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PROGRESSIVE ELECTRONIC

A Progressive Rock Sub-genre


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Progressive Electronic definition

Born in the late 60's after the expansion of avant-gardist, modern, post-modern and minimalist experimentation, the progressive electronic movement immediately guides us into a musical adventure around technologies and new possibilities for composition. As an author or a searcher, the musician often creates his own modules and electronic combinations, deciding his own artistic and musical action. The visionary works of Stockhausen, Subotnick, John Cage ("concrete" music, electro-acoustic experimentation), La Monte Young, Steve Reich, Terry Riley (minimal, micro-tonal music) express a vision of total reconstruction in the current musical world. Luminous works such as "A Rainbow in Curved Air" (1967) and "Silver Apples of the Moon" (1967) bring an inflexion on opened forms and new ways to explore the essence and the physical aspects of sounds (through time and space). "Static" textures, collages & long running sounds, the power of technology previously exposed in ambitious classical works will have a major impact in "popular" electronic music.

After the artisan & innovative uses of magnetic tapes, feedback, microphones, etc., the instrumental synthesis, the elaboration of global sound forms and the psycho-acoustic interactions will be sublimated thanks to the launch of the analog synth. A great improvement happened in 1964 with the appearance of the first modular synthesiser (Moog). This material (or "invention") brings the answer to the technological aspirations of many musicians, mainly after the release of the popular "Switched on Bach" (Walter Carlos) and Mother Mallard's portable masterpiece (pieces composed between 1970-73).

At the beginning of popular essays in electronica, the pioneering technologies (in term of recording and sound transmission) will not be abandoned. For instance, "Tone Float" (1969) by Organisation (pre-Kraftwerk), "Zwei Osterei" & "Klopzeichen" (1969-70) by Kluster and "Irrlicht" (1972) by Klaus Schulze will carry on the domestication of the electric energy and the use of refined harmoniums, organs and echo machines. During the 70's decade, European groups & musicians such as Eno, Kraftwerk and Tangerine Dream will make their name in the music industry thanks to an abundant use of analog synthesisers and original electronic combinations. After weird, mysterious experimentation on conventional acoustic & electric instruments, Kraftwerk enjoyed huge success in popular music thanks to "mechanical electronic pop music". "Trans Europe Express" (1977) and "The Man Machine" (1978) figure as two commercial classics. The German spacey electronic scene launched by Tangerine Dream with their outstanding "Alpha Centauri" (1971) and Cluster "I" & "II" (1971-72) will have echoes everywhere, starting from the Berlin underground electronic scene (the Berlin School) with Klaus Schulze ("Timewind" 1974), Michael Hoenig ("Departure from the Northern Wasteland" 1978), Ashra ("New Age of Earth" 1976), Conrad Schnitzler's buzz-drones and repetitive electronics ("Zug", "Blau", Gold" 1972-74) . After several innovations always from Germany we notice the dark, doomy atmospheric manifests of Nekropolis (Peter Frohmader) in "Le culte des Goules" (1981), Asmus Tietchens in his colourful and engaged "Biotop" (1981) and the semi-ambient "Hermeneutic Music" (1988) by Lars Troschen (sound sculptor and synthesist).

In France, the "hypnotic" and "propulsive" electronic essays of Heldon ("Electronic Guerrilla" 1974) and Lard Free ("Spiral Malax"1977) introduce an inclination for industrial, urban and post-modern sound projections. The French "avant gardist" Philippe Besombes takes back the inspiration of " concrete music" (Pierre Henry.) and mixes it to a hybrid rocking universe (published in 1973, "Libra" figures as a true classic). Bernard Xolotl in "Prophecy" (1981), "Procession" / "Last Wave" (1983), Zanov (Green Ray, 1976) and Didier Bocquet (Voyage cerebral, 1978) will follow the musical path anticipated by Klaus Schulze in his kosmische electronic symphonies.

At the end of the 70's until the debut of the 80's Albums as "ambient 1: Music for Airports" (Brian Eno), "Cluster & Eno", "Deluxe" (Hans Joachim Roedelius side project called Harmonia) will announce the emergence of the famous ambient movement, musically characterised by gorgeous shimmering atmospheric textures.

During the 80's, Maurizio Bianchi will be in search of the absolute industrial "post-nuclear" sound tapestry. His visionary musical experience is based on cyclical loops, abrasive concrete noises and vertiginous piano dreamscapes. ("Symphony for a Genocide" 1981 and recently the mesmerising "A.M.B Iehn Tale" 2005). Before M.B and the industrial-bruitist wave, the 70's Italian specialists of electronic experiments had been (among others) Francesco Cabiati (Mirage, 1979), Francesco Bucherri (Journey, 1979), and Francesco Messina for representative, lyrical and spacey orchestrations and also Futuro Antica (D'ai primitivi all'elettronica, 1980) or Telaio Magnetico (Live' 75) for tripped out minimalism.

In the early 1980s and after following the kosmische path of classic Klaus Schulze, The Bay Area / Los Angeles school of electronic created the so called "alchemical" / "Sacred" space music. The music offers a dynamic combination between ancient-traditional music of the West and synthesised sonic soundscapes. The most representative artists of this movement are Michael Stream (Lyra Sound Constellation, 1983) Robert Rich (Numena, 1987) and Steve Roach (Dreamtime Return, 1988).

In the early 80s Ian Boddy (Spirits, 1984 / Phoenix, 1986) and Mark Shreeve (Assassin, 1983 / Legion, 1984) unique spacedout synthesised sagas represented the british answer to the challenging Berlin kosmische school. Their music embodies timbral drone sequences, systematic arpeggiations and synth-pop textures.

Young contemporary bands and artists in electronic experimentation took their inspiration from the 70's "kosmische" analog synth psychedelica of Klaus Schulze, Conrad Schnitzler, Tangerine Dream, etc. In the spaced out synthesisers spectrum, modern Japanese artists as Yamazaki Maso (noisy avant garde experimentor who contributes to the Kawabata's projects named Andromelos, Christina 23 onna and Father Moo & the Black sheeps) or Takushi Yamazaki (Space Machine) are key figures. The minimal, moody / lysergic epic soundscapes of Omit (Clinton Williams), Cloudland Canyon, Astral social club or Zombi also contribute to the renewal of the "cosmic" synth genre. Many modern electronic artists have taken an original musical direction, surfing on post-krautrock ambient waves (Aethenor), on spherical "abstract" ambient minimalism (Pete Namlook, Biosphere, Robert Henke) or on trancey, (post) industrial drone hypnosis (Alio Die / Amon / Nimh for the italian side and Andrew Chalk with his respective projects Mirror, Monos and Ora).

To sum up things, the progressive electronic subgenre is dedicated to intricate, moving, cerebral, intrusive electronic experiences that get involved in "kosmische", dark ambient, (post) industrial, droning, surreal or impressionist soundscapes territories.

Philippe BLACHE


The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of
- Sheavy
- Meltdowner
- siLLy puPPy
- Rivertree


Progressive Electronic Top Albums


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

4.28 | 303 ratings
MIRAGE
Schulze, Klaus
4.25 | 915 ratings
RUBYCON
Tangerine Dream
4.22 | 283 ratings
TIMEWIND
Schulze, Klaus
4.17 | 790 ratings
PHAEDRA
Tangerine Dream
4.38 | 39 ratings
IN COURSE OF TIME
Zanov
4.17 | 154 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.67 | 16 ratings
DECONSECRATED AND PURE
Alio Die
4.42 | 24 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.17 | 73 ratings
AN ELECTRIC STORM
White Noise
4.37 | 25 ratings
THEY GROW LAYERS OF LIFE WITHIN
Alio Die
4.67 | 13 ratings
HONEYSUCKLE
Alio Die
4.17 | 58 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.07 | 186 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.22 | 39 ratings
CATCH WAVE
Kosugi, Takehisa
4.32 | 25 ratings
LONG LOST RELATIVES
Syrinx
4.02 | 472 ratings
FORCE MAJEURE
Tangerine Dream
4.23 | 34 ratings
TUSSILAGO FANFARA
Anna Sjalv Tredje
4.16 | 46 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.02 | 246 ratings
X
Schulze, Klaus
4.27 | 25 ratings
DISSOLVI
Hauschildt, Steve

Progressive Electronic overlooked and obscure gems albums new


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

SYNTHETIK 1
seesselberg
HATHOR
Wakhévitch, Igor
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico
TUSSILAGO FANFARA
Anna Sjalv Tredje

Latest Progressive Electronic Music Reviews


 Another Green World by ENO, BRIAN album cover Studio Album, 1975
3.98 | 324 ratings

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Another Green World
Brian Eno Progressive Electronic

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

4 stars BRIAN ENO left Roxy Music in 1973 after a couple of albums having grown tired of the limitations of rock stardom and had the desire to expand his horizons into more experimental musical ambitions however on his first two solo albums "Here Come The Warm Jets" and "Taking Tiger Mountain (By Strategy)" he still latched onto the glam rock sounds that made Roxy Music such a legend although ENO certainly reimagined them to his liking and in the process crafted two classic art pop albums that were highly influential. Indeed those albums sounded like nothing else the 70s had to offer and when it came to ENO's third solo release ANOTHER GREEN WORLD he was starting to shed the glam rock sounds of his early professional career and was heading more in the direction of where his collaboration with Robert Fripp on "Pussyfooting" was heading.

ANOTHER GREEN WORLD was released in September 1975 and basically served as a juncture where his previous glam rock leanings coexisted side by side with the ambient and electronic sounds that would emerge on the next album "Discreet Music" that would follow a few months later in December. The results gave ANOTHER GREEN WORLD a distinct unique hybridization effect unheard on any other ENO album and one that has gained a loyal cult following ever since for its innovative approach of incorporating aspects of progressive electronic sounds woven into catchy art pop compositions. Like the albums before, ENO solicited the help of a few friends. Robert Fripp joined in for three tracks, the most adventurous being the fiery guitar solos with his wimshurst guitar on "St. Elmo's Fire." Likewise Phil Collins from Genesis contributed to a few tracks as well as the Velvet Underground's John Cale. Several others were included as well.
 Added to that ENO employed his outsider views of how to craft new innovative sounds such as electric guitars played with mallets which were electronically modified to sound like castanets as well as crafting something called the Leslie piano which fed acoustic piano sounds through a Leslie speaker. Other innovations on the guitar meant that ANOTHER GREEN WORLD showcased some very unorthodox guitar sounds unlike anything else ever recorded. This album wasn't successful in the commercial world but impressed the insiders of the music world and has since then gone down as a classic of innovative art rock from the mid-70s. ENO was also busy after his Roxy Music days with numerous collaborations which included his most famous example with Robert Fripp in the form of "No Pussyfooting" as well as other with Kevin Ayers, Nico, Lady June and Phil Manzanera.

The year 1975 was a tough one for ENO when in January he was hit by a taxi and forced to spend some downtime at home but in the process discovered that a broken channel of his stereo led to new inspirations of how to manipulate sound dynamics. This led to his interest in ambient sounds which led to "Discreet Music" but also altered his perceptions on how to record ANOTHER GREEN WORLD. For the most part, ANOTHER GREEN WORLD consists of two distinct types of tracks. One style is the pure chilled out ambient tracks that directly points to his future releases and the others are sort of leftover from his art pop albums that preceded except that the vocals that are pretty much in the same style as "Tiger" and "Jets" are crafted over more electronic musical accompaniments rather than glam rock, however they still have enough rock elements to be classified as such. While many cite this as one of ENO's zenith performances, i don't quite find it to be so perfect. Due to the inconsistencies of random snippets of electronica appearing between the art pop tracks, the album has sort of a disjointed feel to it unlike the albums that came before and would soon emerge after. Not that any of the tracks are bad in any way but some of the electronic only performances are rather forgettable.

At this point ENO was a huge underground superstar behind the scenes in the music industry even if he wasn't exactly a household name. His unorthodox creativity made him quite sought after in the studio as a producer and beyond. He would continue to create highly innovative ambient albums alone and then with artists like Cluster, David Bowie and Phil Manzanera's 801. While i much prefer the glam rock albums that came before or the pure ambient ones soon to be released, there's no denying that ANOTHER GREEN WORLD is an excellent innovative slice of ambient pop with some of the most clever means of production. ENO was a master of crafting catchy tunes with a receptive bass line but exploring bizarre avant-garde arenas with the changing structures that layered over the simple rhythmic grooves. The most widely used word for his style of music that encompassed his first three albums is simply "quirky," and i can't think of a better description than that to sum it all up succinctly.

 How To Destroy Angels by COIL album cover Studio Album, 1992
2.72 | 8 ratings

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How To Destroy Angels
Coil Progressive Electronic

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

3 stars COIL's ambitious recording work ethic led to many tracks being rerecorded, remixed or completely reinterpreted over the years and one of the first of these collections of new inspirations emerged with the 1992 version of HOW TO DESTROY ANGELS only with the tagged on subtitle "(New Remixes and Recordings)" to distinguish it from the 1984 EP of the same name.

While the original EP only consisted of the 17 minute title track and the one second of silence at the end titled "Absolute Elsewhere," this remix album contains six tracks that reimagine the same track in various different ways. This album was the collaborative effort of COIL itself meaning John Balance and Peter Christopherson along with Steven Stapleton of Nurse With Wound.

Balance remixed "The Sleeper," "The Sleeper II" and "Tectonic Plates," Christopherson remixed "Remotely" and "Dismal Orb" and Stapleton remixed "How To Destroy Angels II." "Absolute Elsewhere" remained the same unmixed silence as on the original EP :D Generally speaking the tracks are so radically different from one another that's it's almost impossible to tell that they are indeed spawned from the same source.

HOW TO DESTROY ANGELS Remixes is an extremely dark and bleak journey through the deep darkened harshness that evokes the chilling sounds of some terrifying underworld. While it may be difficult to even call this music due to the incessant industrial droning effect and the wild and unpredictable synthesized sounds that simulate everything from beastly breathing to hydraulic systems having a very bad day, this collection of reinterpretations does hit the spot if you are seeking some of the most sadistic sounds possible.

This 1992 Remix album is almost always one of the lowest rated and under appreciated COIL releases when you gaze upon the lengthy canon list that spans four decades of releases and i can totally understand the reason for this. Firstly, there's relatively little to grasp on to and much less to relate to in any sense of musical structures or patterns. This one is all about freaky unnerving sounds that are designed to terrify.

For that it works quite well but even though COIL is one of my favorite artists of all time, i have to admit that i rarely play this one but when i do i am utterly in awe as this instantly makes me feel as if i'd been transported into a virtual reality set of an H.R. Giger scene from Necronomicon and although my desire to go there often rarely occurs, when i do have the urge to experience the bleakest existence possible in terms of sound then an album like HOW TO DESTROY ANGELS is exactly what Dr Evil ordered.

3.5 rounded down

 Mytologinen Duo: Golden Age by AIRAKSINEN, PEKKA album cover Studio Album, 1976
4.00 | 1 ratings

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Mytologinen Duo: Golden Age
Pekka Airaksinen Progressive Electronic

Review by Mortte

— First review of this album —
4 stars This album definitely is the rarest of very rare Pekka Airaksinen albums! It´s not even mentioned in Discogs, I found only picture of it´s cover in the internet, but for some reason it didn´t show in PA-pages. First time I heard this album even exists was from that great Works-box. Anyway Pekka started to make music only in keyboards in 1975. He recorded then his "Vitamins"-album, but it was released in 1997 as Cdr. In 1976 he formed "Mytologinen Duo" (=Mythological Duo) with Antero Helander and recorded this album and it become he´s only keyboard-base release of seventies. He continued make recordings, but all those released later. In this album he made compositions from some Egypt-pharaohs. Later he started project to make composition of each Buddha´s 1000 incarnations, but I didn´t know, did he finish it. It was so sad he was in Finland those times in the seventies. I believe he would have had at least some underground success for example in the UK, those were same times when Eno started to make his minimalistic experiments with keyboards.

In this album there are two versions for each pharaoh and the first is always made with piano & sax and second with synth & sax. The synth Pekka used is not mentioned, but it sounds VCS3 to me. In "Nut1" piano is playing two notes and insane sax joins into it. Next "Nut2" synth continues same theme Pekka starting to manipulate intresting sounds from his synth. In these both tracks atmosphere really is mythological. "Nut" comes after those and there are more synths. But in "Hehus" atmosphere changes melancholic and continue rest of the album. In "Hehut´s" there come rhythm that continues also in "Kehr´s". Both of these have second part that starts in very low synth sounds and change really weird sounding. A little bit varied theme continues in "Kehrhet" and part 2 of it is the wildest piece in this album. In box there is also additional, 17 minutes long "Afrodite" which I think was recorded from the same sessions. It has great sax & synth playing with many, interesting analog synth sounds.

I am not a big fan of keyboard-base music, so it´s little bit sad, Pekka never came back to his experiments with guitar. But as I have said in some earlier Pekka review, he really could make so interesting music with keyboards that also my interest lasts through all his albums I have. Also Pekka was interested to go forward all of his life, his last works he made with laptop. I believe this album would please all Eno-fans, who like his Airport-album. But also Tangerine Dream fans should check this out. It´s one of the most serene Pekka albums.

 Over There by SEQUENTIA LEGENDA album cover Studio Album, 2019
2.82 | 2 ratings

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Over There
Sequentia Legenda Progressive Electronic

Review by alainPP

3 stars SEQUENTIA LEGENDA is a concept, a project of a French keyboard instrumentalist who had to swim in the electronic music of the 70s listening KLAUS SCHULZE or TANGERINE DREAM. This musician out this month a true masterpiece of revival "Berlin Old School" with a tinted music sounds "master", but also with a creation, energy and atmospheric compositions and sequenced in fine style; it is simple, as there are the melodic lines of the albums that have flooded many prog music fans, as these new compositions exude a higher energy, more incisive rapidly put into a trance ... "as in the past."

For titles, "The Return" from a crystalline atmosphere of energetic material that transports you from nagging way to reverb sounds, it is both repetitive and crescendo, it is mostly purely enjoyable! In "Floating Time" the atmosphere is rather on the elements, on the waves, storm, water drops, it goes too, is mesmerizing at times, reminiscent of JM Jarre also and a battery that you force you into a trance if you do not have that; little background, in the days before, during the 70s, this music was used for fellows to "go" with music and drugs force! Now you only need a good channel or a soft helmet from far away on the filaments of a comet for example. So yes, a little one feels will say targeted as KLAUS SCHULZE; but what is good, a bit like when I listened to the "Sanctuary" of R.REED, it looks like Mr. OLDFIELD, but it is not !! Finally, "Mind Lake" still sounding title "Schulzian" with a darker atmosphere, it goes to the "Sorcerer" of TANGERINE DREAM early. Personally, this is my favorite track, perhaps a little short !!

I will say no more, this music is a pan full of progressive music, one of the four sides with metal and symphonic declination PROG (neo or crossover). I echo the words of a friend: "It is music that awakens his inner and transports you." It is not wrong at all, it is a singular moment is a dream now, you can listen far from the turpitude of the surrounding world, away from environmental stress, away from everything to also recharge a bit and rest his own ears! But the most important (as Jacques Mayol said in "The Big Blue"), it is a long personal journey to his own desires, the reason for my article where I do not dissect more specifically 3 titles!

 Cosmic Ground 5 by COSMIC GROUND album cover Studio Album, 2019
4.00 | 4 ratings

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Cosmic Ground 5
Cosmic Ground Progressive Electronic

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

4 stars Dirk Jan Müller, as his solo alter-ego project name Cosmic Ground, has been constantly honing and refining his atmospheric progressive-electronic works, moving far beyond the vintage Seventies `hero worship' imitation of his earliest releases. Whereas the previous disc `IV' showed the artist incorporating a ton of murkier and earthy Krautrock touches (something Müller's `day-job' band Electric Orange currently does so sublimely), 2019's `5' is a deep dive back into purer vintage Berlin School electronic compositions. With a perfect balance of rhythmic and sparse pieces, touches of trance, drone and dark ambient also creep in around the gloomier Seventies moods, and effortless tempo changes slyly infiltrate before you're even aware they've taken over.

Brief intro `Sludge' is a cavernous and foreboding drone that gives way to `Girls from Outer Space's trickles of bouncing and incessantly ticking sequencer patterns, where the lightest of punchier bursts bring a potent urgency around its backdrop of shimmering synth caresses. `Misery's spectral drone is constantly bathed in light to reveal hints of new life, and, after a blissful and cinematic soundtrack-like introduction, `Azimuth/Drowning' purrs with a slinking array of ever-evolving programming and bass pulses that create a highly lulling and hypnotic aura.

The hovering organ quivers of `Compact/Space' blends the early periods of both Klaus Schulze and Pink Floyd, and there's a stark unease to `Delusion's white-noise drones. But the best of the disc comes in the final thirty minutes, with `Operation: Echo's teeming sequencer ringings sinking deep into the background between near-subliminal reverberations, and there's a lurking and maddening repetitiveness to the subdued programming and darkly enveloping air of `Burn in Hell'.

Despite being a bit of a step away from the dustier Krautrock textures of `IV', this latest disc is full of a range of darker progressive-electronic styles in both vintage and modern trappings, and the variety, subtlety and confidence that Dirk displays throughout `5' makes it the definitive Cosmic Ground work to date.

Four and a half stars.

 Non Plus Ultra by E-MUSIKGRUPPE LUX OHR album cover Studio Album, 2020
4.00 | 1 ratings

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Non Plus Ultra
E-Musikgruppe Lux Ohr Progressive Electronic

Review by Matti
Prog Reviewer

— First review of this album —
4 stars E-Musikgruppe Lux Ohr is an all-Finnish group (despite their use of German language), founded in Turku in 2008. Their instrumental music is -- I'm citing the band page now -- "Space Rock and Space Ambient, highly influenced by 70's German electronics and other forms of progressive rock". Indeed, especially the Berlin school of electronic music is the guiding light for them, and the influences from e.g. TANGERINE DREAM (early years and the Virgin era) and KLAUS SCHULZE are very audible. This new release is a double vinyl consisting of eight tracks, two for each side. The album's launch party will be held at a planetarium near Turku this Saturday -- already sold-out, I heard.

I'm having a promotional CD copy in which the tracks are just slightly edited (from a few seconds to roughly a minute) in order to fit the music in 78 minutes, losing only about four minutes in total. I believe those careful edits don't affect negatively to my listening experience; in fact, I can be carried away by the music without the interruptions of changing the vinyl sides on the turntable. And this really is the kind of album which the listener can sink into completely. Functions best with lights off and with no other activities around!

The soundscapes throughout the album are basically pretty familiar from Tangerine Dream's classic albums such as Rubycon, Ricochet and Stratosfear, or Klaus Schulze's works. I find this no problematic at all, instead I daresay Lux Ohr improves on their influences and crafts each ideally measured piece to sonic and artistic perfection, in a way that honours the original era and the artists. Electric guitar is used too, and it gives more depth to the space rock sound. The beautifully worn-out sound of Mellotron's flute sample on 'Aus dem Kollaps geboren' makes me think of Tarkovsky's Stalker -- the film either had similar sounds in that certain poetic scene or it didn't, but hopefully you get my point. Which is that the listener forms his / her own inner images when listening to this music.

I don't feel it necessary to deal with the individual tracks separately. Most of them are packed with the magical power to transcend one into other worlds. If you wish to find spacey electronic music reminiscent of the classic Tangerine Dream, E-Musikgruppe Lux Ohr is definitely the best you can get these days.

 Solid State Survivor by YELLOW MAGIC ORCHESTRA album cover Studio Album, 1979
3.13 | 38 ratings

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Solid State Survivor
Yellow Magic Orchestra Progressive Electronic

Review by Menswear
Prog Reviewer

5 stars Fresh!

With the return of synth-wave, also known as chillwave or vapourwave, we are drowning in keyboard nostalgia. I'm not the one who will complain because I embrace this style with open arms. As the grandfather of synthpop, YMO gaved us some thick and juicy songs with Solid State Survivor. While Kraftwerk (bless their hearts) is pioneering electronica, I never really cared for it; their bland and repetitive soups are quickly boring me. Okay, we get it. You're sad mannequins behind keyboards. On the other side, YMO is colorful, quirky, jumpy and surprisingly sunny. A more attractive approach, to me at least.

Feeling like a blend of The Cars, Kraftwerk, Daft Punk and DEVO, YMO were creative and full of textures. I'm frankly surprised this was made in 1979. I didn't believe it at first, checking on the Internets for more input. Wow!

A musical cartoon on record, for those who enjoy vintage mangas and electronic wizardry. Short but sweet.

 Ambient 1 - Music For Airports by ENO, BRIAN album cover Studio Album, 1978
3.64 | 198 ratings

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Ambient 1 - Music For Airports
Brian Eno Progressive Electronic

Review by Kempokid
Collaborator Prog Metal Team

4 stars It's undeniable that Brian Eno's Ambient 1 is an album that has garnered much attention and interest as the years have gone by, and how could it not with such a formidable reputation behind it? Being coined as one of the landmark ambient albums is quite the title to live up to, and especially intriguing with a genre as abstract as this, after all, what exact qualities would actually go into creating an amazingly regarded ambient album? Listening through this album makes me think that it's definitely partially how it can create a mood and be beautiful, all without ever being distracting in nature, alternatively, as Eno himself put it "Ignorable as it is interesting". While I definitely believe that this album's legacy is a large part of the acclaim it still gets to this day, I also definitely see the appeal in it, despite personally finding other ambient projects to be somewhat more engaging throughout.

The composition of each track on this album as a whole represents a very minimal sense of progression throughout, relatively short loops repeating for long periods of time as subtle changes are made in order to accompany the serene, beautiful atmosphere as a whole. These subtle changes are what really add that quality to the music where it is able to be intently listened to without feeling boring. 1/1 demonstrates this in the best way, the forefront being centred around a central, minimalistic piano melody that feels as if it loops around endlessly, with low droning permeating the majority of the track, creating an absolutely perfect atmosphere that's immersive without being attention grabbing, able to appeal to both those listening to this in the background, while having a lot to love when closely focusing on the smaller details. The most impressive thing about this track and why it stands out so clearly from most other ambient material is how it is one of the single most relaxing pieces of music I've come across, with such memorability despite being so minimalistic. The tracks that make use of what sounds like a choir Are also quite intriguing to me for being able to sound so grandiose and powerful with so little to work from. The looping feels far less obvious here as well, due to the primary melody being far less defined, providing a more hypnotic experience that I also enjoy quite a bit, even if I find it to end extremely abruptly whenever that particular track ends, breaking some of the immersion to some extent, along with overall sounding a bit hollow. I personally feel that this is an album that there really isn't much to talk about outside of what I've mentioned, as it follows a very similar sort of sound and approach throughout with the same core features, really nailing the beauty regardless.

I can definitely see both sides of the argument for and against this album, given how this is so pleasant and singular in its appraoch that it's quite easy to understand possible distaste people would have towards this, especially with the amount of more multifaceted ambient out there, even by Eno himself. That said, this very singular, cohesive approach allows the atmosphere and tone it sets to absolutely flourish and create a truly beautiful experience, even if it can feel a bit lacking at times in the process. Nonetheless, I believe that this is a worthwhile album to at least give a listen to once, especially if you're interested in ambient music, because no matter what way you look at it, this is an album that is considered an absolute landmark despite its shortcomings in areas, and I for one think that much of the praise it gets is deserved, as this is a wonderfully calming, beautiful album.

Verdict: An ambient classic that manages to make loops repeated ad nauseum a surprisingly compelling, lovely listen, especially with the amazing tone and atmosphere it has throughout, but definitely simplistic regardless.

 Samsa Trio: Samsa Trio by AIRAKSINEN, PEKKA album cover Studio Album, 1972
4.00 | 1 ratings

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Samsa Trio: Samsa Trio
Pekka Airaksinen Progressive Electronic

Review by Mortte

— First review of this album —
4 stars Pekka really went all of his life totally own way. In sixties/seventies it was really rare in Finland, that no-one made selfpublished records. Only independent label was Love Records and I believe it would have wanted to release at least legendary Pekka's Sperm-orchestra album Shhh-Hein'sirkat. Instead of that Pekka decided to release his records by his own 0-label. No idea, how many copies were pressed, but it's possible they all weren 't sold at their release time, because Pekka haven't ever been business man at all. Anyway they become very expensive collector's items and for recent years you haven't got any possibility for example listen this album anywhere. Luckily German Vinyl-On-Demand wanted to release all Pekka's seventies works in the same box, so I finally also got possibility to listen this very rare album. Samsa Trio-album came same year as Pekka's first solo 'One Point Music'. Samsa Trio was shortlived band, where former Sperm men Antero Helander & Mattijuhani Koponen joined with Pekka.

There are no recording details in this album, but I believe this has recorded live in Pekka's homestudio with few microphones. Recording quality is still quite good. Unlike Pekka's later albums, this is totally acoustic, fully instrumental and there is even no electric guitar. 'Kuun Alla' (= under the moon) starts album with Koponen playing tugging valse in piano. Pekka joins with freeform acoustic guitar playing, also soon Helander with sax. Helander's playing varies from soft to strong & very free. In the end of these piece Koponen plays very tingling back to the sax and Pekka changes guitar to maracas. Next 'Kiven Poiminta' (=picking the stone) is the only piece released after vinyl release in cd-compilation 'More Artic Hysteria'. Koponen plays in it even more tugging piano, Helander has changed to recorder & Pekka plays percussion & trombone same time. 'Kaislikko' (=bed of reeds) is the most freeform piece where musicians change instruments many times, there are at least cello, kantele, piano & sax. Last 'J'' Sulaa' (=ice melts) is the most rhythmic piece including strong percussive beat. In the end it changes more freeform, Helander starts to play piano passages, Pekka improvises with cello & Koponen changes recorder to percussions. In the end there is short, strong piece with cello & two saxes.

This album is almost same kind of masterpiece as Sperm-album & Pekka's first solo. It really brings in my mind the feelings of Finnish nature in the winternight. Music is really weird but interesting. There is not much acoustic stuff in Pekka's discography, I think there has come only 'Pagoda'-e.p under name Omar Williams & Pekka Airaksinen year after this album. That e.p. is also included in that 'Works 1968-1976'-box that is must to all Pekka-fans (who are not ready to pay for the original releases if they happend to be available). This album is highly recommended to all avantgarde-jazz -fans!

 Stillpoint by ROACH, STEVE album cover Studio Album, 2019
4.09 | 4 ratings

BUY
Stillpoint
Steve Roach Progressive Electronic

Review by admireArt
Prog Reviewer

4 stars Steve Roach - STILLPOINT (2019)

A heartfelt melancholic drive, What a WONDERFUL Art world it is.

Steve Roach' s STILLPOINT, brings back the sweet/beautifulness of Steve Roach's idiom back in place, where he , is hImself and where no one else dares to dwell. Nothing to brag about yet nothing to withhold.

(No COPY-CAT AS ALWAYS), thus furthering his electronic music drive of his own created language to new unsuspected meditative places, which he himself creates and has created. This release shows his inner quest for heartfelt beauty in his own music way of electronic music expression .

Feel feelings, and then feel again, the Progressive Electronic way of course!

Well my, PE´s' friends (lol), this aritst is more than alive, God SAVE THE KING!

****

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