ECLECTIC PROG

Electric guitars, synthesizers, guitar synth, bass guitar, and percussion. That is what this album provides in spades, all generated by our two protagonists without any outside help. Let it be said here that if you're a fan of either Robert Fripp or Andy Summers (or both), I Advance Masked (recorded in September 1981 and May 1982) is a "must listen" as these performances find them in especially abstract, exploratory moods.

40+ years after its release, and rumors still persist that this is an ambient album (song titles, perhaps) when nothing could be further from the truth. Listen to the aggressive, driving title track, the speedy picking in the Eno-esque "China - Yellow Leader", and fast and furious songs like "New Marimba" and "Still Point". There are quieter moments, such as "Under Bridges of Silence" and "Girl on a Swing", but these are distinctly in the minority. Some will not care for the 1980s cliches such as the synth washes and electric sitar ("Hardy Country") used from time to time, but there is just too much going on to comfortably fit anyone's attempt to stereotype. Tracks such as "The Truth of Skies" and "Seven on Seven" have an almost unsettling "bizarreness" to them and keep this album from ever becoming dated. "Lakeland/Aquarelle" seems to be improvised, and "Stultified" closes with an emphatic gong.

For those who are wondering, Fripp is the dominant performer (especially on "In the Cloud Forest") on this recording in spite of Summers being first billed. Of course, in 1982 Summers had by far the most high-profile name in the marketplace, so that stands to reason. At the same time, I'm told he was going through a divorce at the time, so this album does not have the best of memories for him. Nevertheless, I Advance Masked is unequivocally a 4-star album, and the average listener should find it sonically closer to Ghost in the Machine than to Beat. I'll close by insisting that if the catchy yet atmospheric "Painting and Dance" had been released as a single, it would have been HUGE.

It's a great pity that the classic lineup of Van Der Graaf Generator didn't have more live material captured back in their 1970s heyday, but Real Time find the group fresh off the release of Present doing what they can to correct that, offering up an expansive collection of live treats from their back catalogue plus a few cuts from Present. There's no major surprises here - nothing from after World Record or prior to The Least We Can Do Is Wave To Each Other - which is perhaps to be expected since the album is intended to celebrate this lineup of the group, thos (In the) Black Room from Hammill's Chameleon In the Shadow of the Night is featured.

There's a bonus disc on the Japanese version (also found in the Interference Patterns boxed set, which compiles this and most of the other stuff VdGG have released since 2005) which includes a few more songs and a big chunk of tune-up improvisations aptly entitled Gibberish, but none of these seem that essential (and aren't from the same show as the main body of Real Time anyway).

In any edition, Real Time has its rough edges - we're looking at a group of people who hadn't performed live together for a good long time - but it's good that we got this before lineup changes saw the VdGG story change again.

1. In the Dead of Night tumbles, yes.... directly I feel the sounds of YES, chance or...not; the bass and John's voice reassures, no we are elsewhere; Bill imposes a syncopated rhythm while Allan begins to show the end of his guitar; well it smells like YES all the same, it smells like future SAGA for this snarling rhythm, it smells like the ephemeral U.K. group which at least had fun for a while; Allan starts with a solo in the style of AL DI MEOLA, suave, warm, jazzy, go to ZAPPA too, in short structured, invasive and very progressive; blood flows well 2. By the Light of Day continues, John's soft voice, Bill's crystalline percussion, Eddie's synths and his violin warm up the atmosphere, the sound... dark, captivating, the drums continue on the KING atmosphere CRIMSON; one moment you say to yourself it's really this mega group, it's going to continue; Eddie covers us with a flight of spatial notes 3. Presto Vivace and Reprise continues by changing tone, range; a whirling symphonic escapade which surfs on KING again, YES always for this keyboard; the voice on ASIA which will also be a mega group whatever people say; the tone always cheerful, Bill hammers his barrels and guides his acolytes on this fresh, modern title -

4. Thirty Years arrives, delicate synth arpeggio and guitar; Eddie gives John the opportunity to let his voice wander on a VANGELIS-style composition, astonishing; solemn air which seeks itself, vocal in the distance, a sound which seeks itself and which imprints on many other groups, entertaining to find the different imprints and disheartening not to find their own style; mid-term reminiscence of ZAPPA on an adventurous jazz-prog gradient; Allan shows his multi-functional touch moving from jazz to pop on a singular digression; John takes the reins and leads back towards the Crimson King, cautiously while Eddie delivers one last soaring tune 5. Alaska for this intro which made me think of 'Careful' by SAGA; interesting to know if Gilmour didn't find some agreements there, in short; the dark, icy intro, easy play on words, very good progressive moment with vibrations and musical mystery, bam the delicate jazzy keyboard hits the ear, we're definitely going for ELP here, well, that's what my ear tells me, just before introducing 6. Time to Kill for perhaps the title that suits them best; mixture of sounds and digressions throughout, consensual for those who read me; and then bam break like MANFRED MANN'S EARTH BAND did so well, break coming from nowhere; the synth is overtaken by Eddie's violin looking towards the SOLSTICE finally the opposite you will understand; a superb moment in the lineage of a prog which aims to be very popular 7. Nevermore and its typical Andalusian intro, muffled and its violin slurry bringing the common vocal, ASIA not far away; one might believe but no one undergoes the progressive approach to the limit of improvisation; the musicians give it their all to create a unique sound, a slow progressive drift off the beaten track in the end; the air takes the turn of the second varied break, with the improvisation recalling what KING CRIMSON had been able to do; the musical climate is held by Bill and Eddie above all and Allan sprinkles the title with brilliant notes 8. Mental Medication for the dithyrambic finale or the musical crucible; a title based on prog rock-jazz-fusion, the second third between a KING CRIMSON, a Michel PETRUCCIANI accompanied by his sidekick Didier LOCKWOOD and a PORCUPINE TREE without violin; de facto fusional and avant-garde group. (3.5)

In the year 1978 SBB got a lot of praise during their tour in Scandinavia. After a 3-month break in the spring of 1979 the band played in Poland, Germany and then returned to Scandinavia, to Esjberg (the longest North Sea Port) in Denmark, at a local hotel, the relaxed setting was a real boost for the musicians. After a classic set of pieces in the first part, they filled the second set with improvisations, including a short one by a technician from the band on the Polymoog! The line-up was Józef Skrzek (vocals and synthesizers), Apostolis Antymos (guitars) and Jerzy Piotrowski (drums). These recordings on two CD's are from May 1st, 1979 in Esbjerg, Denmark (total running time 97:29).

On CD-1 you can hear that in 1979 the band has turned into a tight and experienced unit, due to extensive touring. Jozef Skrzek surrounded himself with a wide range of keyboards and synthesizers, inspired by Keith Emerson. On several tracks he delivers exciting work on the Minimoog with sensational use of the pitchbend, especially in Walkin' Around The Stormy Bay and Mountain Melody, apart from delicate play on soaring strings and the distinctive electric piano. The composition 3rd Reanimation contains a catchy mid-tempo, with a dynamic rhythm-section, strong interplay, and a long and fiery guitar solo, finally a mellow atmosphere featuring soaring strings and spacy sounds. And Loneliness - Theme delivers a slow rhythm, with soaring strings, and a moving electric guitar solo with howling runs. The final track Improv: Esbjerg Run showcases the awesome interplay from the trio, in a swinging rhythm with a funky sound, embellished with fiery guitar, dynamic drums and bombastic synthesizer layers, the crowd loves it!

CD-2 features 7 improvisations, I am pleasantly surprised that it is not too freaky or too experimental, and it showcases the varied sound of the band, from electronic or soaring strings with tender guitar, to a funky rhythm or rock guitar.

My rating: 3,5 star.

In 1978 SBB had never before been so many days on the road, just ahead of Christmas the band did gigs in Germany (the Follow My Dream tour), now released as a 2-CD entitled Live Cuts Köln 1978. The line-up is Józef Skrzek (vocals and synthesizer), Apostolis Antymos (guitar and drums) and Jerzy Piotrowski (drums). Incredible, how unique this bands sounds, almost epitomizing the eclectic approach within progressive rock, so adventurous, creative and daring. On stage SBB were even more eclectic, surely during their improvisations. The one moment spacy synthesizer flights with soaring strings, or sensational pitchbend driven Minimoog soli (Mountain Melody and Chimery II) like Jan Hammer from Mahavishnu Orchestra. The other moment swinging rhythm guitar with fiery bluesrock like Eric Clapton (in Improv: Przy Okazji), or a long drum solo (in Drums-Battle). And even a beautiful version of Silent Night (Cicha Noc), indeed, Christmas time. The long composition Improv: Snow And Rhine features SBB in its full splendor on stage (and why SBB was named the Silesian Blues Band) : first a swirling mouth-organ solo, then a funky rhythm-guitar and growling bass followed by a fat synthesizer solo with pitchbend, and finally a fiery rock guitar solo, wow, what an unique and adventurous sound, by excellent musicians!

My rating: 3,5 star.

This is quite the progressive project, combining some serious global talent, namely Fearful Symmetry's guitarist Suzie James from the UK, Canada's Mike Jobborn on keyboards, Americans Mark Cook on Warr guitar and bass, drummers Paul Sears and Bill Bachman and finally Gayle Ellett showing his mellotron skills among other ivories. The material is all instrumental and focuses clearly on complex evolutions of experimental progression, and certainly not aimed for the faint of heart or the dancing disco bunny glitterati. The delivery is intense, demanding attention from the audience that must concentrate on the sounds and imagining whatever individual emotions that make come of them, a typical modern prog adventure.

The sprawling 12 minute 'Infinite Names' is a scorching slice of futuristic expanse, proposing a mind-numbing gurgle of synthesized substance, on which guitarist Mark Cook gets to channel his nasty Warr guitar with some lethal oblique runs in apparent controlled exuberance. The apocalyptic disposition shifts into a subdued electronics drenched segment that sets up a bluesier fretboard foray, with a laid-back beat and some delirious soloing from the crisscrossing of Suzy James' fluid guitar and the intrusive Warr beast. Another wave of sonic serenity is the perfect set-up for the audience to settle in and get comfortably numb. The finale rekindles the finer moments of the Robert Fripp-Andy Summers collaboration back in the early 80s. 'The Progbient' has all the musical ingredients in its title, an ominously fluttering soundscape that infuses a supremely funky e-piano played by Jobborn with gusto, an upbeat diversion that has immediate impact qualities that cannot be ignored, laced with subtle mellotron washes. The moody perspective of 'Initiate Protocol 7' recalls the kind of soundtrack one would hear in some strange sci-fi movie where cowboys and aliens would meet on some forgotten mesa, the dual guitar work showcasing the two sides, little dabs of flute from Suzy adding flair to the effort and some foundational e-piano, a hallmark feature on a multitude of tracks (love that instrument!).

Veering towards more orchestral string arrangement expanses at first, 'Signal Transactions' travels into adventurous playfulness, once again led by the combination bass, e-piano and choppy guitars, with James flipping a seductive bluesy solo into the mix. The business gestures are confirmed with some amazing classical violin arrays that help the sun settle on the horizon. Speaking of which, the colossal album centrepiece 'Silence from the Storm' (it will get a HOI mix at the end, totalling over 20 minutes for the two) is without any hesitation the 'piece de resistance', a cinematic voyage in one's imagination, a fully anchored progressive rock manoeuvre with Suzy's rolling bass , Paul Sears (the Muffins) on the drum kit , James and Cook dueling once again with their respective stringed weapons of mass entertainment, while Mike and Gayle lay down torrents of organ and synths. The themes are actually complex yet thoroughly enjoyable, with elevated melodic content, a pre-requisite for enjoying this style of instrumental mayhem. This is a crowning achievement track that should garner massive applause from the prog community, as it has all the goods!

Some fascinating 'americana' with the intriguing 'The Last Words of Dutch Schultz' (a famous New York mobster, assassinated by two Murder Inc hitmen, in a restaurant). A musical whirlpool of eerie keyboards, flickering Moog from Ellett and more growling e-piano, topped off by some sweeter electric guitar flurries, set in a retro-futuristic setting as would befit the storyline. A sombre finale closes the mortuary. Dutch Schultz's final words were: 'A boy has never wept'nor dashed a thousand kim. You can play jacks, and girls do that with a soft ball and do tricks with it. Oh, oh, dog Biscuit, and when he is happy, he doesn't get snappy'. Delirium or poetry?

I have been a huge fan of Mark Cook's playing, having latched on early to both his Herd of Instinct albums as well as Spoke of Shadows, and of course collaborating with the mighty Djam Karet. On 'Terminus', this gifted multi- instrumentalist gets to whip out his whole arsenal of devices, namely his trusted Warr, fretless guitar, fretless bass, electric piano, tamboura and soundscapes. Gayle adds mellotron, Mike plays the piano and synth, and Suzy operates her guitar. It's a kaleidoscope of glittering mirrored sounds emanating from every pore of the participating musicians and is a joy to behold.

As mentioned earlier, the album finishes off with a Herd of Instinct remix of 'Silence from the Storm', with drummer Bill Bachman manning the drums, and James adding some pulsating bass to the mix. The first one was a masterpiece, this is its close cousin, with same blood, same sweat, and identical enjoyment. A fascinating recording which will enthuse the most discriminating fan and most assuredly the prog musician community as well, as this is quite a mammoth experiment in aural splendour. Do yourself a favour and get this into your collection as soon as possible.

5 theories

Recently I?ve seen Ron Geesin performing Atom Heart Mother live with the Italian cover band Pink Floyd Legend. This is why I've gone back to his old stuff. After his debut album which was totally crazy and barely listenable, this time is totally different: there are still parts of concrete music, but it's essentially a progressive electronic/experimental collection of short tracks.

Who said that progressive electronic has to consist of tracks longer than 20 minutes? Geesin condensed his ideas into 19 very short tracks, none of them reaching 3 minutes of duration.

To give you an idea: try to imagine the Tangerine Dream of the Pink period shrunk into 2 minutes tracks with the addition of concrete music, sometimes in background, sometimes in foreground.

Tracks like "Syncopot" and "Bottling Plant" are quite reminding of "The Body", the soundtrack realised with Roger Waters in 1970. Thinking a bit, it looks like Geesin has decided to dedicate each of his albums to a single "instrument". A Raise of Eyebrows was all based on human voice, this one is based on Synths and Moog, instead.

Originally it should have been intended as just a collection of sounds useable for movie soundtracks, and this is evident in the sudden end of some tracks, but the whole has a sort of internal consistency.

For whoever likes psychedelia and electronics.

This review is about giving this album an evaluation song by song, and pointing the qualities of the vocal harmonies. My CD edition is from japanese Belle Antique. It's the only edition I've heard, and I can assure they did a great job. It has four bonus tracks. I'd rather prefer they were excluded, because their recording is awful. I wasn't able to discover the instruments of the string section and the wind instruments. My booklet is in japanese, and the sources I usually consult don't give those informations.

I really enjoy the bands that work hard on vocal harmonies. An elaborate and complex singing turns this aspect in another (or other) instrument(s). This album is a fine example.

On first track, the execution on instruments begins solid, and the use of strings brings a pompous air to its background's composition. Some arrangements of these instruments are particularly splendid, and not just a complement to the harmonies. They're part of its structure, specially of the sounds that constitute its second plan.

On next track the beat slows down a little. Guitar, that previously began and remained sharp most of the time, now makes some rhythmic intertwins, but also delivers some solos. Chords bring some lyricism to the song; without taking off the space for the strength of the percussion and the wind instruments.

The opening of third track is ravishing. The guitar/synth is remarkable. The markings of the cymbals and bass drums are firm and clear. The range of vocals become more penetrating. It's almost a rock song, but the variety of tones, hues, the drum fills and the subtle changes of arrangements give a colorful richness to the composition.

A georgeous and charming tune on acoustic guitar is performed on next track. Singer adopts a more melancholic tone, but without becoming too "candy". He gradually increases the treble with coherence and extent. Chords and wind section once again grants richness to the composition, making it step by step this time. The guitar solo that closes this song is brilliant.

A quite simple tune carries 5th track until the end of its first third. From this point foreward, the execution improves, but not enough to mantain the high level of the disc until now. Anyway, it's also a good audition.

Next track begins with a consistent blend of moog, guitar, drums, and an outstanding bass. A rhythmic guitar, with a guitar solo on its background, gives an elegant dramaticity that duets with the vocals. The chord arrangement on the middle of the song initiates out of context, but briefly it finds itself. Beyond that, they grow up with an immersive pace. It's a pity that this track ends somewhat abruptly.

The diversity of rythyms, pace, combination of arrangements and instrumentation probably makes the 7th track the most inventive and complex of the disc. Amazing.

In compensation, the contiguous track is the most simple of this opus. It even gets somewhat repetitive before it ends. Vocals are nice.

Instrumentation is prosperous and genuinely inspired on last track, mainly on the two first thirds of its extention. Chords, drums, vocals, acoustic guitar are very intense. Sometimes they exchange to a more melancholic, yet pleasent, performance. And it switches with a splendid guitar riff plus criative drumming.

4.2 stars on a total of five.

This is a UK live performance recorded 2013, released on video only in Japan in 2015, and now is available worldwide. The new release is remastered. Compared to the original release, it is missing Marco's drum solo and the encore, "Waiting for You". Both "U.K." and "Danger Money" are played in their entire original album sequence. A three disc affair... Blu-ray, DVD, and Blu-ray audio. Included is a seven page booklet and Eddie writes his thoughts/memories about each song. Now I know Bruford's first lyric writing was "Mental Medication". Marco and Alex add a different vibe to the music. Marco is a stronger rock drummer than Bill, and he shows that on "The Only Thing She Needs", my favorite track... the band is on fire, tight, locked into a great groove (during the instrumental part) that is jaw dropping. Killer violin solo from Eddie and Alex adds some extra tasty chops. John's voice is strong through the entire show and his bass playing is solid.

As for the mix. It's muddy and low end heavy. I would like to compare this to the original mix. Is it an improvement? Definitely removing Marco's solo can't be an improvement. The songwriting credits on the back of this release are incorrect, not giving Holdsworth his dues for two songs. That is criminal to me.

Anyway, this is a priceless footage of two classic albums and a must have for fans.

When I First Listened To This Album, I Didn't Think Much Of It As It's Quite An Obscure Prog Rock Album. But Over The More I've Heard It It Started To Grow On Me A Lot Throughout These Past Months & It's Slowly Become One Of My Favourite Albums Of All Time, In The Top Ten For Sure.

This Album Starts Off Slow With A Song Called Flying Which Is Like A Pink Floydish Kind Of Composition. The Next Song Is Probably The Most Obscure As I've Mentioned Before. Carnival Is Like A Quirky, Funky Rocking Track That Some Listeners Might Find Very Weird But I Love It, Some Great Drumming & Keyboards On This.

Then We Get Continental Laid-Back-Breakers Which Has Some Hints If Country/Bluegrass Feel To It. What I Really Dig About This Is The Chord Progressions & Lead Guitar Work On This Song. A Lot Of Great Fast Paced Guitar Soloing & Some Short Melodic Acoustic Guitar Progressions That Fit Really Well.

Next We Get Kool Sailer & Fools Which Would Be My Second Favourite Song On The Album. The Intro Has A Really Nice Start To It Like A Laid Back Start & Then It Goes Into This Catchy, Funky & Rock Like Verse That Is Great To Nod To. Also The Vocals On Here Are The Best Out Of The Six Songs On The Album.

Bird's & Nessy's Is Pretty Obviously My Favourite Composition On Here. A Nearly Seventeen Minute Long Epic With Some Beautiful Playing From The Musicians Which Is Great From Start To Finish.

The Album Ends With A Tropical Slow Ballad Like Song Called Song For Lady Violeta Which Really Jazzy Improvisation & It Finishes The Album Beautifully.

Overall, This I Recommend. It May Not Be What Prog Rock Listeners Are Expecting With It Having Strange Odd Moments On Here, But It's A Great Album That Has Touches Of Country, Funk, Jazz & Fusion.