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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

4.29 | 221 ratings
MIRAGE
Schulze, Klaus
4.24 | 746 ratings
RUBYCON
Tangerine Dream
4.60 | 21 ratings
CATCH WAVE
Kosugi, Takehisa
4.19 | 212 ratings
TIMEWIND
Schulze, Klaus
4.40 | 34 ratings
GREEN RAY
Zanov
4.14 | 640 ratings
PHAEDRA
Tangerine Dream
4.55 | 21 ratings
IN COURSE OF TIME
Zanov
4.19 | 112 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.15 | 197 ratings
X
Schulze, Klaus
4.28 | 31 ratings
AN ELECTRIC STORM
White Noise
4.09 | 91 ratings
BODY LOVE: ORIGINAL FILMMUSIK
Schulze, Klaus
4.19 | 42 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.21 | 33 ratings
EARTHEN
Alpha Wave Movement
4.22 | 30 ratings
LUCIFER RISING
Beausoleil, Bobby
4.02 | 152 ratings
NEW AGE OF EARTH
Ashra
4.02 | 141 ratings
AMBIENT 4 : ON LAND
Eno, Brian
3.99 | 377 ratings
FORCE MAJEURE
Tangerine Dream
3.97 | 261 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.16 | 29 ratings
FILAMENTS
Rich, Robert
4.43 | 13 ratings
ABANDONED CITIES
Budd, Harold
3.93 | 445 ratings
STRATOSFEAR
Tangerine Dream
3.94 | 306 ratings
THE MAN-MACHINE (DIE MENSCH-MASCHINE)
Kraftwerk
4.14 | 27 ratings
20 JAZZ FUNK GREATS
Throbbing Gristle
4.01 | 58 ratings
MUSIK VON
Harmonia
4.26 | 17 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.19 | 20 ratings
RAVEDEATH, 1972
Hecker, Tim
3.94 | 119 ratings
MY LIFE IN THE BUSH OF GHOSTS (WITH DAVID BYRNE)
Eno, Brian
4.25 | 16 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.73 | 7 ratings
LONG LOST RELATIVES
Syrinx
3.90 | 240 ratings
TANGRAM
Tangerine Dream
3.94 | 91 ratings
BODY LOVE VOL. 2
Schulze, Klaus
4.08 | 28 ratings
LOGOS
Wakhevitch, Igor
3.94 | 73 ratings
SMALL CRAFT ON A MILK SEA
Eno, Brian
4.58 | 8 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.69 | 7 ratings
BLACKER
Radio Massacre International
4.12 | 22 ratings
SONANZE
Cacciapaglia, Roberto
3.87 | 265 ratings
TRANS-EUROPE EXPRESS (TRANS-EUROPA EXPRESS)
Kraftwerk
4.56 | 8 ratings
NUMINA + ZERO OHMS: BROKEN STARS THROUGH BRILLIANT CLOUDS
Numina
4.95 | 5 ratings
THE HIDDEN SPRING
Alio Die
4.26 | 13 ratings
HORSE ROTORVATOR
Coil
4.07 | 23 ratings
BALLET STATIQUE
Schnitzler, Conrad
3.90 | 74 ratings
STAND BY
Heldon
4.02 | 28 ratings
ICELAND
Pinhas, Richard
4.04 | 24 ratings
DOCTEUR FAUST
Wakhevitch, Igor
4.88 | 5 ratings
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
3.91 | 55 ratings
AMBIENT 2 - THE PLATEAUX OF MIRROR (WITH BRIAN ENO)
Budd, Harold
4.33 | 10 ratings
LOVE'S SECRET DOMAIN
Coil
3.90 | 51 ratings
THE EQUATORIAL STARS
Fripp & Eno
4.64 | 6 ratings
THE VOID
Lynne, Bjorn
3.90 | 46 ratings
THE PEARL (WITH BRIAN ENO & DANIEL LANOIS)
Budd, Harold
4.29 | 10 ratings
ZUG
Schnitzler, Conrad
4.79 | 5 ratings
NODE
Node
4.75 | 5 ratings
LEXIKON I
Benkő, László
3.80 | 147 ratings
UNDERWATER SUNLIGHT
Tangerine Dream
4.17 | 12 ratings
ADONIA
Ose
4.71 | 5 ratings
ALIO DIE & SYLVI ALLI: AMIDST THE CIRCLING SPIRES
Alio Die
3.79 | 193 ratings
COMPUTER WORLD (COMPUTERWELT)
Kraftwerk
4.71 | 5 ratings
SEAMLESSLY BLISS
Alio Die
4.12 | 13 ratings
WARMTH OF EARTH
Artemiev, Edward
4.91 | 4 ratings
DECONSECRATED AND PURE
Alio Die
3.77 | 166 ratings
BEFORE AND AFTER SCIENCE
Eno, Brian
4.63 | 5 ratings
ELECTRONEGATIVITY - THE CASSETTE CONCERT SERIES NO.3
Schnitzler, Conrad
3.98 | 18 ratings
UBERFALLIG
Schickert, Günter
4.83 | 4 ratings
SIL MUIR
Sil Muir
4.36 | 7 ratings
VOYAGE CÉRÉBRAL
Bocquet, Didier
4.10 | 12 ratings
EMISSARIES
Radio Massacre International
3.98 | 17 ratings
D.O.A. THE THIRD AND FINAL REPORT
Throbbing Gristle
4.78 | 4 ratings
TRANCE SPIRITS
Roach, Steve
3.85 | 34 ratings
SURFACE TO AIR
Zombi
3.79 | 63 ratings
KONTINUUM
Schulze, Klaus
3.77 | 94 ratings
APOLLO : ATMOSPHERES & SOUNDTRACKS
Eno, Brian
4.41 | 6 ratings
THE PLACE WHERE THE BLACK STARS HANG
Lustmord
3.87 | 28 ratings
EPITAPH FOR VENUS
Galactic Explorers
4.75 | 4 ratings
THE SIXTH EAR
Raicevic, Nik
4.74 | 4 ratings
QUANTUM CONSCIOUSNESS
Five Thousand Spirits
4.70 | 4 ratings
CONDUITS AND ESTUARIES
Rapoon
5.00 | 3 ratings
MOTHER EARTH'S PLANTASIA
Garson, Mort
5.00 | 3 ratings
BLUE DREAM
Sequentia Legenda
3.75 | 85 ratings
PICTURE MUSIC
Schulze, Klaus
4.47 | 5 ratings
TRACER
Omit (Clinton Williams)
4.18 | 8 ratings
MINOS
Languirand, Pascal
3.76 | 58 ratings
ANOTHER DAY ON EARTH
Eno, Brian
3.72 | 165 ratings
HERE COME THE WARM JETS
Eno, Brian
3.73 | 90 ratings
BLACKOUTS
Ashra
3.93 | 16 ratings
MIDNIGHT IN SPACE
Hydrus
4.23 | 7 ratings
OPEN WORLDS
Zanov
4.11 | 9 ratings
FROZEN NORTH
Radio Massacre International
3.75 | 60 ratings
AFTER THE HEAT (WITH DIETER MOEBIUS & HANS-JOACHIM ROEDELIUS)
Eno, Brian
4.91 | 3 ratings
HONEYSUCKLE
Alio Die
4.90 | 3 ratings
BARDO
Oöphoi
4.29 | 6 ratings
THE DELICATE FOREVER
Roach, Steve
4.40 | 5 ratings
THE ELECTRIC LUCIFER
Haack, Bruce
3.70 | 142 ratings
MOONDAWN
Schulze, Klaus
4.40 | 5 ratings
THE LAST STRANDS OF FORTITUDE
6LA8
3.79 | 30 ratings
AUTOMAT
Automat
4.86 | 3 ratings
AIR II - TRAVELLING WITHOUT MOVING
Namlook, Pete
4.86 | 3 ratings
BACK FROM BEYOND
MacFarlane, Ian
4.86 | 3 ratings
A TAPESTRY FOR SOURCERERS
Five Thousand Spirits
3.83 | 23 ratings
HATHOR
Wakhevitch, Igor
4.37 | 5 ratings
STARS FALL DARKLY
Yeti Rain

Progressive Electronic overlooked and obscure gems albums new


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

HARMONIC ASCENDANT
Schroeder, Robert
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale

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Latest Progressive Electronic Music Reviews


 The Salt Garden I by FOVEA HEX album cover Singles/EPs/Fan Club/Promo, 2016
4.00 | 1 ratings

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The Salt Garden I
Fovea Hex Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars Besides this being not Progressive Electronic and reviewing only the non Steven Wilson limited bonus disc release, here it goes.

Fovea Hex, "The Salt Garden 1", 2016 is closer to Prog/Folk or Crossover, tops. This mentioned to set it someplace in PA's sub-genre's universe.

Some, outside of PA's reviewers, comment that Fovea Hex is a genre itself. Quiet daringly, I will add. There is an unexplainable attribute the Irish music scene beholds, that certainly sets them apart, yet holds them up together. This I comment because, even if I try, I can not detach Fovea Hex's music from its Irish roots. Of course there is no demerit in this, yet this holds back any kind of explosive groundbreaking experimental route that could possibly emerge along its direction.

This also comes to mind because Fovea Hex's music also reminds me of Enya's at some distant point, but oddly to Canadian Loreena Mckennitt's musical environments, who may well be included in these PA's archives if measured by the same rule and who in fact is far more daring, music composition wise speaking.

Anyway, beautifully performed and composed "Salt Garden 1", 4 tracks EP, is a dream like, short ride, to some peaceful lands which inhale sorrow and by contrast also exhale light. But above all, it keeps you hooked for more, which could explain the addition of the last track "SOLACE" in an extended Steven Wilson intervened and remixed version, in the limited, 2 cd edition, "not available" package.

****4 PA "EP" stars.

 Redshift by REDSHIFT album cover Studio Album, 1996
3.23 | 7 ratings

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Redshift
Redshift Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars Tangerine Dose

3.5 stars

Can't get enough of vintage 70's TANGERINE DREAM music? More specifically, their 'golden' mid-seventies era with Peter Baumann? Do you own the "Bootleg Box Set Volume 1"? Then "Redshift" is the place for you! Entirely synthesized, the music features good old long pulsing and hypnotic sequences, pretty much in the style of the well-known trio. But, surprisingly, although released in 1996, during the electronic revolution of the nineties, the sonorities and ambiances sound really identical to the TD of 1974-1975. Apart from a cleaner sound quality, there are no genuine will of modernization or innovation, the band could have realized these tracks back in the days.

To make it simple, the title track is clearly a cousin of the 1975 album Rubycon. An atmospheric mysterious opening, followed by trippy deep and meditative sequences. Everything is here, even the beautiful contemplative ending ' la POPOL VUH, again like TANGERINE DREAM in the first half of the 70's. In fact, these 19 minutes could have been part of an improvised TD concert, a very good one, deserving to be selected for the great "Bootleg Box Set Volume 1" compilation. The best piece of the record.

The two short tracks do unfortunately not stand the comparison. "Spin" is spacey but not varied enough and tends to become a little repetitive. Despite its name, "Shine" is rather threatening and oppressive. Consider it as a lost track from "Sorcerer". The other long suite, "Blueshift", resembles this time the eponymous track of TD's "Phaedra", especially its first half, however more accessible than the original. The second half begins with experimental bizarre sounds... for the seventies. Then comes the slow and contemplative floating passage, and... 10 minutes of heartbeat. The organ-dominated ending wakes you up quite abruptly and is finally not very useful. The overall suite is cool but could have been shortened to 20 minutes.

Want your TANGERINE DREAM dose? Here it is. The recipe book from 1974-1975 is perfectly executed. Close your eyes and you'll be there. Nothing more, nothing less. The very nice long compositions are truly the main interest of the disc. Not original, but well done.

This first effort from REDSHIFT should please classic electronic Berlin School and Froese/Franke/Baumann's lovers.

 Ultradian Rhythms by AYRES, MARVIN album cover Studio Album, 2014
4.00 | 1 ratings

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Ultradian Rhythms
Marvin Ayres Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars Vibrant layers of long , almost static, string melody lines which by multiple addition counterpoint each one's harmonics and moods.

5 variations + a single composition conform this 2014, Marvin Ayres's "Ultradian Rhythms".

The symphonic focus, presented in his 2012 "Harmogram Suite" continues, but his music composition approach favors abstraction over "friendly melodies", not by sounding obtuse, opposite to that by sounding far more universal, thus each composition beholds a varied range of simultaneous emotions which may appeal to different listeners' likings the same simultaneously.

The imperceptible and perfectly recorded multitude of layers of strings reveal this album's compositions undercovered massiveness and deserve full attention and at least one headphone run to sense their true width, depth and range.

Its last track, "Ultradian", is closer in spirit to electronic/prog in a quiet refreshing and unorthodox (very Marvin Ayres') way, for the genre of course.

The kind of music that makes you thank being alive, the kind which is worth experiencing and better yet owning. Hats off to Mr. Ayres!

****4.5 PA stars.

 Harmogram Suite by AYRES, MARVIN album cover Studio Album, 2012
3.00 | 2 ratings

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Harmogram Suite
Marvin Ayres Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

3 stars Layer over layer of electronically processed strings counterponting each and another by contrast, brightness, intention and melody lines. The symphonic mode is set by this meltdown of multiple string lines coming together at once.

"Harmogram Suite", 2012, consists of 6 tracks, the first 5 are structured as a "Suite", thus their respective numerical names and closing non-suite track "Lament".

The sections of this suite by numbers.

Number 1 is mesmerizing and this release's best. Number 2 is overly sweet. Number 3 is close in mood to number 2, a bit less sugar added, but still close.

Number 4 breaks away from its elder siblings in favor of the "less is more" formula and even better if the music composition is heartfelt and not overly emotional. It beholds an strangely attractive "Bela Bartok quartet" quality in its structures, chaos is represented not really present. Very good!

Number 5 is dramatic, yet in its attempted heights, its sweet tooth shows up again and kind of brings the whole thing down.

"Lament", closes this release with a short solo violin, less the electronics, piece, which stays in balance between being passionate without sounding over the borders.

Kind of a dissapointing release, as far as my past, far more fortuitous encounters with this extraordinary composer & performer.

***3 "flat" PA stars, which may find its way in more "sweet-toothed", listeners.

 Machines Of Desire by BAUMANN, PETER album cover Studio Album, 2016
3.04 | 5 ratings

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Machines Of Desire
Peter Baumann Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

3 stars Without any kind of high expectations but totally open to its offerings, I waited for this 2016, once a Tangerine Dream's "dreamer" (1972-77), Peter Baumann's fifth solo project "Machines of Desire".

Good ideas that never seem to take off. Its music composition, although identifiable, sounds dated, a bit too much, as to move along its own comfortable zones to the point of predictability, which may be the reason why it scarcely goes beyond those launching pad borders.

As for TD's hard core fans this release will throw them back in time to those early days, less the experimental side, the good side of this is that it delivers here and there some nice and catchy melody lines (i.e."Ordinary Wonder', track 5).

As for me, eventhough it has some "nice moments", its predictable approach and its dated sound, as its "fear of heights", will hardly rate above the 3 stars mark, therefore it will be easily lost in the crowd of so-so progressive electronic albums.

2.9 PA stars.

 Blake's New Jerusalem by BLAKE, TIM album cover Studio Album, 1978
3.77 | 19 ratings

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Blake's New Jerusalem
Tim Blake Progressive Electronic

Review by Modrigue
Prog Reviewer

4 stars Blake's best album

Whereas TIM BLAKE's debut album was a collection of improvised extracts from his concerts, "Blake's New Jerusalem" was this time fully recorded in studio. Less ambient, more melodic and more structured, this second opus sounds a bit different than its predecessor. In addition to synthesizers, Tim plays acoustic and glissando guitars, and sings on nearly each track. He is also joined on mini-moog by young prodigy keyboardist Jean-Phillipe Rykiel, only aged 17 at the time. More polished and less atmospheric than "Crystal Machine", the music is nice and spacey, with electronic sonorities typical of the late 70's.

Curiously, the opener "Song For A New Age" is the only average track as well as the intruder in this mostly synthetic record. A acoustic guitar driven track, with various spacey effects. It will later be covered by HAWKWIND LIGHT ORCHESTRA on their 2012 album "Stellar Variations". Now truly begins the magic. The heavily electronic "Lighthouse" is simply great, as it features TIM BLAKE's typical threatening synthesizer gimmicks from GONG and that he will reuse in HAWKWIND. "Generator" is a pulsing disco song can remind a little GIORGIO MORODER. Surprising, but after all on par with the cover...

Only instrumental composition of the record, "Passage Sur La Cit' De La R'v'lation" possesses a trippy frenetic electronic sequence. The disc concludes with the 16 minutes title track, the longest. The name refers to the British hymn "Jerusalem", based on William Blake's 1804 poem "And did those feet in ancient time". This soft and dreamy mini-epic is a genuine journey to stars should please every TANGERINE DREAM and NEURONIUM lover. You're entering an unknown universe... The keyboardist will later perform "Lighthouse" and the title track live with Dave Brock and co.

The style has changed since the first album but still keep its own identity. Only TIM BLAKE could have composed these tracks. More melodic than other bands from the same time period, the music is overall really nice, oneiric and accessible. Very recommended to vintage seventies electronica!

 Crystal Machine by BLAKE, TIM album cover Studio Album, 1977
3.47 | 27 ratings

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Crystal Machine
Tim Blake Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars After his collaboration on Steve Hillage's debut "Fish Rising" and his departure from GONG in 1975, Tim Blake adopted the moniker "Crystal Machine" for his solo works. With the collaboration of light artist Patrice Warrener, Philippe Denis and Bernard Szajner (who worked on GONG tours and will later create Jean-Michel Jarre's laser harp), they will conceive the first live performances combining music and laser lighting.

This first album is mainly a compilation of live extracts from the Seasalter Free Festival in 1976, except "Synthèse Intemporel", recorded at Paris's Palace Theatre, February 1977. Improvised on EMS and Moog synthesizers, the music is spacey and ambient but remains different from what the German or French electronic bands were proposing during the same time period.

Curiously, the first two tracks are not the best ones. The aerial atmospheric "Midnight" is enjoyable, but a bit lengthy. Also ambient but more surprising, "Metro Logic" features tribal percussions sound effects. "Last Ride Of The Boogie Child" is trippy and possesses a slight mystical feel. Nice. Longest track of the record, the spacey style of "Synthèse Intemporel" reminds a little TANGERINE DREAM. My personal favorite. The disc concludes with short sci-fi atmospheric "Crystal Presence".

"Crystal Machine" is rather good but does neither possesses the hypnotic power of TANGERINE DREAM or Klaus Schulze nor the melodic accessibility of Jean-Michel Jarre. Maybe the music should be listened to in the context of laser shows to be fully appreciated. Anyway, this album contains nonetheless a few experimentations and will please vintage 70's electronica fans.

 Love Streams by HECKER, TIM album cover Studio Album, 2016
3.95 | 3 ratings

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Love Streams
Tim Hecker Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

4 stars A focused view of modern chaos through the eyes of ancient times.

Tim Hecker is an iconclast, his broken musical idiom is not for everyone, yet, he because of the same, is always pushing his own experimental spirit beyond comfortable zones, and in the same way "comfortable" audiences.

Therefore his electronic music resembles none. To cut it short, and relate his language somewhere in this PA's Progressive Electronic neighborhood, he is more in tune with Conrad Schnitzler's streets than Klaus Schulze's or Tangerine Dream's avenues.

In this 2016, "Love Streams", Tim Hecker's approach is closer to classical/contemporary composition stylings and 15 century like chorals, blended into one singular mixture, transfigured with his broken radio electronics (broken electric guitar solos included here and there), his own understanding of the Berlin School methods, his own manufactured style and his keen sense of music writing.

Aided by the Icelandic Choir Ensemble and some other instrumentalists, this release is a tornado of fresh air in this PA's sub-genre. full of Tangerine Dream's copycats. Opposite to that proving that in fact there is life after T.D, in this electronic world and, above all, a highly recommendable acquisition for daring P/E enthusiasts which can enjoy order as they can enjoy chaos!

****4 "full" PA stars.

 Force Majeure by TANGERINE DREAM album cover Studio Album, 1979
3.99 | 377 ratings

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Force Majeure
Tangerine Dream Progressive Electronic

Review by Lewian

3 stars On Force Majeure, Tangerine Dream get rid of the singer used on Cyclone, but as a connection with Cyclone, for the second (and last) time in a row they use Klaus Krüger as drummer (he's written with German Umlaut-ue, not sure whether this shows well in progarchives; I was always confused whether the guy's name was Krueger or Krieger but it seems that he made it "Krieger" so that people wouldn't have to use the Umlaut). The album can also be connected to their next effort "Tangram" in that the music is very melodic and tonal; although there are some more mysterious sounding parts (mostly when the drummer takes a break, and toward the end), most of the album tries to be beautiful, peaceful and rather easily listenable.

I decided to write this review in order to add an apparently outlying point of view. I'm surprised to see that pretty much everyone rates this very highly. For me it is clearly inferior to both surrounding albums, Cyclone and Tangram. I'm fine with the addition of drums and the strong use of guitars, spicing up their usual sound a bit. Neither am I per se against going into a more melodic and transparent direction that some people would call "commercial". The thing is, I don't find much attraction in this album from the point of view of composition. The melodies and harmonies are mostly quite bland, there is hardly anything in this album that I find memorable. Before, the focus of the band was much more on sound and atmosphere, but here the focus is more on melody and harmony and structure, in which case composition becomes more important, and in this department they don't deliver. Several parts are played out repetitively to quite some length, but with doing this kind of thing with an almost full rock formation, TD are rather late to the party, and I don't find particularly exciting or special what they do.

To be fair, the instrumental performances are fine and the band's trademark electronic sound and Froese's unique guitar playing still add something special to what otherwise would look a rather aimless endeavour. The title track Force Majeure has a good number of different parts with some less sugary and more interesting sound-oriented interplays, so there is actually some composition going on, but to me the logic of the succession of parts is not so clear and the whole thing seems to be pieced together somewhat arbitrarily. On the other hand, Cloudburst Flight, the opener of side 2, is the most consistent track, and although one could complain about a lack of compositional substance here, this works well creating a peaceful atmosphere in the beginning with some acoustic guitar, from which it then builds up the more intense rock solo part organically to then end again on a peaceful note. Thru Metamorphic Rocks starts in an unmemorable soft rock manner, but then moves to a darker, less melodic, nervous sequencer-driven part that occupies the last 10 minutes. I've got to admit, setting out to review this rather negatively and remembering it as much too repetitive, that this strikes me now as pretty good, with well thought through exciting sound developments to which Krueger thankfully adds in a rather dynamic way instead of flattening things by a straight rhythm. It is also a good contrast to the rest of the album, atmosphere-wise.

So I actually had planned to give this two stars, but I think that the beginning and end of side 2 (which most people like less) in their nice contrast just make it 3. In any case, I still prefer the more risk-taking Cyclone and the more consistent Tangram over this one, which has its moments but also some weaknesses that I can't get around.

 Cyclone by TANGERINE DREAM album cover Studio Album, 1978
3.59 | 287 ratings

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Cyclone
Tangerine Dream Progressive Electronic

Review by LSDisease

5 stars This album was a risky business for Tangerine Dream. Exploration of a progressive rock territory plus their typical Berlin School avant grade experiments mixed together that was enough for many hard core fans of electronic music. But the band really tried to be different. Their previous Virgin Years albums were excellent but when Baumann left the band the guys decided tu use a different formula, as an experiment probably or they wanted some attention from prog fans too. I don't know. So they recorded Cyclone, album that is beyond anything ever done in both generes. I mean seriously, even vocals that appear for the first time on TD record are different than anything you've ever heard. Some parts are sung in an unknown language like it was a spell or something. First track is an avant grade progressive rock, second one mixes prog rock and electronic music, the last one is an uptempo Berlin School extravaganza that lasts over 20 minutes. What an amazing record Cyclone is. And it wasn't their last word. I think all of their Virgin Years albums are excellent. But this one is the most original of them.
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