6 songs but Andy tried not to go overboard on it.

I have to say that the mood of this album fits my tastes perfectly. Tons of analog synths and electronics, sequencers, clavinet, rhodes, arps, roland, moog and on and on. The bass is in my face the way I like it and man there's some nasty synths on here that you'd think was fuzzed out bass and of course the atmosphere is ground shaking at times. It's dark, melancholic and powerful. This will go down as one of my all time Electronic albums no doubt. Cool album cover as well.

So 6 tracks and 41 minutes worth of pleasure right here. "Pilman Radiant" and all the titles of these tracks are from popular culture. And again I'm just trying to describe what I hear and with all the gear I'm sure I will make many mistakes. It opens with sounds that pulse as other electronics, and synths join in, mellotron too. A change after a minute as we get synths along with drums and a heavy sound. This is great! It settles back around 2 minutes and check out the mellotron before it kicks back in. Back to the previous soundscape as contrasts continue. I can't express how much I dig this. Synths and drums lead after 3 minutes then after 4 minutes we are back to our regular programming. What a way to start the album!

"Krollspele" starts with sequencers which is kind of cool as cymbals help out. Soon other synths swell and recede. Then a deep synth line kicks in with drums. Oh my! Synths start to cry out of this heavy rhythm. Spacey synths and bass follow. Love that bass but also those spacey synths. Check out the refrain 2 1/2 minutes in. No words! RUSH comes to mind here. Again just an incredible sound here with the bass and synths. That refrain is back after 5 minutes. So good that I'm moved. The sequencers from the start are back before 6 minutes followed by a powerful sound.

"Canali Replica" opens with powerful synths and soon drums are pounding away as growly synths join in. Some nice drum work here and I like the way the flavour changes slightly throughout with repeated themes. It settles back with bass and drums after 3 minutes as synths start to get inventive. Incredible! This song and the previous one are the only two without mellotron.

"Windowless Monad" opens with deep synth lines with electric piano and more as we get this repetitive sound out of the darkness. I like when the spacey synths and mellotron join in just before a minute. Suddenly a change after 1 1/2 minutes as we get pulsating sounds with spacey synths and mellotron. The synths almost swirl after 3 minutes.

"The Tall Man" opens with electric piano raining down as we get outbursts of bass, synths and drums. Mellotron after a minute as the drums and bass become more constant. Mellotron flute after 1 1/2 minutes then themes are repeated. Electric piano only before 3 1/2 minutes then check out that mellotron!

"Black Iron Prison" ends it and it's the longest by far at 14 1/2 minutes. Some static as it begins in a dark atmosphere as a sinister synth line joins in. Some suspense before 2 1/2 minutes then the bass and drums kick in around 3 minutes. Synths follow. I really like this stuff with that dark mood and repetitive beats with spacey synths coming and going. So good! The beats stop before 8 minutes as we get spacey sounds and lots of atmosphere. Drums return. Sequencers kick in just before 9 minutes. The sequencers and drums stop after 11 1/2 minutes as it turns avant. The sequencers are back around 12 1/2 minute along with the drums and synths.

A masterpiece of Electronic music right here and I can't wait to get my hands on their second studio album called "Sixty Minute Zoom". My kind of music and this went straight up to number 4 in my 2012 album list.

 Transmitter by KOEPPER, JEFFREY album cover Live, 2017
3.95 | 2 ratings

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Transmitter
Jeffrey Koepper Progressive Electronic

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

4 stars With over ten full-length releases since his debut `Etherea' in 2003, American prog-electronic artist Jeffrey Koepper has slowly built a strong reputation as a skilled composer of Berlin School-modelled music for the modern era. Jeffrey uses a variety of analogue synthesizers and sequencers to create deeply immersive electronic music in the manner of Tangerine Dream, Klaus Schulze, Steve Roach and Jean-Michel Jarre, and his latest release is the sublime `Transmitter', his second work for this year after `MantraSequent' arrived in June 2017. Recorded live for WXPN's Star's End Radio in June 2016, the seven fully instrumental pieces on offer move between pure ambient and percussive-driven pieces, yet they all form a continuous unhurried flow of beautiful hypnotic atmospheres.

Opener `Whirl' groans with an ebbing and flowing electronic hum that encases a trilling little crystalline loop teeming with magic and contentment. It maintains throughout `Ions' and its jangling low-key sequencers dancing back and forth and carries on into `Tides', growing more upfront before retreating once more. But it's when the album morphs into the eleven minute cosmic drift `Quasar' that it soars to another level altogether, taking on Klaus Schulze-like fizzing electronic washes over ringing aggressive Tangerine Dream-flavoured sequencer patterns and the large scale atmospheric aural soundworlds of so many legendary Berlin School artists. There's an aching, almost choral-like moan that flits in and out of parts of the piece and a constant momentum surges the piece ever onwards before culminating in a placid come-down of swirling dreaminess stripped of all percussive traces.

Another longer piece at over fifteen minutes, `Darkness' descends into just that, diverting into a brooding canvass of maddening gurgling loops with a gently stalking restlessness and twisting into mysterious hypnotic electronic pools lapping around dramatic pulsing themes weaving through the climax. `Halo' abandons the rhythmic elements again as it floats with rapturous pure-ambient bliss and softly embracing affectionate caresses that call to mind parts of Ashra's `New Age of Earth', and after the opening few minutes swell with bubbling machine hum that reminds of the early Adelbert von Deyen LP's, `Clouds' lifts the disc higher one final time with its carefully clanging sequencer contemplations.

Many modern prog-electronic artists look to the past of the genre for their own inspiration, but there's a classic Berlin School purity here with Jeffrey's album, perhaps because he avoids diverting into uneventful static drones or lazily falling into dance/trance elements that some modern electronic albums do. It helps make `Transmitter' something extra special, a wondrous work that carefully unveils sweeping sonic canvasses and balances it with the lurking darker edges of all the finest space music electronic albums with immense environments, and it proves to be one of the standout prog-electronic releases of 2017.

Four and a half stars.

 Cascata by CADIMA, SAMUEL album cover Studio Album, 2017
4.00 | 2 ratings

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Cascata
Samuel Cadima Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars What the hell, such a great electronic album by such a great electronic creator is just around me. This is one of the most fantastic discoveries this year for me. Samuel CADIMA is a promising electronic musician / multi-instrumentalist, and at the same time our prog mate in Progarchives. Cannot help getting happy such a electronic fantasy was released, inspired by lots of progressive electronic vanguards respecting Berlin School.

Actually his soundscape is just like his gentle character and terrific, powerful efforts for digging, grabbing the mind of the audience out. Slow, smooth but hard-edged development of melodic polarity. As if we would get intoxicated with expensive bottles of wine filled with long, comfortable aftertaste, we can get completely immersed in his inner space. Not weird nor queer but gorgeous and attractive melodic repetitions of his creation remind me of an Italian delightful electronic obscurity 'Midnight In Space' by Hydrus.

My favourite track (and maybe one of his longest masterpieces) has electronic variation ... dark, bubble-bobbled, clear and catchy (leaning towards Yellow Magic Orchestra or so), dissected (but pretty matured), or crazy disappearing (like the last chord of 'A Day In The Life') ... even only this track should be purchased, and should make us look forward to his next creation. Yeah hell what!

 Bridge To Imla: The Radiant Sea by BRÜCKNER, MICHAEL album cover Studio Album, 2017
5.00 | 1 ratings

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Bridge To Imla: The Radiant Sea
Michael Brückner Progressive Electronic

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

— First review of this album —
5 stars The duo of modern German prog-electronic composers Michael Brückner and Hans-Dieter Schmidt have been creating music together on and off over the last seven years, but 2017 brings what will hopefully be the first of a recurring new venture under the Bridge to Imla project name, `The Radiant Sea'. The press release boasts that `It presents an original theme of ecological concern, being a contemplation on the current pollution of the Pacific ocean by radiation and man's indifference to nature, but it also praises the beauty of Earth's largest body of water as it struggles to restore balance and maintain its beauty and dignity'. The fifteen pieces on offer form a continuous 74 minute journey that seamlessly crosses over between ambient, prog- electronic and gently experimenting avant-garde fragments, with brief spoken passages, light world-music flavours and field recordings of nature filtered through as well, and the album has been given a sublime and lavish production thanks to the mastering efforts of defining modern ambient music composer Robert Rich.

Of the absolute highlights, undulating electronic waves lap forwards and gracefully retreat over and over between spoken word voice snippets throughout moody opening `Prologue: The Kuroshio Current', and we get the first traces of the pristine and achingly beautiful piano reflections that pop up frequently on Brückner's projects. `Shatsky Rise' dreamily floats with pulsing electronics twinkling around graceful violin reaches, while both `The Aleutian Current' and `Hikurangi Plateau' take on a low-key soundtrack-like cinematic power. `Mariana Trench' bristles with danger laced to its moodier dark synth backgrounds over haunting piano ruminations and ultimately morphs into a howling and nightmarish icy drone, `Louisville Ridge' joyfully dances with spiralling and freed spacey synth soloing, and `The California Current' holds faraway ethereal voice- like shimmers.

Taking the album even deeper, `Richards Deep' is a cavernous sound-collage of eerily bleeding electronic twitches and groans and pattering percussion that drifts closer to a Popul Vuh sound, `Raukumara Plain' almost takes on a serene Kitaro-esque dignity in between its ringing synth noodling and Robert Rich-styled trickling programming loops, and both `Emerald Fracture Zone' and `Fobos-Grunt' are comprised of crystalline shards and disorientating hallucinogenic caresses. Meditative flute flits around `The Humboldt Current's humming ambient ebbs teeming with life that could have popped up on a Deuter album, clockwork-like chimes click in and out of `Galathea Depth's darker drones, and closer `Epilogue: Ring of Fire' is sobering and dramatic but lifts with carefully buoyant programming to ensure a seamless balance of lighter and darker thoughtful flavours to end this journey on.

This first Bridge to Imla album can be considered among some of the very best works of both Mr Brückner and Mr Schmidt to date, being an impeccably performed and captivating long-form atmospheric piece that never loses momentum or ceases moving in different directions, and it always retains great humanity and genuine emotion. Made even more special by the luxurious fold-out CD packaging that intelligent ambient music label Winter-light adorns all their fascinating releases with, `The Radiant Sea' is superior prog-electronic and ambient music storytelling at its very best, and this deeply immersive and constantly evolving soundscape can rank up there with the best releases in the above-mentioned styles of 2017.

Four and a half stars.

 Meio-Dia by JOBIM, GUSTAVO album cover Studio Album, 2017
4.00 | 1 ratings

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Meio-Dia
Gustavo Jobim Progressive Electronic

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

— First review of this album —
4 stars Young synth player and electronic manipulator Gustavo Jobim hails from Brazil and has been releasing a stream of fascinating and experimental prog-electronic discs for many years now, and like much of his back catalogue, 2017's `Meio-Dia' takes little traces of vintage Berlin School elements and twists them with all sorts of unpredictable style and direction changes in both modern and retro ways. It's an experimental work that is constantly full of colour, movement and liveliness, and one that likes to move between buoyant energy and eerier danger, as well as allowing a Krautrock-like scuzzy wildness to seep in.

Twenty-two minute opener `Meio-Dia' (Noon) offers a blistering array of runaway electric piano, reflective organ solace, imposing Mellotron confrontations and hypnotic prog-electronic drifts all given a relentless push forwards by constantly up- tempo peppy beats, bouncing programming and fuzzy melting soloing.

There's a lightly unhinged psychedelic danger and driving Kraftwerk/`Autobahn'-like momentum permeating `Piramide' (Pyramid) with its undulating sequencing popping in and out of swirling and hazy ambient washes, grumbling electric guitar samples and unceasing pattering beats before it splinters into distorted breakdowns and feverish computer glitching soloing.

Despite opening and closing with eerie reflective reaches, the shorter album closer `Eterno Retorno' (Eternal Return) bristles with lurking darker jangling sequencing, with just a touch of Klaus Schulze infiltrating the droning heaviness and lush panoramic ambient synth expanses rising and falling throughout.

With a diverse and eclectic body of work behind him, `Meio-Dia' is a good middle ground for newcomers - light retro touches that call to mind the vintage prog-electronic masters but given a unique sampling of Gustavo's own personality. It also runs a welcome vinyl length (someone PLEASE release this on vinyl!) and best of all, there's a real sense of fun through parts of the album that never become lightweight or silly! If you're a listener that likes their prog-electronic sprinkled with a Krautrock seasoning, `Meio-Dia' might be just for you, and it easily makes a case for being one of the most striking electronic releases of 2017.

Four stars.

 Detrimental Dialogue (With Fausto Balbo) by MARUTTI, ANDREA album cover Studio Album, 2010
4.40 | 3 ratings

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Detrimental Dialogue (With Fausto Balbo)
Andrea Marutti Progressive Electronic

Review by ProgAlia

4 stars After fifteen years of making music apart from each other, Andrea Marutti and Fausto Balbo's paths crossed in 2005, and since then they have been working every now and then on this release. The album "Detrimental Dialogue" is their first collaboration, and it contains explorations of various types of analogue and digital synthesis. If you are not yet introduced to that part of experimentalism, yes, there is more then 'just' analog or digital. To quote from the press sheet: additive, subtractive, physical modeling, FM, phase distortion, granular, etc. The 48 minutes of this release are divided into four tracks, entitled "Winter", "Indulge me", "Set-Back" and "Troubled Elephant", and with the best will in the world I couldn't explain these titles to you. But rest assured that while listening to these tracks I have tried to figure it out. The drones and ambient parts slowly fade you in and out (of an uncertain state) of consciousness, while the intrusive experiments in minimal noise, glitch and pure waveforms rip you out of there and force you to feel the here, the now and reality; this latter in all its beautiful and confrontational aspects. Through the use of effects, the sounds that are used on this album ? and then mainly those noisy escapades ? are put into a really nice perspective. The stereo image as well as the depth have an exceptional extra dimension, which makes the album as a whole interesting for a) modular sound nerds (you know who you are) and b) people who want to hear proof that there is more than your mind can handle. It's going straight into my collection, next to Robert Piotrowicz' "Lasting Clinamen", and the additional mini-poster with the music-making aliens and insect-shaped speakers by Stefano 'Sicksoul' Rossetti is getting an honorary place on my studio wall. For inspirational purposes? Or just to space out!
 Penumbra by BREIDABLIK album cover Studio Album, 2017
4.64 | 5 ratings

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Penumbra
Breidablik Progressive Electronic

Review by Progfan97402

5 stars Penumbra is a new release from Breidablik, an EM project headed by Morten Birkeland Nielsen from Bergen, Norway. Here this album got released on vinyl on Pancromatic Records, this was the same label that issued the double vinyl set from Jordsjø, a wonderful prog rock band not unlike Wobbler or Änglagård. Speaking of Jordsjø, they released a split cassette with Breidablik called Songs from the Northern Wasteland. Breidablik then went and released Vinter, which is 100% Breidablik, on limited edition cassette (you can download it on Bandcamp). Penumbra simply takes what was done on Vinter one step further. Once again, lots of nice use of analog and analog modelling synths, as well as an Omenie Mellotron M3000. What's that? A Mellotron iPad app, that's what it is! From judging on the gear he uses, like the MicroKorg, Arturia Microbrute, Korg Monotribe, the Korg ARP Odyssey (yes, Korg resurrected the old ARP classic) and others, he uses lot of small, portable lightweight gear and puts them to great use. What took huge bulky gear for Tangerine Dream to accomplish what they did in the mid '70s, one can do something similar on small gear like what Morten does here. I own a MicroKorg and it's a wonderful, small, lightweight machine, about the size and weight of a 1980s toy Casio for children, but it's a wonderful synth capable of classic analog synth sounds, as well as an arpeggiator and vocoder, and I can see how Morten included one. The Monotribe is a sequencer that he uses here, but don't expect in-your-face Ricochet-sequencer overdrive as the sequencer use here is mid-paced. The music has an often eerie feeling like you're in the cold, barren areas of northern Norway. The music has a frequently ambient feel, particularly when the sequencers aren't being used. What I'm getting at is the music here is Berlin School style electronic music, although I've seen Breidablik's Bandcamp page call it the "Bergen School of electronic music", mainly because Morten Birkeland Nielsen hails from Bergen. Other than that, it's very much as you expect out of Berlin School electronic music. While Tangerine Dream, Schulze and the likes are to be felt, this isn't a clone. I can see Breidablik making a big impression in the world of electronic music, and Penumbra only proves that and very much worth hearing!
 Implosion by CYBOTRON album cover Studio Album, 1980
3.12 | 12 ratings

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Implosion
Cybotron Progressive Electronic

Review by ElNapalmo

4 stars Third album, and final album, by Australia's Cybotron, released in 1980. Six amazing songs with a fusion of Progressive Rock and Krautrock. I'm listening the 2006 reissue by Aztec Music, remastered, with 20 pages full of information, interviews, photographs, accompanied by 6 extra songs from the incomplete and never released 1981 album, "Abbey Moor", as well as a curious version of Henry Mancini's "Peter Gunn Theme." These unreleased songs were deliberately composed with a more commercial approach to Cybotron music. I do not like the final result as much as the main album, but the guitar version of "Eureka" is interesting. "Implosion" is a fabulous album that I recommend to all lovers of names such as Pink Floyd, Tangerine Dream, Can, Neu, Faust, Kraftwerk, Amon D''l II, Goblin and Zombie.
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DR. SPACE'S ALIEN PLANET TRIP Denmark
HEINRICH DRESSEL Italy
E-MUSIKGRUPPE LUX OHR Finland
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EDEN France
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ELICOIDE Italy
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EXPO 70 United States
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FORMA United States
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OSE France
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YOU Germany
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