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A Progressive Rock Sub-genre

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Indo-Prog/Raga Rock definition

The private, metaphysical relations to oneself, to the other, the symbolism of existence are connected, transfigured by the particular expression of raga, classical India music. The emotion provided by this music is not only "affective". It's a real message, an aesthetic of the nature, of the divine, a virtue able to guide the listener to a state of emotional trance. In the mid-60's with the launch of international success of raga masters as Ravi Shankar, Ali Akbar Khan.European and American artists will become more and more captivated by the dynamical relation between mystical emotion, spirituality and music. The emergence of Raga schools from everywhere (still perpetuating the ancestral musical traditions), the initiatic travels of Western minimalist-modern jazz composers (Terry Riley, Don Cherry...) to India will participate to a growing interest for this musical universe. The emphasis on repetitive circular rhythms, ornamentation (gamaka), the use of acoustic stringed patterns, the sense of beatific endurance and lenghty improvisation are the central characteristics of this music in term of practice and sound aesthetism. Emotionally, the function on the listener is hypnotic, voluntary trying to reach him into a higher state of consciousness, modulating his perception of time and space. The basic conception of "drone" (continuous sound form) will be taken back in popular music and turned into "kosmische" electronica (70's Berlin underground). After Seventh sons' first original but rather discreet effort simply called "raga" (1964) and Malachi's holy music (1966), famous bands as the Beatles in "Revolver" (1966) and Traffic in their album "Mr Fantasy" (1967) will be seduced by the sonorities of Indian raga music. They occasionally incorporate sitar elements to their music. Among the most notorious artists who participate to the original dialogue between proggy rock and Indian music we can notice many jazzy formed musicians influenced by "world" elements (the guitarists Volker Krieger, Steve Tibbetts, the clarinet player Tony Scott). They are often recognised to practice a fusion between jazz rock harmonies and raga's instrumentations (tabla, sitar.). Among them Collin Walcott and Alberto Marsicano were Ravi Shankar's pupils. The world of "raga" rock can also include psych folk / drone-y bands (Quintessance, Fit & Limo, Flute & Voice, GHQ, Pelt...) and which are largely impregnated by mysticism, sonic meditation and sitar.

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

Indo-Prog/Raga Rock Top Albums

Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Indo-Prog/Raga Rock | More Top Prog lists and filters

4.35 | 68 ratings
Clivage, Andre Fertier's
4.14 | 121 ratings
Shakti With John McLaughlin
4.13 | 42 ratings
4.10 | 22 ratings
Flute & Voice
4.13 | 16 ratings
Zendik, Wulf
3.97 | 34 ratings
4.19 | 11 ratings
Zendik, Wulf
4.22 | 9 ratings
Hortobágyi, László
3.90 | 30 ratings
Oriental Sunshine
3.85 | 36 ratings
Clark Hutchinson
3.97 | 12 ratings
Shankar, Ananda
3.96 | 11 ratings
Robertson, Don
4.00 | 9 ratings
Hortobágyi, László
3.80 | 24 ratings
Clivage, Andre Fertier's
3.82 | 20 ratings
3.93 | 11 ratings
5.00 | 2 ratings
Hortobágyi, László
4.00 | 8 ratings
α Ω α
3.79 | 20 ratings
3.86 | 13 ratings
Alford, Clem

Indo-Prog/Raga Rock overlooked and obscure gems albums new

Random 4 (reload page for new list) | As selected by the Indo-Prog/Raga Rock experts team

Third Ear Band
Alford, Clem
Lamp Of The Universe
Brother Ah

Latest Indo-Prog/Raga Rock Music Reviews

 Move Into The Light The Complete Island Recordings 1969 - 1971 by QUINTESSENCE album cover Boxset/Compilation, 2017
4.92 | 3 ratings

Move Into The Light The Complete Island Recordings 1969 - 1971
Quintessence Indo-Prog/Raga Rock

Review by Einwahn

5 stars Despite the quarter of a century gap, there are analogies between Quintessence and the later English band Kula Shaker. The music of both is distinctively imbued with Indian sounds and religious themes, but the core sound is late 60's psychedelic rock (a 'retro' character for only one of them, of course). Both bands enjoyed meteoric popularity for about three years and then vanished, sadly for good in the case of Quintessence (though Kula Shaker re-formed and I highly recommend their 'K 2.0' of 2016).

Quintessence's first album 'In Blissful Company' was released in the same year and on the same Island label as the King Crimson debut, and its producer John Barham was a collaborator on George Harrison's forthcoming 'All Things Must Pass'. Quintessence albums followed in each of the next two years, a self-titled release in 1970, and 'Dive Deep' in 1971, which reached #22 and #43 in the UK albums charts. Their association with Island Records ended unhappily due to failure to arrange a tour to the United States, and the band did not last much longer.

Esoteric Records have now released re-mastered editions of the three Island albums as a double CD. These vintage classics are seriously under-reviewed on Prog Archives, so I'll try to summarize them for anyone considering exploration, terming the albums IBC ('In Blissful Company'), Q ('Quintessence') & DD ('Dive Deep'). Each album contains tracks of diverse types, and you would need to appreciate all of them. First and best, there are absolutely spell-binding sedate and spiritual songs, clearly involving Barham's inventive touch, with superb vocals, flute, guitars and drones. Examples are 'Manco Capac', 'Midnight Mode' (IBC), 'High on Mt Kailash', 'Prisms', 'Twilight Zones' (Q), and 'Dance for the One' (DD). These are must-hear tracks for anyone. Also winners are the wild guitar-burn tracks 'Burning Bush' and 'St Pancras' (Q).

Then we have a couple of track types that are potential negatives for some tastes, and this probably accounts for the underwhelming consensus PA ratings of Quintessence albums. There are straightforward Hare Krishna-style chants, namely 'Chant' (IBC), 'Shiva's Chant' (Q) and 'Sri Ram Chant' (DD). I really like these, but admit they are not standard rock fare. Then there are 60's pop tracks written for an era fixated on chart hits, most notably 'Notting Hill Gate' (IBC) with its B-side 'Move into the Light', 'Jesus, Buddha, Moses, Gauranga' (Q) and 'Dive Deep' (DD). The above represent the musical boundaries of these Quintessence albums, but there is much interesting material occupying the spaces between.

Digressing back to Kula Shaker, I note there have been Forum discussions on whether to include this band in Prog Archives, each time reaching the wrong conclusion. The so-called Indo-Prog/Raga Rock sub-genre on Prog Archives is presently very weak and obscure (and this remark comes even from a Krautrock fan). Even Wikipedia describes Kula Shaker as a 'raga rock' band...

Verdict: recommended to Kula Shaker fans.

 The Conference Of The Birds by SADDAR BAZAAR album cover Studio Album, 1995
3.72 | 4 ratings

The Conference Of The Birds
Saddar Bazaar Indo-Prog/Raga Rock

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

4 stars The fondly remembered U.K Delerium Records label from the early Nineties housed a diverse and exciting range of artists on its roster, including everything from the Hawkwind-like Omnia Opera, charming Canterbury-styled band Moom, future modern Krautrockers Electric Orange and even the earliest Porcupine Tree recordings from modern prog notable Steven Wilson. Another interesting obscurity was Saddar Bazaar, a British group that blended frequently improvised droning sitar- driven instrumental raga-rock, psych and acid-folk vibes with swampy burning stoner guitars and the lightest of gentle keyboard backings on their captivating debut album `The Conference of the Birds' from 1995.

Opener `Sukoon' carefully sets a template for much of the album, a haze of groaning sitar, sparkling tabla and other exotic ethnic percussion instruments weaving a mellow atmosphere. It's also quietly joyful and embracing here, with the lightest of pristine electric guitar wisps gently reminding of German band Agitation Free's crossover of chilled electric guitar jamming and world flavours on their first two albums from the early Seventies. Both `Arc Of Ascent (Part One)' and `Kiff Riff' add some dusty bending blues, the former powered by chugging Ry Cooder-esque guitars and the latter casting a drowsy spell of multi-tracked sitar strains wrapping around the listener over the top of trilling ambient keys. Side one of the LP wraps on `Garden Of Essence' that takes on a drowsy head-bobbing hypnotic hold before grumbling with stony purpose.

The flip side's `Sukoon (Reflection)' electronically distorts a rambling sitar drone, `Shamsa (Sunburst)' begins life as a short but precious guitar reflection and `Baraka' bounces driven by strident percussion. `Arc Of Ascent (Part Two)' brings back the rumbling blues over spirited synth flightiness (nice quickie uptempo burst in the final moments too!), `Freedom Rider' is a final marshy stoner rocker blast and `Neelum Blue' is a placid and dreamy acid-folk/psych sitar/guitar rumination to gently come down on.

At forty-six minutes it's perhaps slightly overlong and just a little repetitive here and there, and this kind of music would probably work better by focusing on less but longer and further developed pieces (something a reworked version of the group would deliver on their very welcome comeback album `Seventh Valley' in 2016), but it's still an energetic, intoxicating brew of east-meets-west atmospheres, and just a cool album to have spinning in the background.

Three and a half stars...and the cover looks a treat on vinyl as well.

 Zendik - The Album by ZENDIK, WULF album cover Studio Album, 1972
4.13 | 16 ratings

Zendik - The Album
Wulf Zendik Indo-Prog/Raga Rock

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

4 stars Looking like a mix between the legendary Moondog and the loony Father Yod from Ya Ho Whah 13, Larry Wulfing would later take the name WULF ZENDIK and create his own community in 1969 called ZENDIK Arts Farm and acquired several properties scattered across the USA in order to create a community that adhered and espoused his philosophies and vision quests. He became one of those cult leader type of charismatic personalities and was an author, poet, environmentalist and musician. He distributed his philosophical visions throughout various art forms. After his death in 1999, the community that lived on without him even managed to start their own ZENDIK News show on public access TV in Baltimore, MD and all despite being accused of being nothing but a sex cult! The group would continue well into the 80s with the ZENDIK Communal Orgastra. One of their famous sayings was distributed in the form of T- shirts and bumper stickers that read "Stop Bitching, Start A Revolution."

And start a revolution they did. This debut album by WULF ZENDIK was recorded all the way back in 1972 but seems to have been an unofficial release until it emerged in 1998 under their own Zendik Sounds label. The musicians and ZENDIK himself were residing on the ZENDIK Farm in Vero Beach, Florida at this time and laid down one of those strange cult sounding psychedelic drone laden raga albums that were en vogue in the underground at the time. Unlike many of such album this one is chocked full of ZENDIK's poetic verses with him performing his own vocals along with his famous use of sitar, harpsichord and flute. Also on this album are seven other musicians and i just love their names! Who can resist such craziness when Krom is on guitar, Zoot on keys, Bugz on bass, Nez on percussion, Monk on more drums, Zoe on even more percussion and Arol making sounds on hitherto unknown instruments of their own making.

This music is quite unique and exemplifies ZENDIK's philosophy and counter-culture themes wrapped up in exotic ritualistic performances that utilize the fuzzed out psych rock of the 60s mixed with drone ragas and almost Captain Beefheart type vocalizations. At times he even sounds like he's like a goat when he baaaaas his vowels out in freakout moments! While some music transcends the era from which it was created, ZENDIK only brings to mind the very era from which it was created. Trance inducing rhythms accompanied by sensual sitars, tribal percussion and acoustic freak folk all added to the mix offer a glimpse into the commune mentality of the early 70s and the musical expressions generated from idealism in closed communities in all its naivety and cosmic connectedness. Personally i find this stuff fascinating and more than a compelling listen for its mystique and high register on the trip-o-meter. While many a group was attempting the same ideals and parallel philosophies in their own musical form, ZENDIK actually holds my interest more than many of the others. If you're looking for stoned out animistic dances from parallel worlds, look no further than this bizarre little artifact that not only supplicates the trans-dimensional forces from above and beyond but creates a stylistic magic like no other.

 Silver Trees by ABSTRACT TRUTH album cover Studio Album, 1970
3.50 | 34 ratings

Silver Trees
Abstract Truth Indo-Prog/Raga Rock

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

3 stars Although i'm not positive because of conflicting information regarding the two ABSTRACT TRUTH albums to emerge in 1970, i do believe "Totem" came first and SILVER TREES followed simply by the step up in quality that had developed between the two releases. Nevertheless ABSTRACT TRUTH remains a mysterious musical entity that shows a brief glimpse of the psychedelic scene ceding into the progressive rock world that was taking off at the time. This band came from the port city of Durban, South Africa where it surely caught wind of the blossoming styles of music from their faraway neighbors to the north and added their stamp of identity to them from the constant harbor activities on its shores. Unlike "Totem" which displayed a lot of tracks covering other artists mostly from the 60s, SILVER TREES is a complete set of originals but still very steeped in the 60s vibe with ample touches of folk, it adds more elements of jazz rock to the mix.

The opener "Pollution" is the perfect mix of all of the elements on board as it begins with a typical 60s folk sound but is then joined by a bombastic groovy bass line which hangs around for the majority of the album and one of its best features. It also ushers in the fluttering flute sounds and organ ambience before half way through totally shifting gears and heading into a funky guitar and saxophone solo treat. Definitely my favorite track on the album with quite the catchy hook and danceable attributes with the salsa like percussion afire. Tracks like "All The Same" remind me a bit of Cat Stevens with a ska band at first but then becomes a spaced out psychedelic rock track. Once again the bass is solid and the backbone of the entire sound. "Original Man" has a rather Jethro Tull type of progressive folk progression but unfortunately Kenny Henson lacked the vocal prowess of an Ian Anderson and leaves the track a little lukewarm.

The title track is the true psychedelic progressive treat of the album not only for an extended length of over eight minutes but for its dreamy and spaced out organ runs and early jazz-rock sounds that remind me of the earliest days of Caravan. "In A Space" sounds more like a John Coltrane tribute than anything else on the album but includes a sort of wah-wah guitar sound that adds some psychedelic touches. "Moving Away" includes harpsichord and is basically a simple psychedelic folk track. "Two" includes the same elements as well but a way more forgettable listening experience. "Blue Wednesday" has a Beatle-esque guitar lick that reminds me of "She's So Heavy" and is a catchy pop song and is another favorite of the album despite its blatant influence. "It's Alright With Me" picks up steam and ends the album with a heavier jazz-rocker but really should have been extended to build up to some sort of crescendo.

While SILVER TREES is very much an improvement over "Totem," it still sounds half-baked and needing more time to gestate its essence before a public release. While nothing is unpleasant in the least, neither is it memorable enough to compete with the flood of creativity exploding in Europe and the US at the time. The production is actually quite good for the day and the instruments deliver a warm and inviting mix of psychedelia for sure but in the end, the tracks are too poppy and tame to win over the true lysergic seeking crowds and a little too fuzzed out to be true pop hits of the day. While the jazzy touches are nice neither do they develop into something that grabs you or slaps you in the face and make you take notice. A decent album and perhaps worthy as an obscurity from an area of the world not usually associated with psych and prog but hardly one that i would call essential either.

 Totum by ABSTRACT TRUTH album cover Studio Album, 1970
3.34 | 26 ratings

Abstract Truth Indo-Prog/Raga Rock

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

3 stars Offering a rare glimpse of the South African psychedelic scene as the odometer was turning from the 60s to the 70s, ABSTRACT TRUTH released their first of two albums with a healthy dose of covers in a psychedelic folk mood. The band emerged in the port city of Durban but had somehow caught drift of the psych and folk scenes drifting on the winds. TOTEM was primarily an expression of covers but a competent take on the world's scene diffused into their slowcore and contemplative folky take on things. While this debut is very much a nice little music sampler of everything jazz, blues, folk and mellow rock of the era, there's still an idiosyncratic approach to the tracks on board as the band makes them their own and the album actually feels like a cohesive whole of originals if only we didn't know better.

While the main influences seem to be everything from Donovan and Fairport Convention to Traffic, there is also a heavy leaning toward the escapist drugged out sounds of Pink Floyd's mellowest moments as well as a surprising trippy excursions into the jazz world as heard on the Dave Brubeck's "Take Five" segment of the tail end of a ten minute twofer track. The main instruments are the guitar, bass and tribal percussion with wind tradeoffs from both the flute and sax. The atmosphere is light and breezy as the mid-tempo tracks bring the future offerings of Comus to mind without the creepy subject matter nor the twisted progressive behemoth compositions.

While the tracks basically constitute a cover album that include jazz standards such as "Summertime" and "Comin' Home Baby" along with 60s psych pop takes on Donovan tracks suchs as "Jersey Thursday" and "Fat Angel," it does contain one original tune "Total Totum (Acid Raga)" which churns out the stoned hippie effect complete with George Harrison inspired sitar improvisations which bring the guru seeking dope-inspired 60s to mind where every musician suddenly found "god" and needed to express their oneness with the divine in musical prose that proffered salvation through a jam session that suggested the need for stoned out participations to be the ticket to ride. While not a necessary prerequisite to imbibe the bounties of the intoxicating universe to enjoy this, it certainly helps to understand where the band was coming from in its approach to tackling their musical visions.

While TOTEM is a perfectly enjoyable listen it does seem to ruminate a bit too much over the efforts of others and not really effective in making a musical statement of its own. Even with the final "Acid Raga" track which finishes the effort as the band's sole original statement it doesn't quite hit the mark in proffering the promised pastures of originality that we could hope to hear in the fertile crossroads of the year 1970. While everything is competently performed with hints of English folk, Krautish psychedelic overtones and overt tributes to past masters, this one just seems to fall short in terms of consistency but nothing on here is unpleasant in the least. ABSTRACT TRUTH would find much more fertile pastures with their second album of the same year "Silver Trees."

 Angel Gopher by FIT & LIMO album cover Studio Album, 1993
3.00 | 1 ratings

Angel Gopher
Fit & Limo Indo-Prog/Raga Rock

Review by kenethlevine
Special Collaborator Prog-Folk Team

— First review of this album —
3 stars After listening to this release by acoustic folk/raga duo FIT & LIMO, one could be forgiven for doing a double take upon discovering that it is from 1993, and that the group didn't release a single recording in the 1970s, let alone the 1960s. Apart from the self-avowed idolatry of INCREDIBLE STRING BAND, which luckily avoids much of that group's nerdy cleverness, I hear bits of countrymen EMMA MYLDENBERGER in the many seemingly improvised passages.

"Late Summer" evokes the pastoral disposition of early MIKE OLDFIELD and FUHRS and FROHLING. The insertion of flutes imparts an ancient and eerie mood in tracks like "The Carpet" and the sweet "Black Berry", while "Stony Glory" utilizes sitar and crumhorn to achieve an appealing cross between transcendental meditation and a courtly dance. Vocals are generally sparse but recall at turns ISB, DONOVAN, and BROSELMASCHINE.

While I can't recommend this highly to prog fans who cherish sonic bombardment, for those willing to meet the music in its own ecosystem, "Angel Gopher" might offer you much more than surface pleasures.

 Regina Astris [Aka: Clivage] by CLIVAGE, ANDRE FERTIER'S album cover Studio Album, 1976
3.80 | 24 ratings

Regina Astris [Aka: Clivage]
Andre Fertier's Clivage Indo-Prog/Raga Rock

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

4 stars ANDRE FERTIER'S CLIVAGE remains one of the most celebrated obscurities in the underground Indo-raga and progressive rock scene and is therefore celebrated for their unique East meets West approach that they delivered on their three albums that began with this 1977 debut REGINA ASTRIS and ended with the 1985 "Kassiopee." While the three albums all have distinct identities, they all share a similar amalgamation of Indian raga, jazz, drone and progressive rock workouts. To this day these albums have never seen a second pressing after their initial vinyl releases yet are heralded for being some of the best examples of the Indo-raga jazz fusion scene.

REGINA ASTRIS is divided up into three long tracks clocking in over the ten minute mark and a five minute finale. The general gist of the entire album is a drone-like monotonous rhtymm that is the product of the percussion section of Armand Lemal and Indian tabla playing of Patricio Villaurel which provides the skeletal structure for the jazzy saxophone workouts of Jean Pierre de Barba, the hypnotic bass line of Claude Duhaut and the violin of Mahmoud Tabrizizadeh to play around. This is a sort of a jam session as the track's flow is typically long, rhythmic and trance inducing with the sax and violin adding melodic accoutrements to the mix. ANDRE FERTIER adds the extra touches with acoustic guitars and keyboards but they seem to be subdued under the mix of the ethnic influences that dominate the soundscapes.

REGINA ASTRIS is much jazzier than albums like "Mixtus Orbus" that were more psychedelic and magnanimous in nature. This one has a more down-to-earth feel as it connects directly to the jazz world with the sax contributions as well as the folk world when the violin dominates. As with all CLIVAGE albums, the main gist is for a rhythmic structure to burrow into the listener's consciousness before unfurling the tapestry of melodic sounds that dance around each other. While the track "Moving Waves" is more upbeat with howling saxophone workouts, the title track is more contemplative traditional raga oriented and certainly can remind one of a less caffeinated Shakti at times.

CLIVAGE does an excellent job at arranging the tracks so that each element has a chance to shine thus allowing all four tracks to have their own personalities. However the raga elements whether tamped down or allowed to shine always make their presence known while the sax and violin usually trade off as opposed to battling it out. "Mama Swat" actually starts out bringing chamber rock acts like Univers Zero to mind before it lifts the darkened veil and brings in lighter tones to the mix. MIXTUS ORBUS is a fairly unique sounding album that keeps the listener engaged throughout the entire run and baffles the mind as to why this has never received a proper updated release. If there are any patron saints who are seeking to release long lost gems, then by all means add ANDRE FERTIER'S CLIVAGE's three albums to the list. They are truly well deserved prog classics that more than deserve to be rediscovered.

 The Codona Trilogy by CODONA album cover Boxset/Compilation, 2009
4.03 | 6 ratings

The Codona Trilogy
Codona Indo-Prog/Raga Rock

Review by Lewa

4 stars This set consists of the three Codona albums in full.

I'm not sure if these releases should be called indo/raga rock. There is folk music from all over the world on these albums and a lot of diverse folk instrumentation to be found. India is not the only focus here. There is also not a whole lot of rock. Most of it is improvised and these are exellent world jazz records.

To my ears, the boxset does sound different than the 90s Cds. The 90s Cds I do have as a physical product and the boxset as a download. The boxset does sound better to me and I always assumed it was one of the good remasters.

(It is also possible that the Cd sound is just bad. In my experience some earlier Cds can sound poor, even though they were supposedly made from the original master tapes.) While I cannot conclusively say whether this is a remaster, I never regretted getting the trilogy in addition to the Cds.

 Dedicated To The Bird We Love by ORIENTAL SUNSHINE album cover Studio Album, 1970
3.90 | 30 ratings

Dedicated To The Bird We Love
Oriental Sunshine Indo-Prog/Raga Rock

Review by Lewa

2 stars This album consists entirely of mellow, mid-tempo folk songs with added Indian instruments. All instruments are played competently and the singing is competent and pleasant. There isn't anything spectacular happening on those fronts, though.

This is a fairly good psychedelic folk album. However, in my opinion, it's not a good prog album (or rather, not really a prog album at all).

The songs on this album are compositionally weak, in my opinion. Practically all of them sound like they just fade-out at a random time, like maybe the recording engineer wanted to go home. Songs fade-in and fade-out, almost like those audio samples some music sites offer. Several times I checked if I really just listened to the whole song, or if some weird error happened.

The whole album is also very uniform, with no variation in tempo or volume. Not one melody is very memorable. Overall, the record is pleasant but also very, very harmless. (That may have been the intention, though.)

We are expected to rate this album on a prog scale (, as it not listed as prog related or proto prog). On that scale, two stars is the rating I believe is appropriate.

Some sitar/tablas, 30 seconds of Indian rhythms and some Indian vocals are not enough to make any psychedelic /world music record into a good (which means three star) prog album.

In conclusion:

This can be recommended to listeners who like mellow psychedelic folk and/or Indian instruments and a relaxed, hippy atmosphere.

Just don't expect too much in terms of composition, complexity, uniqueness or innovation.

 Dreaming by KANGURU album cover Studio Album, 1976
3.18 | 11 ratings

Kanguru Indo-Prog/Raga Rock

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

3 stars Spacey dreamy tribal music ... this obscure Australian combo KANGURU have launched completely different soundscape from progressive rock for us, that can be felt as, for example, an Indo-tasted folksy ambience.

Electric sitar or tabla assertions everywhere in the first track "Ras Lila" might make us comfortable, as if we drank very fruitful, very strong alcoholic beverage or ate a magic mushroom. Able easily to imagine what appearance they had played with. Mysterious, mystic incantation created with their tribalism would hang over our brain. "Kanara Prakar" is another theatrical floating particles story-told via multiple ethnic instruments by a strongly unified music commune ... uncomplicated but dramatically alternative sound kaleidoscope, that should be calculated strictly, will take the audience to a trip for another dimensional inner space, not Australia, their nation.

"Waves Of Aquarius" is a stuff where heartwarming percussion and flexible viola plays are pretty impressive. This atmospheric "sur la mer" phenomenon reminds me of the same vein like one of Japanese New Age pioneers Kitaro (ex-Far East Family Band). The colourful mixture of all instruments sounds wonderfully of quiet but magnificent water flow. Expansive acoustic guitar gives evident inspiration of rough, violent water turbulence to such a river whisper ... excellent is this sound contrast. In the last "Invitation To Dance", superbly solemn, magical flute initiation is too attractive for us to avoid dancing. Enthusiastic percussion in the middle part drives us crazy, but please don't overdance to death, yes we can get treated, relieved via the last warm, massive-minded, hearty flute ground.

Honest to say, I cannot understand the reason this ultraobscure tribal folk combo be called as an Indo Prog / Raga-Rock one (YET!) indeed, but on the contrary, can realize they have thrown an important gemstone titled "Dreaming" into the scene. Not bad they are here.

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Indo-Prog/Raga Rock bands/artists list

Bands/Artists Country
500MG United States
CLEM ALFORD United Kingdom
ALUMBRADOS United States
ERIK AMLEE United States
ANDY BOLE United Kingdom
BROTHER AH United States
CODONA Multi-National
COSMIC EYE Multi-National
FIT & LIMO Germany
GHQ United States
THE HABIBIYYA United Kingdom
KALA United Kingdom
KANGURU Australia
MAGIC CARPET United Kingdom
MALACHI United States
PELT United States
VASANT RAI Multi-National
SADDAR BAZAAR United Kingdom
SATWA Brazil
SEVENTH SONS United States
SHANTI Multi-National
JIM SULLIVAN United Kingdom
THIRD EAR BAND United Kingdom
WULF ZENDIK United States

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