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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

Mike (siLLy puPPy)
Andrew (Gordy)
Dan (earlyprog)
Brendan (Necrotica)

Progressive Electronic Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Progressive Electronic | More Top Prog lists and filters

4.27 | 368 ratings
MIRAGE
Schulze, Klaus
4.24 | 1030 ratings
RUBYCON
Tangerine Dream
4.24 | 353 ratings
TIMEWIND
Schulze, Klaus
4.80 | 14 ratings
BARDO
Oöphoi
4.16 | 901 ratings
PHAEDRA
Tangerine Dream
4.53 | 20 ratings
DECONSECRATED AND PURE
Alio Die
4.36 | 31 ratings
LONG LOST RELATIVES
Syrinx
4.41 | 25 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.25 | 47 ratings
IN COURSE OF TIME
Zanov
4.56 | 16 ratings
OMICRON
Breidablik
4.11 | 172 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.73 | 11 ratings
A TAPESTRY FOR SOURCERERS
Five Thousand Spirits
4.16 | 62 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.06 | 286 ratings
X
Schulze, Klaus
4.22 | 40 ratings
HORSE ROTORVATOR
Coil
4.29 | 28 ratings
LOVE'S SECRET DOMAIN
Coil
4.76 | 10 ratings
BACK FROM BEYOND
MacFarlane, Ian
4.21 | 40 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.20 | 44 ratings
CATCH WAVE
Kosugi, Takehisa
4.61 | 12 ratings
LEXIKON
Benkö,László

Progressive Electronic overlooked and obscure gems albums new


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

DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
HARMONIC ASCENDANT
Schroeder, Robert
SYNTHESIST
Grosskopf, Harald
ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale

Latest Progressive Electronic Music Reviews


 Encore (Live 1977) by TANGERINE DREAM album cover Live, 1977
4.01 | 277 ratings

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Encore (Live 1977)
Tangerine Dream Progressive Electronic

Review by TenYearsAfter

5 stars In the late 70s I bought this live album as a double LP, mesmerized by the cover picture: I was very much into symphonic rock with tons of vintage keyboards and looked at all those huge synthesizers, like a triple version of the late Keith Emerson with his modular Moogs, wow! At home I was blown away by this new musical experience, named electronic music, a hypnotizing blend of synthesizers, Mellotrons, sequencers, piano, electronic drums and electric guitar play. The recordings are partly from the USA tour in 1977 (see 1-4 track information) featuring Tangerine Dream at their artistic peak, with extended improvisations, based upon work from their previous albums, like Ricochet and Statosfear. The music is performed by the legendary trio Peter Baumann (who did the 1977 Encore mix and then left, as a 'parting gift'), Chris Franke and Edgar Froese. The captivating element on Encore is the interplay between the three musicians: frequent waves of Mellotron, hypnotizing and pulsating sequencers and all kinds of sounds from famous vintage (modular) synthesizers (Moog, Oberheim, ARP and PPG). The music is more lush and extended than on their studio-albums, in my opinion unsurpassed, I have never heard a more captivating electronic music album than this one!

Four wonderfully coloured and varied electronic musical landscapes.

Side 1 - Cherokee Lane (16.19) : This track contains references to the music on Sorcerer, and is recorded during rehearsals in Berlin, mixed with parts from the Seattle concert on April 21th, 1977.

The long intro delivers ominous swelling keyboards, and some beeps and bleeps. Then the sequencing starts, a cheerful crowd applauds, soaring Mellotron violins join, wow. Now the Mellotron flute section, what a wonderful blend of Mellotron (both the violin as the flute section) and sequencing, the sound becomes more intense, topped with lush synthesizers. Finally again that dreamy Mellotron flute.

Side 2 - Monolight (19.54) : This track is recorded in Washington DC on April 4th, 1977, in fact the only complete live recorded piece, and in mono, that explains the title, haha. The music contains references to Stratosfear and Invisible Limits.

First a long and wonderful, classically inspired piece on the Steinway grand piano. Then captivating interplay between the synthesizers, sequencer and string-ensemble, it sounds cheerful. Halfway a pulsating sequencer, in an exciting accellaration, embellished with brassy synthesizer flights, this is trademark TD interplay. Finally tender piano, culminating in a beautiful conclusion with dreamy synthesizer flights and piano.

Side 3 - Coldwater Canyon (18.06) This track is recorded during USA 1977 tour soundchecks, and also features short parts recorded during the final two concerts in Juli 1977.

It starts with a repetetive synthesizer chord, then sequencing and a heavy distorted electric guitar joins (by Edgar Froese), soon blended with synthesizer runs, what an unique interplay. In the second part soaring strings, beeps and bleeps, and that fiery and distorted guitar. Finally dreamy synthesizer flights and a spacey end.

Side 4 - Desert Dream (17.30) : This track contains different recordings, some parts from 1974 (the Oedipus Tyrannus suite, Chichester Festival in July 1974), and some parts from studio recordings, the applause is fake. So this composition has nothing to do with the 1977 USA tour.

The intro features dreamy Mellotrons (flute and violin section) and a scary Theremin sound. Then the beeps and bleeps. Next a low sequencing sound and sultry synthesizer flights and dreamy Mellotrons (evoking a 'Sahara atmoshpere', looking at the title), wonderful, hypnotizing, this is excellent electronic music. Again beeps and bleeps, and different sounds. The second part contains a melancholical climate with dreamy synthesizer flights, tender electric piano and soaring Mellotron violins, simply beautiful. Finally catchy sequencing and slow synthesizer runs, when the music stops the crowd erupts, what a stunning electronic music concert!

TO ME THESE 4 COMPOSITIONS SOUND AS A HIGHLIGHT IN THE HISTORY OF ELECTRONIC MUSIC!

My recommendations if you like this Tangerine Dream music: Gert Emmens (Mysteries Of Dawn), Node (live), Free System Project (Procyon), Pollard/Daniel/Booth (Eight), Free System Project & Terje Winther (Spoon Forest), Ruud Heij & Gert Emmens (Return To The Origin) and Rudy Adrian (Concerts In The USA).

And finally thanks to my Dutch friend Wouter Bessels, an acclaimed 'Tangerine Dream connaisseur' who has contributed to several Tangerine Dream CD reissues/boxes. At my request he delivered me additional information about the tracks, very interesting for the Tangerine Dream fans.

 Underwater Electronic Orchestra by LABAT, JEAN-YVES album cover Studio Album, 1976
4.00 | 2 ratings

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Underwater Electronic Orchestra
Jean-Yves Labat Progressive Electronic

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars After releasing his debut album under the M. Frog moniker in 1973, the French electronic wizard JEAN-YVES LABAT spent the next few years playing on Todd Rundgren's solo albums and the debut for Utopia as keyboardist and producer but in 1976 LABAT returned with his second set of solo works which were both released under his real name this time around. Relegated to the obscurity bins as were his other releases, UNDERWATER ELECTRONIC ORCHESTRA was released in 1976 after LABAT parted ways with Rundgren who had the aspirations of carving out a solo career.

Unlike the debut under M. Frog which was a bizarre mishmash of 60s bubblegum pop and crazy experiment electronic sounds, UNDERWATER ELECTRONICA ORCHESTRA adopted all kinds of genres. Basically a strange mix of mutant disco and progressive electronic, the album features danceable yet syncopated bass grooves but instead of guitar riffs, focuses on all kinds of strange quirky electronic sounds that range from the bizarre oscillating moog synthesizer to simple melodic runs that simulate vocals. Odd choices of tunes include "Little Drummer Boy" which means you can celebrate Christmas with an instrumental electronic version now! There are the occasional lead guitar lines that come from nowhere. Even a saxophone pops in from time to time and the stylistic approach is much more varied.

The album is really very strange as there are moments of pure electronic ambience with no grooves, beats or any traces of rock, disco or anything but then it will jump into dance floor friendly mutant disco complete with rapped lyrics in French. The bass becomes quite funky. The A side is pretty much instrumental while the B side features LABAT on vocals but he isn't singing but rather rapping before hip hop was a thing and probably about the same time Grand Master Flash was launching the rapping vocal technique into greater awareness. One of the strangest tracks has to be the near 8-minute "The Flight of Kromak" which eschews the usual electronic shtick and sounds more like a voodoo ritual with heft African drumming and what sounds like a voodoo priest exorcising the demons outa someone!

The album begins and ends with the same moogspoitation sounds of the "Matrix 16" which is pure unadulterated electronica but what lies between is all over the map with lush space ambience one minute and then freaky mutant disco the next and then who knows what! While very melodic for the most part with intricate rhythms and fortified with all kinds of interesting sounds, UNDERWATER ELECTRONIC ORCHESTRA may not be the below water rendition of a symphony that it insinuates but rather is one of those crazy freaky albums of the 70s that was just "too" something for everyone. Too avant-garde for the disco crowds. Too disco for the progressive electronic crowds. It's unlikely many even had the chance to heard LABAT's solo works as this was underground then and remains firmly so even today. The album has never seen an official reissuing beyond its original 1976 vinyl pressing.

Overall this is one of those artists that existed in a world of his own making. Where he was in total control and took elements of this and that and decorated his musical fortress in an idiosyncratic methodology that only he alone totally understood. While many progressive types will surely hate the disco aspects of this one, i actually love me some good disco and the freaky nature of this one coupled with the disco only makes it more freaky! Definitely one of those bizarre artists that should've been on the Nurse With Wound list. LABAT would release one more solo album before suffering an injury that prevented his musical career from continuing. A novelty for sure but if you're into the weird and unorthodox, this one is quite satisfying!

 M. Frog by LABAT, JEAN-YVES album cover Studio Album, 1973
3.95 | 2 ratings

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M. Frog
Jean-Yves Labat Progressive Electronic

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars After Walter (now Wendy) Carlos released the groundbreaking 1968 moogsploitation album "Switched-On Bach," the world took notice and the race was on to take the world of electronic music into strange new worlds. While albums would soon be dropped from all over the world with new freaky musical expressions (such as Canada's Signs of the Zodiac in 1969 and US modern classical wizard Terry Riley's late 60s classic), the Germans Tangerine Dream and Klaus Schulze seemed to develop the most sophisticated new strand of electronic music that is now referred to as the Berlin School branch of progressive electronic.

However neighboring France wasn't far behind with its own wild interpretations of where electronic music could venture but it would take a few years for class acts like Jean Michel Jarre, Heldon, Philippe Besombes and the legendary Pôle Records to emerge. Before any of that there was JEAN-YVES LABAT, probably best known for his stint as keyboardist in Todd Rungren's Utopia however just before his joining ranks of the Utopian team, LABAT was experimenting in the studio under the guise of M. FROG aka Mr Frog Labat or Frog & Roll. Under this moniker, LABAT released one little obscurity under the M. FROG persona in 1973 and then quickly moved on to bigger and better things.

Released on the same Bearsville label that would find both Todd Rungren and his Utopia in its midst, M. FROG was an early experimental electronic album that didn't just noodle around for the sake of crafting bizarre sound effects that have no Earthly connection but rather constructed a slew of catchy pop rock songs to serve as the foundation to wrap the electronic wizardry around. The result was a bizarre little album that was half anchored in the world of sugary bubblegum pop of the late 60s and the wild freeform world of progressive electronic that took the 70s into the space age. In many ways M. FROG was taking the stylistic approach of the 1968 approach of the American band The United States of America with a psychedelic pop foundation and then gong bat[&*!#] crazy in decorating them with moogsploitation run amok.

A strange little electronically fueled art rock to emerge in 1973, M. FROG self-titled stand alone album (LABAT would release two more album later under his own name), the album sounded a bit anachronistic with firm ties to 60s psych pop but also looked forward to the more experimental electronic albums that scrapped the training wheels and simply went spiraling into the world of total musical freedom. Featuring 10 tracks at just over 35 minutes of playing time, M. FROG dropped a bizarre little obscurity onto the world that still remains buried in the long lost artifact pile. While not the best known example of early progressive electronic, it certainly is a strange little novelty album that rocks the electronic in the context of catchy, often cheesy pop tracks that had lost their luster some time before.

With just as many funny vocalizations as weird electronic contributions, this album comes off as rather comedic sometimes. While this was the LABAT show with him playing every instrument and singing, a few tracks such as "Monkey People" feature an uncredited female singer. The album is actually quite diverse in its approach with many styles of embellishment accompanying the catchy pop songs with a few unexpected deviations from the rather orthodox song structures. The album is orchestrated quite brilliantly with sounds of theremin, faux horn sections and of course plenty of moog organ contributions that make this sound very much connected to the era it was released in. The album also showcases some pop free moments with the electronic meditation freakery "Welcome Home" which offers a respite from the regularly scheduled program.

While not exactly one of the prime examples of the world of progressive electronic in the early 1970s, if by chance you were smitten with the psych pop meets electronic experimentation style of The United States of America's 1968 classic release then you will find yourself loving this one as well. This is one of those albums that straddles two completely different worlds and yet finds clever ways to bridge them. That is the attribute i find most appealing about M. FROG's sole offering to the world. The pop songs are instantly warm and fuzzy and bring back that good old 60s feel good vibe whereas the dark electronic additions offer a bizarre contrast that Wendy Carlos never could have foreseen. Overall i like this one a lot and appreciate the bold leap into two completely different worlds and somehow finding resolve.

 Alarme! by KASHMIR album cover Studio Album, 1979
3.22 | 13 ratings

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Alarme!
Kashmir Progressive Electronic

Review by arymenezes

4 stars As this work has ups and downs in quality, I consider it's better to comment it track by track. However, instead of following their order on the LP, I'll present them from the best to the less interesting track. Firstly, I feel it's pertinent to say that this album is a progressive electronic effort, with wide collaboration from drums/percussion and vocals. On some tracks there is a Chorus, and other good suprises sometimes.

4th track, called 'Linear', is a little suíte. It can be perfectly divided into three or two parts. Begins with a grandiose atmosphere, on the synths and french vocals, both on perfect tones and pace. A group of metals increases the ambience and the dramatic impact. Cymbals catch along, among with an hypnotizing rythmic synth, which also grows up in eloquence. When the guitar appears, it can be considered a change to the second movement, or another part of the suíte: it's a very dense and splendid exploration of the harmonic possibilities of the central theme. It culminates with an outstanding and complex gathering of different phrasings on synthesizers, which can be considered the last part of the suite. 100/100.

'Go!', the longest and last track, is great. Synths and drums are very organic. Chords and vocals soon enter at the same time, brilliantly, dialoguing very consistently. This is a rich composition and execution. Chorus makes a magnificent background for the instruments. There is more use of the piano, something that could've been made more on the rest of the album. On the second half of the song, there's a strong and firm rythmyc harmony, which also accelerates the composition. 43/50.

'6H30', 7th track, is a quite confusing composition on its first half, but this is partially compensated by a nice execution. As it occurs on practically all the non-instrumental tracks, vocal harmonies are excellent. Second half of this song has a superb combination and fitting of all instruments. 38/50.

1st track, 'Desert Bleu', is instrumental and starts with an insipid march, on drums and synths. On its half there's a marvelous combination of rythmic ideas, drum and synth solos, along with the chorus. But unfortunately it lasts for a short time, and goes back to that beginning pace. Then they make another brief incursion on those fine ideas mentioned above, before finishing the song. 36/50.

3rd track, which gives its title to the album, has a good rythym, nice interplay between the synths and drums, and an efficient drum programming; this last feature is quite simple, but is compensated by really well-worked harmonies between synth and drum solos, along with the chorus. Specially on the last third of the song. However, the timbres and tones weren't chosen nicely. 36/50.

'Slowly', 6th track, is entirely instrumental. Like suggested, notes are a bit drawn out, long. There is some lyricism both in this effect, and on the chosen timbres. It's a good composition, that changes the ideas presented on the other tracks, and brings a lighter and more relaxed atmosphere as well. 33/50.

2nd track, 'Je suis', is a very simple composition, and a good idea. Only vocals, with whispering snippets. Sometimes on the back, but other times along with the vocals, you can hear a pleasent ambience with the synths. Could be a fine track, but lacks variation on the rythyms and arrangements. 22/50.

'Far away', 5th track, is an attempt to improve more dramaticity on the lyrics. In fact, vocal arrangements are good, but it looks they were quite lazy to create good harmonies with the synths; because it's only following the vocals. That on the end become repetitive and boring. 18/50.

I give this album a final note of 3.5 on a 5-star scale.

 Synthetiseur   by TANGERINE DREAM album cover Boxset/Compilation, 1990
4.00 | 9 ratings

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Synthetiseur
Tangerine Dream Progressive Electronic

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 751

"Synthetiseur" is a very special compilation album of Tangerine Dream. It was released in 1990. It's an economic package that includes their fifth studio album "Phaedra" released in 1974, their sixth studio album "Rubycon" released in 1975 and their debut live album "Ricochet" released also in 1975, on only one CD package. This is a very interesting compilation album because it includes three indispensable musical works of the band, the three albums that are in general considered the three best works of Tangerine Dream. So, we can say that it can be a very worth purchase if you don't have the three original albums yet in vinyl or CD. It means that, if you buy "Synthetiseur", you can save on money. However, for those who have already the three albums, "Synthetiseur" only can be a nice addition for your collection.

However, we cannot deny the unquestionable quality of "Synthetiseur". Tangerine Dream is unquestionably one of the most influential electronic groups of all time and these three albums are the living proof of that. Their music has made an immeasurable impact on ambient, new age, techno, trance, and progressive rock, as well as modern film score composition. Founded as a psychedelic rock group, soon Tangerine Dream turned to the electronic music especially during their second musical phase, "The Virgin Years". "The Virgin Years" began with the pioneering Tangerine Dream works, precisely these three albums that belong of what became known as the "Berlin School". The line up on the three albums is the same, Edgar Froese, Peter Baumann and Christopher Franke, which is considered the best of the band.

As I've already reviewed these three albums previously and individually on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them as extensively as I made before, but I'm only going to make a global appreciation of them.

"Phaedra": "Phaedra" is often regarded as a groundbreaking album that was shaped by an experimental sound, with structured sound sequences that present themselves to the listener in an atmosphere space like manner. "Phaedra" leads in monotone electronics at the beginning directly into the wide world of the universe and knows how to create a monotone trance in cosmically designed sound surfaces. In the further course, the cool inapproachability of the electronics unites with organic looking Mellotron inserts, which is accompanied by more rhythmic sound elements. The way into unexplored galaxies is, thus, effectively relaxed. Perhaps even more powerful as a musical landmark now than when it was recorded. "Phaedra" has proven the test of time. The 70's was a time of music taste and intelligence, really.

"Rubycon": "Rubycon" is like "Phaedra", an impressive work from the experimental early phase and the sequencer heavy time in the middle of the 70's, but oriented a little further towards the later. The Moog Synth is used more often than on its predecessor, which makes the soundscapes appear more structured overall. Of course, the impression of uniformity also comes from the fact that there are only two pieces of the same name. The free form parts, which are still available, appear more mature and sophisticated than their predecessors. "Rubycon" is a standard work of the Berlin School. If you are interested in electronic music you should check it, and its predecessor "Phaedra". People who want to find whether they like such "futuristic music" must check it too. This is one of the best, Tangerine Dream's albums.

"Ricochet": "Ricochet" could just easily have been an excellent studio album. I find it remarkable how well Tangerine Dream was able to implement their studio compatible concepts' live. "Ricochet" is one of the definitive Tangerine Dream's albums and is indispensable for lovers of the electronic music. If you want to experience the beginnings of electronic music, you cannot avoid this album. "Ricochet", "Phaedra" and "Rubycon", are the three classic albums of Tangerine Dream that no prog music fan can avoid. Considering the fact that "Rubycon", Froese's "Ypsilon In Malaysian Pale" and Klaus Schulze's "Timewind" were also released in the same year, "Ricochet" was the final jewel in the crown that turned 1975 as the best year in Tangerine Dream's related history and in the prog electronic music too.

Conclusion: After what I have wrote and despite I have mentioned that "Synthetiseur" is only important for those who don't own the three original works or for the hardest collector fans of the band, it's undeniable the great quality of this compilation album. As I also mentioned that "Phaedra", "Rubycon" and "Ricochet" are in general considered the three best works of Tangerine Dream, in which I include myself, turn "Synthetiseur" as a great compilation album, one of the best of the band. "Phaedra" and "Rubycon" are considered the two greatest masterpieces of the band and two of the best electronic prog albums ever made. In relation to "Ricochet", despite technically be a live work that was recorded live, in reality, it's an original work from the band that was recorded live. So, we can say that "Synthetiseur" is a great compilation album with three amazing works of one of the best and most representative acts of the "Berlin School".

Prog is my Ferrari. Jem Godfrey (Frost*)

 Mirror Guide by GIANT CLAW album cover Studio Album, 2021
3.00 | 1 ratings

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Mirror Guide
Giant Claw Progressive Electronic

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

— First review of this album —
3 stars The electornic music scene has splintered off into so many genres and subgenres that it's almost requiring a PHD to navigate the maze of subtle variations that have flooded the electronic music world in the last two decades. The world of digitalization was a game changer allowing wild imaginations to easily escape the limitations of traditional analog equipment and there has been no shortage of wild nerdy artists who seek to carve out a world of their own making sonically speaking.

Ohio born and based Keith Rankin better known as GIANT CLAW is one such musical maestro who has found his calling by tackling everything from old school progressive electronic and plunderphonics to the newer digital art crazes such as vaportrap, epic collage, glitch and the hypnagogic pop offspring utopian virtual. Apparently busy at home in his CLAW cave, Rankin has been a busy boy by crafting 17 full-length releases, one split and several EPs since 2010 with no end in site. Damn, he's even taken his show on the road with his 2021 release "Millennium Bug Live 2018-2021" documenting his live endeavors. Apparently this guy knows his stuff and has set some blazing trails in the electronic underground.

While his debut was a unique amalgamation of progressive rock and digital fusion with chiptune sounds, GIANT CLAW has unleashed a tidal wave of ambient, progressive electronic, minimal synth and even synthpop releases but his latest release MIRROR GUIDE shows a serious sophistication which includes the world of modern classical to his eclectic mishmash of circuit bending madness. Utilizing a plucked cello and female singer, MIRROR GUIDE showcases the bizarre deconstruction possibilities of how you can rip it all apart and create you own little musical Frankenstein. The album may be cutting edge as far as technical advancements may go but very traditional in its classical leanings as well as featuring eight tracks that just miss the 34-minute playing time.

With comparisons to the 20th century's Conlon Nancarrow, you know this is going to be strange one since as a successor GIANT CLAW uses modern machines to perform tasks impossible by humans or at least a small number. This is the ultimate juxtaposition of melodies, rhythms, timbres and musical cadences run amok with a jittery glitch frosting to add a bit of anxiety to the otherwise smooth lush vaporwave style of chill out music. Given the human element by Japanese singer NTsKi, the music remains alienating yet suitable for Earthlings simply looking for something completely out of the ordinary. Given the series of strange trap beats and lush orchestrated melodies, the album sounds like a disaster waiting to unfold but in the end finds a near flawless execution of the staccato grooves making a truce with the soft and sensual.

Like much of this kind of abstract electronica, MIRROR GUIDE seems to have no purpose with the only intent to bedazzle the listener with production wizardry but that is not necessarily a bad thing if your proclivities seek such excesses out. There's always an audience for the bizarre and utterly unclassifiable and no lack of interest by those who feel the need to create it. For a modern electronic album steeped in the latest technical crazes, MIRROR GUIDE is surprisingly smooth in its execution overall with its nurturing just enough classical elements to provide a grounding of some sort. It's the kind of anchoring that actually keeps you engaged for the album's run.

Neither too sickeningly chill nor too aggro-tech obnoxious, GIANT CLAW found a nice mix of disparate elements to paint his latest masterwork upon and although i can't say this is the mosts inviting musical delivery i've ever encountered, i have to admit that it's certainly more endearing than i was expecting. And given Rankin's restless work ethic, it will surely be replaced by a new member of the extended musical family in no time. While i've not scoured the swatch of albums that have preceded, for a debut introductory experience, i find myself endeared by this modern micromanaged electro-soup. Great job.

3.5 rounded down

 Zinc (Green Album) by JOBSON, EDDIE album cover Studio Album, 1983
3.31 | 81 ratings

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Zinc (Green Album)
Eddie Jobson Progressive Electronic

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars EDDIE JOBSON's reputation is such that he deserves the dignity of consideration for those rare "solo" releases. This loose band effort appeared a couple of years before the new age album "Theme of Secrets", and it couldn't be more different. Unfortunately, their common ground resides in mutual mediocrity.

While a sequel "Pink" was rumoured, it's just as well that the ZINC project ended where it started. This is a dated synth pop album with prog aspects reminiscent of what YES and STEP AHEAD were doing at the time but not as inspired. For the most part the keyboard work sounds like what JOBSON might have played right after plugging in a new toy with nobody listening. His violin isn't dusted off all that much either, but occasionally salvages a track, as in "Listen to Reason". When his biggest asset is his somewhat thin vocals that curiously suit the music, you know there's a problem. Luckily, "Green Face" is an ebullient rocker that deserved better than to be interred by its fellows. This demonstrates that, even within the artificial environment of so many contemporary releases, a strong composition and arrangement prevails. That's where Jobson's strengths seldom lie.

I admit I'm probably in the minority but I don't think Jobson ever did better keyboard wise than on "Metamorphosis" by CURVED AIR when he was 17, so maybe I have been punishing him unfairly ever since. Still I'm not alone in giving this one the green thumbs down.

 Zinc (Green Album) by JOBSON, EDDIE album cover Studio Album, 1983
3.31 | 81 ratings

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Zinc (Green Album)
Eddie Jobson Progressive Electronic

Review by Sidscrat

4 stars Silly me! being an old prog head from the 70's I had heard of UK and other bands this "kid" was in. But I never ever really heard him play until I started doing a lot of research into him. A prodigy if there ever was one, this kid started out in the big times by getting sucked into Curved Air at the ripe old age of 17 replacing Daryl Way. Eddie was already an excellent classically trained violinist and stringer (cello, viola) and a piano player. He was trying to get accepted into the Royal Academy and they qualified him but he was too young at 16.

Curbed Air led to Roxy Music and he replaced both their violinist and Brian Eno on keys. His playing was amazing! Being a huge fan of Tony Banks, Wakeman, Emerson and others Jobson can easily hold his own with all of them. Just watching him play in UK and Jethro Tull on the A tour shows a young man who has amazing depth and talent. If you want to see an amazing bit you can find him with Tull in 1985 Jethro Tull performing Bach Double Violin Concerto with Ian Anderson on flute. He plays both keys and violin and has the entire movement on sheet music right there. His Roxy Music days took him to the States and he met Zappa in LA during a show and Zappa jammed with him in a dressing room and then drug him onto the stage with no rehearsal and he was able to perform as if he had been part of the band.

All this being said I have not heard anything he played on that I didn't like. This album was long due and it is amazing all the way through. He sings vocals on this album as well. The textures and variety of the songs is great. His playing is top notch. I would have loved to see him play live on these songs or in UK. Excellent musician! I was blind not to have noticed him before.

 Nachtfalter by SCHICKERT, GÜNTER album cover Studio Album, 2019
4.00 | 10 ratings

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Nachtfalter
Günter Schickert Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

4 stars As I get older I seem to be drawn to music that is instrumental with experimental guitars and lots of beats like SONAR with David Torn and Stephan Thelen solo, I mean these inventive guitarists just blow my mind. Gunter Schickert is a pioneer when it comes t the echo guitar along with Achim Reichel but most compare Gunter's style to Manuel Gottsching from ASH RA TEMPEL. Both Manuel and Gunter were good friends of Klause Schulze in fact Gunter played live with him many times and recorded an album with Klause in 1975 I believe called "Home Sessions".

Gunter was also the leader of a Krautrock band called GAM and their masterpiece "Eiszeit" was recorded in 1978. So I have five albums that Schickert is on that I consider indispensable. "Samtvogel" from '74, "Uberfallig" from '79 and "Kinder In Der Wildnis" from '83 all solo Gunter albums and GAM's "Eiszeit" from '78. A nice run and I'm adding this one as I'm so impressed.

This is headphone music without a doubt and while recorded much later than the other four I value greatly from him it fits in nicely with those. A duo with Gunter playing guitar and shellhorn and a drummer who adds synths. There is usually so much going on and so much depth it's hard to believe this is just a duo. The drummer Andreas Spechtl also mixed this record and it sounds amazing. Seven tracks over 44 1/2 minutes. While I see everywhere a 2019 release date for this record my legit cd has 2018 on the back so either it's a misprint or that is the year of release.

There is so much atmosphere on this recording and it's often quite powerful and while listed under Electronic it would also fit under Krautrock in my opinion. I used the word "inventive" a lot when describing this and I really do believe that Gunter is a genius when it comes to composing music. I just can't get enough of his stuff. Tough to pick just a top three but the opener "Nocturnus" with that incredible atmosphere to open things with. Later it's like the whole soundscape is pulsing. It turns dark late like the start to end it.

I think the final two tracks make my top three with "Light" at almost 10 minutes opening in an inventive way and heavy. The flavour changes slightly throughout. Otherworldly guitar expressions come and go behind the main guitar melody before 5 minutes. So cool. The closer "Reflection Of The Future" is 7 minutes long and dark to begin with and mysterious. This is where Gunter plays the shell horn and it's pretty cool. He's played conch in the past. Just a unique tune that changes half way through when the soundscape bounces before ending like it began.

I have to say "Wohin" is one unique sounding track with those guitar sounds bringing to mind slide guitar gone mental. So much going on, I'm dizzy. The most beautiful moment is on "Flugelschlag" just after a minute and quite majestic 9 minutes in. This is the longest song at over 10 1/2 minutes.

So I'd like to go higher than 4 stars but feel that's the right rating here, for now anyway. What a come back album! 4.5 stars.

 Strange Imperfection by MIRANDA, JAVIER album cover Studio Album, 2021
4.14 | 24 ratings

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Strange Imperfection
Javier Miranda Progressive Electronic

Review by memowakeman
Special Collaborator Honorary Collaborator

4 stars An excellent album!

Javier Miranda is a talented composer from Spain, whose music belongs to the prog electronic / ambient realm. Though he has been creating music since the 2010's decade, his first records were released until 2020's, including this one entitled 'Strange Imperfection', which features 9 compositions and a total time of 42 minutes of great and deep music.

It kicks-off with 'Opening', a short two-minute track which introduces us to his atmospheres, which can be dark and tense in moments, calm and clear in others. It leads to 'The Days of Our Lives', where synths opens spacey gates so he takes us to a cosmic trip. During nine minutes we can be mesmerized by its colorful sounds, by the variety of elements he introduces little by little because, though the rhythm could be repetitive, it is not plain thanks to those ever-changing elements. Then at minute three he puts some electric drums that contrast with the softness of those atmospheric synths, and then, his keyboards begin to make some kind of Tangerine Dream sounds, which can be related to some film scores. The intensity increases, you might even want to move your body at the music's rhythm, however the atmospheric bakcgroung is always present and will make you slow down your emotions a little bit.

'Swarm Days' has an interesting piano-oriented beginning, because it sounds both like a lullaby or like a horror movie soundtrack, and just like the previous song, the rhythm is repetitive and hypnotic, but never plain, he took advantage of his skills and likes to experiment and introduce new notes that produce new sounds and nuances. Important to say there are also guitar sounds here, not protagonist, but adding a new color to the already colorful synth palette. There is a change after minute six, so the music becomes quite ambient and atmospheric, like if you were walking over an unknown planet.

'Interlude' is another short piece that works as its title suggests; the spacey sounds prevail here, adding a bit of tension and uncertainty while the seconds pass. Then we have 'Keyholder' which is quite different from the previous tracks, here we have a constant fast tempo that take a little bit elements from the 80s electronic music from artists such as JMJ or even Kraftwerk. It is mesmerizing, you will be caught by its charm and want to dance a little bit, but don't forget you are actually in a trip through another planet or universe, so there is a moment where the music makes it clear with its spacey sounds. But... wait! Because there is rock music in the end of this track, Miranda challenges himself by introducing new elements and rhythms, so the result is quite surprising.

We are reaching the final part of the album, first with 'State of Mind' which has a stange combination haha, because it has a metronome sound which is a bit annoying to me, but at the same time a celestial chorus sound, which is quite beautiful to my ears. The song is developing, the intensity increases little by little until reaching a climax at minute four, when some drums appear, then it makes a major change and starts over with a whole new sound made by synthesizers, reminding me of Tangerine Dream once again. This might be my favorite track from this album.

It finishes with 'Ending' and yeah, the feeling it brings while listening to it is about goodbye. Somber piano notes at first that later are contrasted by subtle ones. And it just flows, like water.

I liked this album, it has been an interesting journey and I think Javier Miranda is quite talented, hope he keeps creating music this good.

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12 FOLLOWERS United States
6LA8 Pakistan
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ARC United Kingdom
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ARPANET United States
EDWARD ARTEMIEV Russia
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ASHRA Germany
ASTRAL TV Denmark
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AUBE Japan
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HARVEY BAINBRIDGE United Kingdom
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RICHARD BARBIERI United Kingdom
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PETER BAUMANN Germany
BEAR BONES LAY LOW Venezuela
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LISA BELLA DONNA United States
CARLOS BELTRÁN Mexico
LÁSZLÓ BENKÖ Hungary
PHILIPPE BESOMBES France
BETWEEN INTERVAL Sweden
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BIG ROBOT Norway
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TIM BLAKE France
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IAN BODDY United Kingdom
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ADAM CERTAMEN BOWNIK Poland
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FRANCESCO CURRÀ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
DEATHCOUNT IN SILICONE VALLEY United Kingdom
JEAN-MICHEL DESBOUIS France
DEUTSCHE WERTARBEIT Germany
NICOLAS DICK France
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
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DR. PHILTER BANX Canada
DR. SPACE'S ALIEN PLANET TRIP Denmark
HEINRICH DRESSEL Italy
DROKK United Kingdom
DSR LINES Belgium
WOLFGANG DÜREN Germany
DYNAMO SNACKBAR United Kingdom
E-MUSIKGRUPPE LUX OHR Finland
EARTHSTAR Multi-National
EDEN France
ELEKTRIKTUS Italy
ELICOIDE Italy
EMERALDS United States
J.D EMMANUEL United States
ENDGAME United Kingdom
ENDOPLASMIC FLOW Multi-National
BRIAN ENO United Kingdom
ENVENOMIST United States
ERIC G Sweden
EX OX Canada
EXPO 70 United States
EXTREMITIES United Kingdom
F.G EXPERIMENTAL LABORATORY Switzerland
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FARBFELDE United States
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FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
FHIEVEL Italy
FILTER-KAFFEE Germany
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