MC: Liveloudandlumpy (8?), others

Supposedly weird electonics/acidrock.

privately released cassette (90), Els Nostres Petits Amics (94?)

Somewhat similar to Eris Pluvia, with more keyboard presence, plus hand drums, flutes and female vocalist.

Amazing Blondel (70), Evensong (70), Fantasia Lindum (71), England (72), Blondel (73), Mulgrave Street (74), Inspiration (75), Bad Dreams (76), Live in Tokyo (77), Live Abroad (96, recorded '73), Restoration (97)

English mostly acoustic group 1969-76. Middle-age renaissance guitar, organ and other instruments, multipart harmony vocals, etc., bordering on the prog movement in England at the time. Related to Gryphon. The musicians had earlier played rock and thus the music cannot be termed classical either. The group was released on Island just as any other rock group at the time. Among lots of famous guest musicians can be named Boz Burrell, Eddie Jobson, Steve Winwood and Mel Collins.

A mostly acoustic group which prided itself on its "Englishness." After settling on a lyrical mock-medieval sound that featured lutes, recorders and multipart harmony vocals, they produced for the Island label a string of 3 albums considered to be their finest before founding member John Gladwin left the group following the release of their England LP. By this time their sound had evolved to include elements of Elizabethan-era music. The group persisted as a duo, completing one fine additional album in a similar vein for Island (1973's Blondel) before moving to the DJM label where they assumed a more conventional rock/pop sound. While they have been compared to early Gryphon, their literate and original approach combining elements of times past has no peer. The original members reformed to record Restoration released in 1997 (HTD Records), an album which harkens back to their halcyon days. Familiar guest musicians on their albums include Steve Winwood, Jim Capaldi, Paul Rodgers, Mick Ralphs, Boz Burrell, Eddie Jobson and Mel Collins. -- Tom Greul

Snail Headed Victrolas (80), Ghost Tracks (83), Relativity (??)

Walter Holland's early eighties Floyd/Tangerine Dream duo, that was actually quite boring and unoriginal. Stick with his good solo material instead.

This was synthesist Walter Holland's first outfit, who is better known for his newer stuff like Relativity. There are 2 Amber Route albums I know of, Snail Headed Victrolas and Ghost Tracks from 80 and 83 respectively. both have one sidelong track, plus some shorter tracks. Mostly synths and electronics. Neither of these are really great, just sort of average.

Ambrosia (75), Somewhere I've Never Travelled (76), Life Beyond L.A. (78), One Eighty (80), Road Island (82)

Ambrosia began as two young boys from L.A., David Pack and Joe Puerta, who were eager to make an album. Apparently the top brass at 20th Century Records was impressed by the lads' enthusiasm, as no expense was spared in the making of their first album: author Kurt Vonnegut Jr. (!) wrote the lyrics to "Nice, Nice, Very Nice," a real Ukranian balalaika ensemble was flown in to play on "Time Waits For No One," they rented an antique Thai gong, etc. Alan Parsons, well-known for his work on Pink Floyd's Dark Side of the Moon, mixed this album. As a result, the production values are very high, and the music is, luckily for us, well-written and played. Especially notable are "Mama Frog," a wild synth-heavy freak out incorporating a reading from Lewis Carroll's "Jabberwocky," and "Drink Of Water," a grandiose piece with prominent pipe-organ. Sgt. Pepper's seems to be the most dominant influence, though the band were obviously conscious of what was going on in the world of prog. They also managed to squeeze a minor hit out of the album, "Holdin' On To Yesterday."
Somewhere I've Never Travelled attempted to out-do the first LP in every conceivable way, and succeeded gloriously. Especially "Cowboy Star" and "Danse With Me George." The former includes an over-the-top orchestrated section which sounds like Aaron Copland's score for a western film! The latter uses not only orchestrations, but also a variety of rare keyboard instruments (harpsichord, pianino) to recreate the sound of Chopin's time, yet also incorporates jazz, pop and rock. Whew! This way well be the most stylistically intricate album of all time, just listen to the amazing "The Brunt" if you don't believe me. Yet they also incorporate some straightforward melodic tunes like "Runnin' Away" and "Can't Let A Woman," even the subtle, folklike "Harvey." The two subsequent albums delved ever deeper into the world of commercial balladry, and from a progressive standpoint aren't worth much. Not surprisingly, they were infinitely more commercially successful than what had come before. Still, David Pack's earnest, likable voice makes even the most commercially geared songs ("Biggest Part Of Me" or "How Much I Feel" for example) listenable. Road Island finds them pursuing a heavier rock direction and is better. The two ballads "Endings" and "Feeling Alive Again" are more inspired than the ones on previous LPs, and "Ice Age" proves they've still got it where progressive rock is concerned. -- Mike Ohman

An underrated band whose first album is perhaps their best and as one of ranks the best debut albums. They feature excellent vocal harmonies excellant and musicianship.

Tend to be rather popish and many argue as to whether they truly fall within the genre of progressive rock

I have the first Ambrosia album. It contains their first (and only?) hit "Holdin' On To Yesterday." Their music is strongly keyboards and vocals.

American song based pop / rock group with some good arrangements that made some people label them as prog, or at least bordering on prog. Somewhere produced by Alan Parsons IMO their best effort.

Catalyse (70)

This album is surprisingly great and obviously influenced in some way by Allen and Gong. There are some long and spacey tracks that seem to jam forever.

Prog Quartet, formed from Daevid Allen's Bananamoon backing group.

[See Allen, Daevid]

Amenophis (83), You and I (87)

German symphonic band that put out two albums in the eighties. One, their self-titled monster album, that may easily be one of the best twenty symphonic progressive albums ever produced, and two their awfully commercial You And I an amazing example of how such a fine band went down hill!

Amenophis is a german outfit that existed two times in the 80's - the first self titled album contains four long and lush extended symphonic pieces, bright and subtle textures, lots of dynamics and bursts of melodic color, with excellent playing by all, my only gripe is the sound quality, the recording was all done on a single four track machine, so the sound quality is a little low-tech, but the power of the music more than makes up for it. The CD reissue contains five shorter bonus tracks. The group broke up and then reformed again around 86, with some original members and a lot of new ones, including two vocalists: Elke Moehrle and also-bassist Wolfgang Vollmuth. There's some very nice guitar and keyboard interplay, but it's more of a smorgasbord of styles; sometimes you'll hear a band reminiscent of Rousseau in their Square the Circle period, or a dark Marrilionesque cut, something like Curved Air in their pop period, a bluesy cut dropped in out of nowhere; about half the tracks are vocal, and it definitely lacks some of the cohesion the first album had.

German symphonic band with some hints of Yes. Amenophis is an excellent piece of work for a first album -- many bands never approach this level of maturity. Wonderfully melodic and complex, dynamic and beautiful. Features some great electric and acoustic guitar solos.

Amenophis was the debut release by the German progressive rock band, Amenophis, named for an Egyptian pharoah, and was originally released in 1983. The music is very lush, symphonic, prog rock, centred around melodic keyboards and guitars. At times the music could be compared to Epidaurus, but stretches further than that band, as exemplified by fast-paced acoustic guitar fills and lead guitar passages. The musicians are definitely very proficient in their various departments, and utilize their abilities to good effect. The vocals are very minimal, and the instrumental music dominates. The CD also contains 5 tracks that were not on the original LP issue, which were recorded at the same time. These tracks fall more into the synth-guitar category, and can be compared to groups such as SFF or Führs and Fröhling, at which level they are very listenable.

As opposed to East, here's what I consider a quality symphonic band. They aren't on the level of Yes or ELP but if you're looking for bands that fit into that sort of style, Amenophis may please you. The musicianship is tight, proficient and likeable. I'm a bit tired of the symphonic bands that keep popping up, but these guys are quite good. Worth a try.

Lexical Music (??)

Electronic.

AMM (1966), others

Very early influential avant garde electronics.

Amon Düül (69)

Read Audion #19 if you want the entire Amon Düül I - III scoop, and how all the different variations are related to each other. There's too much to go into here.

Psychedelic Underground (69), Collapsing (69), Para-Dieswarts (70), Disaster (71), Experimente (??)

The political faction of the late sixties Amon Düül clan, and the most obnoxious and weird of the two - AND the one that made the least impact musically.

Amon Düül was the name originally of one of the first musical/political communes in Berlin during the 1960's. They were part of the international anti-war movement as well as one of the earliest German experimental rock groups. There were 2 distinct musical camps embodied in the original Düül. One was free form psychedelia, the other more structured space rock. The music on the 5 albums ranged from electric free rock, to acoustic/free form excursions. It was in the tradition of free jazz, with an overwhelming primal rock beat and foreshadowed the chaos and energy that would later be condensed into the punk rock explosion.

I've only heard one album, the double LP Disaster. Obnoxious, cacophonous, repetitious walls of percussion provide the backdrop for uninspired guitar and bass solos. Seventy-two minutes of this is more than enough for anyone. The least listenable album since Lou Reed's Metal Machine Music, and that's no exaggeration! -- Mike Ohman

Phallus Dei (69), Yeti (70), Dance of the Lemmings (71), Carnival in Babylon (72), Wolf City (72), Vive La Trance (73), Hijack (74), Lemmingmania (75), Made In Germany (76), Live In London (73), Pyragony X (76), Almost Alive (77), Only Human (78), Vortex (81), BBC Live In Concert (92, recorded '73), Surrounded by the Bars (93), Nada Moonshine (95), Kobe (Reconstructions) (96, recorded '69-'71), Eternal Flashback (96, recorded '69-'71), Live in Tokyo (96)

One of the most influential German bands in the history of progressive music and maybe one of the most unclassifiable bands of all time. Mystifying, primal, shredding, groaning, cosmic, unearthly, complex - all at the same time. Try Yeti or Dance Of The Lemmings.

Well, Amon Düül II started off in the early seventies with some noisy German-electro-industrial kind of music, but later graduated to prog rock. Hi Jack, and Made In Germany are two LP's more representative of their prog rock phase.

This classic german band began in the late 60's as a commune, then split into two bands Amon Düül and Amon Düül II. They have a long history and went through many changes along the way. Their style in the early years was very spacy and free-form psychedelic, gradually becoming more progressive, then more accessible, then another split occurred and there was Amon Düül UK. Their best output is from the early to mid 70's period, and includes the albums Yeti, Dance of the Lemmings, Wolf City, Vive La Trance, Hijack and Made In Germany. After that they sort of went downhill. The albums before 1970 are more like free-form psychedelic nonsense, Carnival in Babylon is a real stinker. Wolf City is a good place to start, it's probably their most progressive album yet still has a lot of the good psychedelic spirit carried over from Yeti and Lemmings. There's also a great live album in there somewhere.

Amon Düül II is one of the classic German bands. I have four albums, which tend to fall into two groups. The first two represent a very free-form, experimental/drug-influenced era for the band. They are Yeti and Tanz der Lemmings and they are fantastic. There is a great deal of variety across each of these double albums, particularly the latter. There is acid-drenched guitar ala Ash Ra Tempel, heavy guitar riffs ala Hawkwind, loads of ethnic percussion, and dreamy experimentalism. It all sifts together to make a psychedelic exploration that carries you to far away places. You don't even realize you've been drifting along until you're set back on the ground. It's similar in vein to Popol Vuh, which is no wonder as they have shared members. A must hear for space fans. The other two albums come a few more years down the road. They are Vive le Trance and Made in Germany. The band takes a more song-oriented approach, though they aren't commercial in any way. With these albums there is definite rhythmic structure in the songs instead of the 18+ minute free-form excursions found on the earlier albums. There is still plenty of heavy guitar soloing typical of the German underground as well several dreamy or breezy sections to wrap your brain around. Both male and female vocals (with fairly thick German accents on the English vocals) are more prevalent, as well. Made in Germany is an attempt at a rock opera. The early part of the album doesn't work for me but after a couple of songs the texture and trademark guitar enters and the album improves. Overall, it's similar to Vive Le Trance though I'd rate it a notch below simply because of the few duff tracks. There are some rockin' tracks as well. Both are very good albums and worth an audition to see if they are suitable for your tastes. If you like lysergic experimentalism, start with Yeti and work your way forward. (Phallus Dei may also be worth your while though reportedly not as good.) If you prefer a little bit of structure to your music, start at Made in Germany or Vive Le Trance and work your way backward. Wolf City and Carnival in Babylon were released between the above four albums are said to be a cross between the two styles, as you might expect. They are generally highly regarded among Amon Düül II fans. -- Mike Taylor

Surrounded by the Bars contains remixed versions of the band's better songs from their classic early seventies period but have never appeared together on a compilation before. Furthermore, the original band members have reformed - temporarily at least - to record two brand new tracks (not three, like the insert says) for the occasion. Let's hope the reunion lasts, because the new tracks are quite good, although very unlike what the band had done before: "Surrounded By The Bars" is a modern take-off on one of their early tunes from Wolf City, sounding very techno-influenced and hard edged, with Renate's voice sounding better than ever. "Dance on Fire" is a harder rocking tune, a bit noisy, with unusual vocal interplay - yet it has all the earmarks of strangeness that made their early work so good. The remixed tunes include "Kanaan," "Archangel Thunderbird," "Wolf City" and "A Short Stop at the Transylvanian Brain Surgery" from the second side of Dance of the Lemmings. The remixes sound considerably cleaner than the original versions, with some real stereo separation and depth. Since this is the only CD compilation of early material available by AD2, this would be a very good place for the novice to get their feet wet - their unique and unusual music has to be experienced to be understiood - and this contains some of the best examples from the 69-74 period.

I could write novels about them, but I'll try to restrain myself. Led by singer/guitarist/violinist/sax player Chris Karrer, whose totally bizarre vocal style is quite indescribable, full of manic yodels and wild animal sounds. Other longtime members: lead guitarist John Weinzierl whose fiery playing is unequalled, female vocalist Renate Knaup whose vocal range is quite incredible, and keyboardist Falk Rogner who posesses a very original organ/synth style. The first album is quite strange, imagine Pink Floyd at their weirdest and it still isn't even remotely like this. The 20-minute title suite on Phallus Dei is one of the most incredible pieces of improvised music I've ever heard. Yeti is still weird, though they obviously are trying to be more accessible. The improvised side long title track isn't as good as "Phallus Dei," yet is much more cohesive than most such space-rock. Dance Of The Lemmings is an incredible double album. "Syntelman's March Of The Roaring 70's" is a four-part, 15-minute suite, which is the closest thing to "conventional" prog they've done so far, with lots of mellotron. The B-side, collectively entitled "Restless-skylinght-transistor-child", is some of the most varied and eccentric music they did so far. "A Short Stop At The Transsylvanian Brain-Surgery" is the best track. Side C is "The Marilyn-Monroe-Memorial- Church," one of the most diffuse and incoherent side-long improvs I've ever heard. The rest of the album consists of spacy instrumetnals with prominent hard-rock guitar. With this album begins their "classic" period, Carnival In Babylon, Wolf City and Vive La Trance. You can't go wrong with any of these. Vive La Trance becomes slightly more song-orientated, a tendency which was to continue for subsequent albums. The live album which followed drew exclusively from Yeti and Dance of the Lemmings. Many of the tracks are ruthlessly edited, which makes it a big disappointment, a double live LP would have served them better. Hijack was the first turning point for the band. They were trying to gain a wider audience without compromising their sound. It's more conventionally progressive overall than previous albums, but the dark, murky tone that pervades the whole album immediately sets it apart. High point is the weird, percussive instrumental "Da Guadeloop," which most closely resembles Can. Made In Germany was originally released as a double LP, but was trimmed to a single for British and US release. I haven't heard the full-length version, nor do I know anyone who has. Made in Germany is the closest they've got to mainstream commercial yet, but is still very listenable and progressive; the bottom hasn't yet fallen out.
Pyragony X followed a drastic lineup shift, thus the sound changed, and not for the better. There are traces of the great band they once used to be, but the LP is dominated by new members Stefan Zauner and Klaus Ebert, whose styles are too commercial and poppy to fit in to the style well. It wasn't really a bad album, but is very difficult to enthuse oneself over. Almost Alive is supposed to be slightly better, but Only Human is the inevitable commercial sell-out fans have been dreading. Pop, straight rock, and even disco are exploited here, with no success at all. Not surprisingly, the band broke up afterwards.
Vortex is a reunion of Karrer, Knaup and drummer Danny Fichelscher, and one in which all parties involved can actually be proud of what they accomplished. Carrying on in the style of Vive La Trance, it's as though the band had never broke up. A must for fans. -- Mike Ohman

[See Gila | Hawkwind | Niagara | Popol Vuh | Sameti | Utopia (Germany) | Zauner, Stefan]

Hawk Meets Penguin (81), Meetings With Menmachines (??), Airs On A Shoestring (87), Die Lösung (90), Fool Moon (90)

This incarnation of Düül was formed by guitarist John Weinzerl and original bassist Dave Anderson in Wales circa 1980, and features Guy Evans of VDGG fame. Two albums were recorded at that time (Hawk Meets Penguin and Meetings With Menmachines) before Weinzerl went back to ADII in time to record Vortex in 81. This group has gotten back together off and on thru the 80's and recorded several albums, the latest of which is Fool Moon, and supposedly comes close to capturing the original spirit of ADII circa Carnival and Lemmings.

[See Amon Düül II | Hawkwind | Ozric Tentacles]

First Key (73)

Organ/Mellotron prog.

Heaven On Earth (84), Wer Well (85), Theatre (88)

One of the very few German symphonic bands that sang in their own language, Anabis were one of those early eighties bands that owed much to Genesis and Eloy in their symphonic period) and were a band that went from good to mediocre. On Wer Will they produced a very good symphonic album in the German language, and their second Heaven On Earth was sung in English and was a poor follow-up. Their third is supposedly very dull.

Anabis released three albums between 1984 and 1988; Heaven On Earth was a fairly strong debut, with powerful dynamics, lots of melodic color, and some strong yet delicate acoustic-electric guitar interplay with lush keyboards and flute, whose 4 long cuts seemed like an endless web of sonic changes, much like mid-period Grobschnitt. Yet every now and then there's an out-of-place outburst of mainstream sounding rock, and the singer's voice which gets a little annoying at times, although fans of the Marillion sound may like it. The second album Wer Will was a big improvement over the first, more cohesive and inventive. Theatre, the last album, was a little more direct and accesible, while still remaining very creative and colorful, with some changes in instrumentation, especially on the 15 minute title track. It definitely shows the band in a more comfortable setting doing what they do best. In some ways this one is their most original. What happened to 'em?

Anacruza (??), II (??), III (??), Fuerza (82), El Sacrificio (??)

Argentine band that lived and recorded in France.

Analogy (72)

Though the band is listed as an Italian band, they are really Swiss folks who transplanted themselves to Italy, I assume, to cash in on the more fertile progressive scene. Even though they are German, the music is much closer in style to the symphonic Nederlander band, Earth and Fire. The are lovely tenor (occasionally soprano) female vocals, with plenty of bluesy Hammond organ (no synth) and searing guitar. Some flute here and there is added to round it out. Songs range between four and nine minutes, the title track being the longest. The music is a somewhat darkish, symphonic sound. If you're into Earth and Fire, this band is similar in style and one you would probably like, as well. Well worth a listen. -- Mike Taylor

Palimpseste (86)

Excellent jamming jazz rock album with zeuhl touches.

Visions Of A Peaceful Planet (80), Natural Rhythms (81), Quiet Fire (86), Dreamchaser (88)

These guys are probably better known for the new-agey crap they've been releasing on the Narada label since the mid-80's. Their early 80's albums are more world influenced, with sitars, tablas and flutes and such. Their finest moment is clearly Natural Rhythms from 1981, where an entire side the album is improvisation between the "natural" music of Indonesian and Californian tree frogs and the band, recorded on location in Bali and in the woods of northern California.

The Ancient Veil (95)

The Ancient Veil is a guitars/vocals and flutes/saxophones duo. While most tracks on their self-titled album are based on the combination of acoustic guitar, various flutes and vocals (in English), the arrangements tend to vary, thanks to the contribution of numerous guests on violins, oboe, clarinet, percussions, bass, choir, piano, etc. As a rule though, the sound remains light, natural and essentially acoustic. The result is a very delicate and melodic music with strong folk, jazz and classical roots. Rock elements are then practically absent. -- Paul Charbonneau

[See Eris Pluvia]

The Vision (91)

Ancient Vision is a five piece from Kansas City, playing a symphonic rock style which reminds me a little bit of some of the mid-70s Italian bands infused with a healthy dose of some of the stylings of the Moody Blues or early King Crimson. Occasionally a Marillion type reference pops up, but rarely, mostly these guys have a sound that pre-dates the 80's.

Feelin' Alright (72), The Eagle Flies (73)

Andromeda (69)

Andromeda, a London based power trio, recorded just one solitary lp issued in the UK only on RCA in 1969. This is now an extremely rare item. Helping to bridge, as it does, the gap between psychedelic pop and all out heavy progressive metal the album is a real period piece. Some hail it as a masterpiece. I however prefer the superior bludgeon power of Toad, Horse or, say, Tear Gas. Leader and guitarist John Cann later helped for Atomic Roosters who scored successfully with several lp's and a genuine "hit" single "Devils Answer." Interesting footnote: My wife when she was barely eight years of age, sat crossed legged watching Andromeda rehearse in a church hall whilst her older brother and his band (called Orion) practiced in an adjoining room! She recalls A) they were loaded B) freighteningly hairy. -- Stone

Vemod (93), Nucleus (95)

Anekdoten are a four piece from Sweden. Vemod was recorded early during said year, and from what I've heard, they are highly regarded by, among others, their countrymen Änglagård. What do they sound like? Well, in one word, heavy. When I started in on the 3rd track I thought I was listening to Ruins! They are also quite dark, not unlike Änglagård, or Kultivator, or even Il Balleto di Bronzo. Perhaps the sound they evoke the most though is that of mid-period King Crimson, especially Red and some of those wild improvs on The Great Deciever live box set. The instrumentation is, if I recall correctly, guitar/mellotron/vocals, cello/mellotron/vocals, bass, and drums. This accounts for a lot of the Crimson similarities, but beyond that the harmonies and melodic intervals they use recall KC, as well as Änglagård and maybe even a little French zeuhl. They have a heavy bass sound, and the guitarist does often sound like Fripp, both in tone and style, even going so far as to cop a few Fripp licks in his solos. Two of the songs depart from the "heavy" sound for a welcome respite of mellow acoustic meanderings, featuring plently of mellotron. Speaking of mellotrons, they are usually heard equipped with tapes of strings, choir, and occassionally flutes and brass. Anekdoten go even further with tapes of double reeds, clarinets, and maybe even some others I haven't picked up on yet. There are some nice passages where the two mellotrons are set up with different tapes, and the layering of the sounds, such as strings and double reeds, is a trick one doesn't often hear. The album consists of 7 tracks, mostly in the 7-8 minute range. There are two instrumentals, and the rest have vocals, in English, which fit quite well with the mood of the music. The sound is rather "produced," so there is no mistaking this for a long lost mid-70's album. Overall this is a good CD; not spectacular, but there is enough here to make this a "grows-on-you" kind of album. The musicianship is solid, yet there are no flashy solos or technical tours-de-force that might begin to push this towards the prog metal realm. My biggest criticism would be a slight lack of maturity in the writing. If they improve on that in the future, Anekdoten could really be something. As it is, this is a good debut album (though a step or two below the Änglagård), and if you're not afraid of heavy prog you would do well to give this a listen.

Heavy, driving fuzzbass (Rickenbacker plus distortion) combine with intelligent Frippian guitar and a good dose of mellotron on this debut from a Swedish quartet who are cohorts with Änglagård. Recorded in the same studio with the same engineer as Änglagård, this music sounds more like mid-period Crimson than any other modern prog band I've heard. The bassist and drummer play off each other very well, creating a hard driving rhythmic propulsion for which the guitars can scream, sing and riff over, while mellotrons and/or cello fill in the sonic space to create a truly massive sound. The songwriting lacks the maturity of Änglagård, but is satisfying nevertheless. While the album has plenty of dynamic contrast among songs, there isn't enough contrast within each of the songs themselves. After you get half way through a tune, you can be fairly sure where its going from there. The biggest problem with this album I feel is that the gothic imagery is *way* overblown and a bit too pompous. I prefer a more honest approach as opposed to these manufactured dark images. But this isn't that serious of a problem, and the music more than makes up for it. I was disappointed at first, because it wasn't another Änglagård, but it has grown on me very, very much, to the point where I can safely say it is easily one of the best 10 albums of 1993.

I think Anekdoten's Vemod was the best release of 1993. The most immediate comparison for Anekdoten's music is to the scathing fury of Red-storm prime King Crimson, but there is also much more. The thunderous bass lines recall to mind Magma's Jannick Top or Bernard Paganotti. I also hear the dynamic sensibilities found in Änglagård's symphonic masterpiece; I would not be surprised to learn that drummer Peter Nordin jams regularly with Änglagård's masterful young drummer. Like Änglagård's Hybris, Anekdoten's many different influences are detectable yet the band goes beyond the ordinary to create a vigorous and energetic music. One final comparison to Änglagård: The focus of the music is not in the solo but in the composition. All members contribute threads to the entire musical fabric rather than claiming any particular song as a showcase for individual talent. Personally, I prefer it that way. The band consists of Nicholas Berg on guitar and mellotron, Anna Sofi Dahlberg on cello, mellotron and vocals, Jan Erik Liljeström on bass and vocals, and the above mentioned Peter Nordin on all things percussive. Other than mellotron and some guest piano work on "The Old Man and the Sea" and "Thoughts in Absence," there are no keyboards. Additionally, there is some guest cornet and flugelhorn work on "Wheel." Vemod consists of seven songs, all but two in the seven minute range. The CD opens with "Karelia," one of just two instrumental songs, the quiet strains of two mellotrons hinting at the dark, quiet lyrics ahead in later songs. The mellotrons soon yield to a raucous melee that typifies most of the instrumental passages. Frippian guitar licks, pronounced and distorted zuehl-like bass, and sonorous cello lines meld with dueling mellotrons to create a dense wall of sound, relentless in its passion. Through it all, Nordin calmly directs the band with his thoughtful, mature use of the traps. The exceptions to the intensity are the somber "Thoughts in Absence," with its "Starless"-like themes and swirling electric piano, and the aptly titled instrumental, "Longing," featuring Berg quietly playing acoustic guitar along with Dahlberg's aching cello passages. The lyrics are despondent, complimenting the quieter sections, yet the instrumental passages are furious and angry, belying the gentle despair of the words. For example, in "The Old Man and the Sea," we hear the singer gently intones the lyrics, then musically narrate the old man's battle with the unrelenting sea, describing the clash with thunderous bass, searing guitar and pulsating cello amidst washes of mellotron. This combination of lyrics and instruments typifies much of the album. The final song, "Wheel," is full of dark, gothic imagery. Here, Liljeström's and, heard for the first time, Dahlberg's voices, processed into a eerie, ghost-like quality, bring to mind haunted castles high on hilltops with lightning flashes all around. Again, I must say I think Anekdoten's Vemod is simply the best release of 1993. If the idea of King Crimson mixed into a kettle with Änglagård and stirred by Bernard Paganotti sounds tantalizing, Vemod is for you. Check it out. -- Mike Taylor

Once when I was listening to this in my car stereo, I briefly forgot what I was listening to. I heard a bit of a horn solo, and thought it was King Crimson's Red LP! You could fool a lot of people with this. Still, they use electric cello and mellotrons in original ways, so there's the embryo of a distinct style present. Once they gain the required maturity they need, I see a healthy future for this band. -- Mike Ohman

Excellent music along the lines of USA/Starless and Bible Black/Red-era Crimson. One moment they're driving and heavy, the next cello drenched melancholy. Lyrics in English and sound great...Vemod was my favourite prog CD of '93! -- Dennis Montgomery

Caricatures (72), Le cimetiere des arlequins (73), Au-dela du delire (74), Emile Jacotey (75), Par le fils de Mandrin (76), Tome VI (77), En Concert (78), Guet-Apens (78), Vu d'un chien (80), Moteur! (81), A propos de Ange (82), La gare de Troyes (83), Fou! (84), Tout feu tou flamme (87), Seve qui peut (89), Egna (90), Les Larmes Du Dalai Lama (92)

Ange created a form of music that will go down as one of the most innovative in the progressive world. While constantly compared to Genesis, Ange's music sounds a world apart and is probably due to the heavy French sound that pervade's all of their releases. Led by the charismatic Christian Decamps, Ange immediately began to make music with an intense theatrical air - one that probably accounts for the Genesis comparisons. Ange shows were a theatre in themselves - in fact before one of Ange's tours, Christian Decamps broke both heels while rehearsing a stunt for the show. Ange were quite popular in France, their second LP, La Cimetiere Des Arlequins actually reaching Gold Status. Their music is definitely in the symphonic realm yet the French element is much too noticable for comparisons to the English bands of the same type. I find it too entrapping to narrow their style down, it was mostly their own, but if you find heavy French lyric too much to take, you may want to try something else. While a heavy lyrical presence is felt in all their releases, they are balanced quite nicely with excellent instrumental outbreaks, especially notable is guitarist Jean-Michel Brezovar, who's solo on "Exode" from their arguably best album Au Dela Du Delire is quite emotional. Ange were definitely at their peak (like many 70s prog bands) in the early to mid seventies, and their first seven LPs are all highly recommended progressive releases. I'd start with Au Dela Du Delire or their fourth Emile Jacotey which seems to be sort of a concept story with an old French man as narrator. Their debut Caricatures, fifth Par Les Fils Du Mandrin and double live (1 CD) sixth Tome VI are also highly recommended to French music explorers. All of these mentioned + a double live LP of their pre-Caricatures material En Concert 1970-1971 have all been reissued on CD.

This music is firmly in the prog rock vein. I just didn't find it very interesting. The lineup is guitar, bass, keyboard and drums. The vocalist is very emotional, crying out words (unknown to me, since I don't speak French) and sounding at times both powerful and pathetic... almost punk. The first tune, "Reveille Toi" is average-fare prog rock, and quite repetitive. The second, "Dans...," is a ballad that I found mostly boring, though pretty and symphonic at the end. The two tunes from Emile Jacotey were a little more interesting. "Bele..." has lots of stops and starts that were cool at first, but I slowly got tired of them. The last tune, "Le Nain...," was humorous, silly, and enjoyable. It reminded me of something that might be sung by the "bad guys" in an old Walt Disney movie, with a little vaudeville thrown in. I wasn't particularly thrilled with any of these tunes. Except for "Le Nain De Stanislas," they are pretty forgettable when compared to other bands who do this stuff better.

French group, in the true symphonic vein. Very fond of concept albums. Good, seldom too pretentious. Their music is often frantic and a bit dark. Beauty as such has never been something they have strived for. Has been around for a long time as you can see from the discography above. The earlier albums are would you expect, but like many other "progressive" bands they developed into more straighter rock with the arrival of the eighties. You could say that Guet-Apens is their last truly symphonic album until Seve qui peut which was a singular return to this style. But that their music became straighter doesn't mean that they "sold out." Some of their rock albums are very strong. Personwise, Ange was originally a group well all contributed with song-writing, but in later years the two brothers Francis and Christian Decamps wrote all songs.

Le Cimetiere is my favourite album of theirs. Dark, haunting music with melodramatic French vocals that overall resembles Van der Graaf Generator. The use of oddly distorted Hammond organ reminds me a lot of early Rare Bird. This album is most notable for a high-strung prog version of Jacques Brel's "Ces Gens La." Au-Dela Du Delire continues in the same vein, and is also highly recommended. Perhaps even more so, as it's not quite as scarifying as the previous album. Emile Jacotey is a transitional album. As such it doesn't hold my interest very well, but it's not bad. Par les fils de Mandrin is much better, a concept album done in a much less manic style than previous LPs. Use of French folk music as a springboard for musical ideas here makes it distinctive. This is probably the best starting point. -- Mike Ohman

[See Decamps, Christian / Decamps, Francis | Haas, Daniel et Yves Hasselmann]

Vie (81), Delirium (82)

French prog in the vein of Ange, Mona Lisa.

[See Ange | Mona Lisa]

Änglabarn (73)

A rarity to beware of. I was told this 1973 indie release was similar to Änglagård. In reality, it's boring pop-folk with slight proggy tendencies. Might bear a passing resemblance to the Moody Blues (in fact, they close the album with a Swedish version of "Nights In White Satin"), to my ear, they sound like an artier, folkier version of the early Bee Gees. Boring and interminable. -- Mike Ohman

Hybris (92), Epilog (94), Buried Alive (96)

Hybris is a new release on the Mellotronen label out of Sweden, whose name should give a decent insight into their focus. Contrary to all indications, though, this music was recorded in mid-late 1992, but would be at home on the racks along with groups such as Camel, Sebastian Hardie, and all the seventies' progsters whose output can be termed "melodic, symphonic, keyboard- dominant rock." Atop the chord washes churned out on the mellotron and hammond, a flautist and guitarist offer up the melody, taking the listener right back to works such as Mirage, or the earlier works by Genesis. On some of the tracks, the guitar and keyboard leads are quite aggressive, making for a varied listening experience. Three of the four tracks have vocals in Swedish, but they are very much overshadowed by the music. Depite the comparisons, to conclude that this is a derivative release would be to do the album a disservice, because the set of influences that are incorporated into the music manifest themselves as very enjoyable, vintage progressive rock.

In the early '90s, it seemed like every six months a band comes out of nowhere and gives the sluggish progressive scene a solid push. Kurt Rongey's fantastic Book in Hand, Deus Ex Machina's Gladium Caeli, and Brand X's Xcommunication are examples. And now there is Änglagård. A five piece from Sweden, Änglagård redefines symphonic rock for the 90's, without borrowing too much from their 70's predecessors. The instrumentation is based around flute, guitar and keyboards, which develop the main themes, and a brilliant rhythm section. Kudos to Änglagård's drummer. He deserves to be considered one of the very best; in league with Palmer, Bruford and Moerlen. Their sound varies little throughout the album, but the four pieces show a wide range of skill. Like most of the classic progressive releases, Hybris features a writing-oriented style. Rather than each musician do their respective soloing and show-off virtuousity, they complement each other by subtle accompaniment. Each track seems to consist of several dozen multi-note motifs played by one or two instruments, followed by either multiple accompaniment or a time and melody change. Hybris is a non-stop changing piece of work, which is rare these days. Comparisons can be made to Shylock, Nuova Era, Step Ahead and others, though this band is highly original. Dare I say it? Änglagård has made a *major* contribution to progressive music and this album shouldn't be missed by anyone. It is accessible as well as complex and intriguing. From total obscurity, Änglagård has become one of the most promising three progressive acts currently in existence.

It nearly boggles the mind how a band can use instruments typical of '70s progressive rock, create an atmosphere that would make you swear it was recorded in the '70s, draw from some of the biggest acts of that time (Genesis, Yes), as well as some of the lesser known acts (Shylock, Carmen) yet create something that is so new, fresh, exciting and vital, this in 1992. Indeed, Änglagård's Hybris nearly rocked (excuse the pun) the progressive world, setting it on its ear. Änglagård is incredible, easily the best new progressive band of 1992 and arguably one of the best since 1982!! The band is a six piece consisting of drums, bass, flute, two guitars and keyboards, with some members contributing the occasional (Swedish) vocals. The four songs, averaging 11 minutes each, are outstanding sonic paintings, delightful in their dynamics, invigorating in their interplay. No instrument stands out against any other; instead, each contributes to the overall sonic texture - the song is the objective, not the solo. The keys used are the quintessential progressive boards of the 1970s: Hammond organ, mini-moog synth, and the ever-popular mellotron. The rhythm section is outstanding, rock solid yet constantly shifting the time and mood of the entire piece. The drummer, 18 at the time of recording, deserves a special mention. His playing is very mature and never dominates the piece yet he is always in control of the musical direction. He should be a force to reckon with for years to come. Were you to take one recommendation from this survey, I STRONGLY suggest you consider Hybris. The burning question: Can they repeat? Yes, they can! Epilog represents a distinct and definite maturation of the readily identifiable Anglagard sound. While Änglagård were composing and recording their sophmore release, rumors of tension and impending breakup of the band surfaced. Although the future of ;Auml;nglagård is still an open question, the music on Epilog does seem to reflect turmoil within the band. Present still are the repeating musical phrases that build tension, the dynamics that from a whisper explode from the speakers, the choral 'trons, the angular guitar lines, the fluid flute, and the powerful percussion. What seems to have increased is the complexity, the intensity, the anger and tension, and the somber gothicism that seems to so pervade the current Swedish prog scene. In fact, to me the dark, melancholy atmosphere is the most notable change. Gone are the vocals, replaced by quiet and reflective passages of extended duration. The double-exposed photography of faces and human shapes in natural scenics that permeate the CD booklet expound upon the harmonius spirituality contained within all nature, highlighting the gothic air of the music. Each photo is accompanied by a poem written in Swedish. Will Epilog indeed be the final chapter of the brief history of Anglagard? If so, the acoustic piano of "Saknadens Fullhet," which closes the album, is a suitable lament. In 1996 fans are given a coda, Buried Alive, a live recording of Änglagård's performance at ProgFest 1994 was released. Unfortunately, it also documents their final ever performance. -- Mike Taylor

It took a long time for me to get into this group. When I first heard Hybris I thought that it was really nothing more than a bunch of Yes bits strewn together in an un-related, almost random fashion. But, with each listen I slowly began to realize that there was much more to this album. What seemed to be random bits slowly began to reveal their underlying form and structure. With each listening, each song revealed more and more surprises. Now it's made my top 10 favorite albums of all-time. It is truly extraordinary. What we have here is a band that loved Progressive Rock of the early 1970s. Their love for this music is readily apparent yet their music is much more complex and changing. A good Progressive Rock group may distract you from whatever you're doing while listening once or twice during an album; A great Progressive Rock group makes you abandon that activity and give full and complete attention to their music. Anglagard is such a group. There really is no stand-out instrument because all of the instruments are treated quite equally. Their emphasis is on the music and an instrument will only come to the front if it is beneficial to the entire group's performance. Each song is an exploration of feelings, ideas and musical stories with incredible climbing highs and sharply diving lows which sometime occur with the band ceasing play for a beat or so. They have few vocals, and all are used to enhance the music and never to detract from it.
I am now going to try and illustrate typographically one of their songs to give you a better idea. The second song on the album opens with a solo flute that is soon joined by acoustic guitar and chimes. Then, a sinister and dark organ comes in with it's own solo backed by what is, in essence, the bass sound of a cello. Acoustic guitars and flutes reappear with a slight variation on the opening theme. These carry onward to the solo organ which, with the help of a building bass drum, mellotron, and bass, take you to the main recurring theme of the piece: a flowing and melodic mellotron and guitar featured with Squire-like bass abruptly cut-off by Spanish-styled castanets (!), strong electric bass, and flute. The theme comes back suddenly and then a flute solo with chimes calms the piece down once again to begin the vocals after a perfectly placed and quick floor-tom roll. The vocals are accompanied by soft music that quickly turns heavy. Soon, all stops for a beat and the guitar is left alone for a second or so. They do a very Genesis-styled stop and start bit like "Apocalypse in 9/8." Then, again the band ceases playing and the drummer hits the snare, the cowbell, and then a cymbal and the band comes back in again. This continues onward with the castanet bit coming back a few times. The piece's closing section contains a synthesized choir, loud drums, and very strong mellotron with heavy bells accompanying. The point is, the music is very much a stop and start kind of thing. Being so, it may be incredibly hard to get into at first. I think so anyway. It seems like there's no ryme or reason. But, there is -- oh yes, there is.
Above all, this is not a wanna-be band or a Yes/Genesis cover band. They've found a way to incorporate some of those band's ideas into their own unique sound and style. With successive albums, my guess is that we will hear more and more of their own sound. Before I leave, a word or two must be said about this band's incredible percussionist, Mattias Olsson, a classically-trained drummer. His use of all sorts of chimes and bells is magnificent. He knows when to drum and when to keep quiet. Anglagard could not afford to lose this guy as he is integral to their music. Thing is, he's young, so he will most likely only get better! I hope Anglagard sticks around for a few years. -- Clark Ray

Superb Swedish band formed by six ingenious young musicians. Though their music is a brilliant tribute to groups from the past, it remains fresh and original thanks to dynamic performances, quality musicianship and clever arrangements. Hybris features double guitars, keyboards (with Mellotron), bass (Rickenbacker), a remarkable drummer, flute and bits of vocals (in Swedish). This succulent symphonic rock, with its unpredictable grooves, is pretty hard to resist. An exceptional disc that deserves all the attention it's getting. After their smashing debut, this Swedish band retaliates with even more impressive Epilog. Arrangements of double guitars, keyboards, bass, drums and flute are still present and complemented by guests on strings. The music picks up where it left with Hybris but compositions are bolder and more intricate. Their explosive energy remains with even more complex rhythms but perhaps with a more obscure atmosphere. An imposing release that remains challenging with every listen. According to the booklet, Buried Alive is the Swedish group's last performance. The concert was recorded at Progfest '94 and is everything we would expect from the band; nothing more, nothing less. They play all four tracks from Hybris plus three more from Epilog, including the short introduction "Prologue." The sound is rich and crisp and the performances are true to the studio versions. In fact, those who expect a lot of surprises may be disappointed. This recording confirms that the live band could deliver all the merchandise. -- Paul Charbonneau

Tempus Stetisse (9?)

Supposedly like Tisaris.

Anima (72), It's Up To You (72, aka Alter Pfarrhof Production)

Weird experimental jazz group, for the adventurous. Anima was released on the Pilz label.

[See Anima Sound]

Sturmischer Himmel (71)

German prog band. Sturmischer Himmel was on the Ohr label. Led by brothers Paul and Limpe Fuchs.

[See Anima. I can not find a definitive reference on Anima and Anima sound. Audion #16 lists Sturmischer Himmel as a Paul and Limpe Fuchs/Anima release while Marquee's "Encyclopedia of German Rock" call's the album Anima Sound Sturmischer Himmel by Paul and Limpe Fuchs. I speculate the "Anima Sound" name was derived from this album though it was technically a Fuchs release. Later they became known as Anima and released the two albums listed under that name above. However, according to "The International Record and CD Price Guide, a book not entirely known for total accuracy, was a release by Anima called Anima Sound on the Melocord label. Perhaps it's just a reissue of one of the other albums? -- Mike Taylor]

Gallery (90)

A band from Champaign/Urbana, Illinois, in the US. They try too much to sound like Yes and Rush, and their singer is very difficult to listen to, but worthwhile to Yes and Rush fans who like the symph-rock style.

Their sound is a lush keyboard and guitar based symphonic approach, with a lot of tight changes, colorful melodies, and superb vocal harmonies a-la early Styx. The arrangements are all clever and kaleidoscopic, with an energy level that might be compared to mid period Rush. The first album is Gallery, and is quite good.

I can't say much about this: I've got the Gallery album, but what puts me off is the bad production. It sounds like all (and I mean ALL) high tones have been cut, sort of like dolby but far worse. The result being that it sounds very dull. Not a CD I'd recommend (unless you have a very good installation and like correcting such flaws by twiddling with you equalizer for half an hour.

Their sound combines elements of Yes and Rush with introspective lyrics and some nice acoustic piano interludes.

Neo-prog with a lot of potential. I have their first, Gallery. Heavy Rush/Marillion type influences, if they can start coming out with more original sounding material they could be really great.

Le Joueur De Lune (79?)

Folk-prog with keyboards, flute, electric guitar.

Tussilago Fanfara (77)

Swedish electronic duo.

Memories (94), Artemis (95)

Annalist started in Warsaw in 1992. They're a rather heavy band with art-rock ambitions. First album Memories has a dark atmosphere. The musicians were influenced by Fields of the Nephilim, Marillion and Twelfth Night. Songs are rather short, from three to six minutes in length, and all have English lyrics. One song, "Lunacy," is longer at 13 minutes and consists of some improvisation in the King Crimson mode. A pity the young musicians weren't good enough to play such music, so "Lunacy" is the worst part of the album. Fortunately it was only their first effort. On the second album, Artemis, the improvisation is very good, and "Eclipse" is the best song. Artemis has two kinds of tracks: rather poppy songs with Polish vocals (only one is good, the rest you can forget about) and darker, more powerful compositions with English lyrics. The second kind are the far better part of the album. Vocalist Robert Skrzednicki sings worse than on Memories. Technically better maybe, but without any spirit. -- Janusz Groth

Osmose (70), Beziehungen (72)

One of the original Ohr bands, who produced two for the classic label. The best one is Osmose that featured an intense fold-out-into-a-pyramid cover and music of equal intensity, brimming with originality and spontaneity and is a must for fans of German space rock/fusion.

Anno Luz (??)

Solid Brazilian duo who put out an album in the vein of electronic music like Neuronium or some Tangerine Dream. A good solid album - nothing incredible - but quite interesting as a Brazilian exponent of progressive music.

Trips North, Trips South - Not Intended For Consumption B/W Downtime (7?)

Cassette only electronics/environmental music.

McLuhan (??)

Red Tape Machine (72)

This band sounds really like Jethro Tull.

Inside The Shadow (76)

US indie label prog band.

The Returning (??)

Similar to Ange and Barclay James Harvest.

[See Ange | Barclay James Harvest]

Pure Electric Honey (90), With My Favorite "Mothers" and other Bizarre Muzik (92), With My Favorite "Vegetables" and Other Bizarre Muzik (94)

During my college days of lysergic experimentation, I spent much of my time hanging motionless above the heart of the sun, deciding which colour I liked. Though my psychedelic daze have been behind me for many a year, now and then an album comes along that, upon closing my eyes and opening my ears, immediately recalls fond memories of by-gone days. Enter Ant-Bee's Pure Electric Honey, a glorious LP who's emmanations oozes over my eardrums with a sweet familiarity. Listening to this album, you will recall "Saucerful of Secrets." You'll think of "If" and "Summer '68" from Atom Heart Mother, or, perhaps, "Green is the Colour" and "Cymbaline." Insects and red-wing blackbirds will take you to "Grantchester Meadows." You'll feel the heartbeat of the Dark Side. You'll hear dreamy Beach Boy vocal arrangements and all sorts of Beatles references. You'll hear double speed voices and other tape manipulations, bagpipes and sitar and all sorts of studio sorcery. Yet, above it all, what you'll really hear is one of the most original and inventive albums of the so-called neo-psychedelic scene. To come down to earth briefly, Ant-Bee is Billy James, who plays most everything, including vocals, drums, percussion, tablas, guitar and keyboards. He is also the manipulator of tapes. James was aided by several friends for various moments (e.g., the sitar, bagpipes or backwards violin) but this LP is the brainchild of James. And, to any fan of early Pink Floyd or the neo-psych scene, this album is HIGHLY recommended. I have to reiterate: this is an album brimming with invention and originality, despite the many references to the music of an era past. Get yourself some pure electric honey (and forgive my enthusiastic cliches).
...Favorite "Mothers"... sounds like a mix of Zappa, early Pink Floyd (from Piper... to Ummagumma) and the Beach Boys (!), Unless you're brain dead, you'll have guessed that Ant-Bee's favorite "Mothers" are the Mothers of Invention. Their influence is evident throughout. The cassette opens with "Lunar Egg-Clips Runs Amuck," a bizarre, Zappa-styled tune full of unexpected twists and turns, and replete with "martian" vocals (sung by Lunar Egg-Clips, of course). "The Live Jam" is an excellent, erm, live jam of growling sax, synth and guitar, recalling prime instrumental Mothers, but with a spacy, then freaked-out "Moonpie" ending. This jam alone is nearly worth the price of admission. One of the more interesting songs on the album is a cover of Brian Wilson's "Do You Like Worms" from the legendary Smile sessions. This cut sounds eerily like The Beach Boys. In fact, this exact version was included on a Beach Boys 3LP bootleg, as the guy who compiled the b'leg though it was Wilson and company. Also along these lines is "The Girl with the Stars in Her Hair," another Beach Boys-styled tune with dashes of madcap Syd Barrett thrown in for good measure. "Who Slew the Beast" is a dose of wigged-out psychedelia, vaguely along the lines of the studio material of Pink Floyd's classic Ummagumma, but freakier. These tunes indicate the variety of tunes heard throughout this cassette and are a testament to Billy James' bizarre humor, musical ability and psychedelic sense. To anyone into the neo-psychedelic mindset, this cassette is definitely a must-hear. To anyone of the Zappa/Mopthers mindset, this cassette is a must-have. However, let me point out that the cassette contains brief interviews with three ex-Mothers of Invention: Don Preston, Bunk Gardner and Jimmy Carl Black. Each of these insightful snippets interspersed between songs will be slathered over by die-hard Zappa freaks, though they're hardly essential to this tape (though there is a small Moog freakout by Don Preston between two of the interview snippets). Complete interviews are available on cassette from Electric Yak. ...With My Favorite "Vegetables"... is the CD release of ...Favorite "Mothers"..., although with a few differences. Each format (cassette and CD) contains a song not found on the other. There's also an extra ex-Mother interview snippet (Jim Sherwood aka Motorhead), and a couple of other miscellaneous Mother snippets. -- Mike Taylor

[See Preston, Don | Zappa, Frank]

Zora (77), Ralefun (78)

A very experimental band. The second album is the best.

Dark, doomy prog, pre-Jacula.

[See Jacula]

Anubis (83)

Rare French progressive rock.

Adonis (79), Anyone's Daughter (80), Piktors Verwandlungen (81), In Blau (82), Neue Sterne (83), Live (84), Last Tracks (86)

The very best example of late seventies German symphonic prog rock. These guys were definitely influenced by Genesis, but more so by German contemporaries Eloy and Grobschnitt. They put out a handful of rather hard to find albums, all which are supposed to be great. Their first is the one I like the most, including the excellent side long suite "Adonis" (also the name of the album), which is atmospheric symphonic prog at its best. Recommended to everyone on the net. This is one everyone into progressive rock will like.

Anyone's Daughter is a German quartet in the traditional prog style of guitar, drums, bass, and a battery of keyboards, including Hammond, Moog, ARP, and pianos. There is some saxophone on one song. The music on Adonis is spacey symphonic, similar to other fellow German bands like Eloy and Novalis. Clearly, fans of either of these two bands would like Anyone's Daughter. The guitarist uses a slow, steady hand on his riffs (somewhat reminiscent of Andy Latimer from Camel), which is suitable for this spacey style and his presence is as important to the sound as are the keyboards. Speaking of the keys, there is some excellent moog work to be found on Adonis so analog fans will surely want to check out this album. In some passages, the guitar is the focus while the moog provides a deep sonic underpinning; elsewhere in the tune, the moog has the lead voice while the guitarist gently comps and picks underneath. Finally, there are some killer moments where the moog and guitar match licks note for note in a dueling frenzy that ultimately ends up in a new key, time signature, or vocal section. The vocals are in English with a bit of a German accent. In fact, the vocalist reminds me quite a bit of the singer on Eloy circa Dawn which you may find good or bad, depending on your point of view. I don't find them to be a detraction at all; in fact, I think the music more than makes up for any "flaw" you may find with the accented lyrics. If you like spacey symphonic prog, this band is well worth a listen.

Nyspolat (78)

I understand this guy was the first guitarist for Samla Mammas Manna. I haven't heard any of Samla's stuff, but my impression is that this album is in the same vein. It alternates between tracks with a full band and solo/duet pieces. The full-band tracks tend to have extremely simple rhythms (three tunes are partially or entirely based on the same swing-like beat) which hides the complexity underneath. It sounds childish and quaint until you notice the seven-bar riffs or whatever. The other pieces ("Iberiska Improvisationen," which is solo, "Nyspolat" and "Blaboly", which are duets with Stefan Nilsson on keyboards and Mats Glenngard on violin respectively, and "Andra Dorrar," which is a trio of guitar, synthesizer and female vocals) tend to be a little easier to get into. Apetrea is clearly more at home with an acoustic guitar than an electric one. He went on to work with Jukka Tolonen the same year, as well as recording a duet album with Nilsson (which also had Jukka on it) called Vanspel. -- Michael Walpole

[See Samla Mammas Manna]

Rain and Tears (68), End of the World (68), Aphrodite's Child (69), It's Five O'Clock (69), Best of Aphrodite's Child (69, comp.), 666 (70)

Vangelis' first outfit who released the very unusual 666, one of the first concept albums ever released. This album is quite innovative and contains soem excellent jams. Their other albums were supposedly very pop styled.

666 must have been one of the very first concept albums ever. This was Vangelis's group before he went solo. The group split after this album since they didn't like the direction the music was taking. Vangelis wrote this experimental double-album featuring amongst others Demis Roussos on vox, full of very strange pieces. Several songs are more on the psychedelic side of things, other ones more commonly progressive. Some even feature the Pink Floyd Wish You Were Here guitar sound! Really good, except for the very long piece at the end which is just a monotonous psychedelic mix of other parts of the album. An underrated classic!

Early Greek band featuring Vangelis and Demis Roussos. They had a big hit with "Rain and Tears" a 17th century German song sung in English. Their first albums were 60s flavored international pop, while their last, 666, was a weird excursion into psychedelic jams and vocal orgasms.

My local Tower CD buyer says that they were just a typical pop band, and then one day they put out 666, and then broke up. I think that album is very good. It ranges across a good number of styles, and has more than its fair share of strong tracks. I was surprised to find out that Vangelis could actually play :-)

[See Socrates | Vangelis]

Apocalypse (91), Perto do Amanhecer (95)

The album is made out of 11 tracks and it is progressive rock undoubtely. The avarage time of each song is from 3 to 4 minutes, and the longest track clocks in 5:05 minutes. Someone might think that a few songs are "commercial," as the band expected to be played on local radio stations, out they are of very high quality and, as it always happens to prog-rock, they didn't receive the attention they deserved from them. The music is based upon simple structures regarding the drums and bass (wich are both very well played) with few guitar parts. Now the band has just added a new guitar player. The highlight and delight of the music is the keyboards, present in every track and brilliantly played by Eloy. In this field, you will be able to identify all the best of Banks/Genesis, Wakeman/Yes, Kelly/Marillion, Bardens/Camel and on. I'd say that Apocalypse's music is similar to Rush and Marillion. The lyrics, all song in Portuguese, talk about life and human being in general. Attention Marillion freaks: one of the tracks is a short version (about 2:30 minutes) of "Lavender," with Portuguese lyrics, and it is quite good. The album is self-produced but it is very well finished, with lyrics insert. Overall, this album is highly recommended and should be very enjoyable for all those who like and do not expect anything more than the usual neo-prog stuff.

[See Fritsch, Eloy]

Apocalypse (72)

Probably heavy pych.

[See Churchills, The | Jericho | Jericho Jones]

Apocalypsis (8?)

Said to sound much like Genesis.

The Border of Awareness (95)

Check out Apogee's The Border of Awareness if you like Hammillian prog. It is quite good and I wouldn't be surprised that once it gets the attention, this disc will become a popular item amongst the prog crowd. Apogee is the work of one German man who plays everything and sings (in English). It sounds very much like a band, i.e., the interaction between the instruments sounds spontaneous and fresh. The lyrics are thoughtful. And, while maintaining the comparison with Hammill, this disc here does have some very nice playing. Which is not something we can say about many Hammill tunes. On the whole, The Border of Awareness delivers a good deal of dynamics and classic prog stylings. While not breaking any new ground, it is well felt, very well produced, and hits the target enough times to make for worthwhile listens. -- Alain Lachapelle

The sound is similar to Osanna.

Apoteosi (75)

This is a great album (the sound is like PFM) but the band is unknown to most people who like prog.

An undiscovered Italian progressive gem a la PFM, Genfuoco, Celeste.

Apoteosi's self-titled release is beautiful Italian symphonic album in the vein of early PFM and Celeste. While this album doesn't quite stack up against the ultimate beauty of PFM's Per Un Amico or Celeste's Principe di un Giorno, Apoteosi is an excellent album in it's own right. Pastoral passages of mellotron and piano or flute and acoustic guitar give way to heavier moog synth and electric guitar explorations. During the heavier moments, you might be reminded a bit of RDM. Many of the instrumental passages have an intricate classical feel. The music has flowing development and is always changing direction and meter. The Italian lyrics are delivered quite nicely by a female vocalist. This is a little discussed album but undeservedly so; any fan of the Italian symphonic scene will find much to enjoy about Apoteosi. -- Mike Taylor

Driven by keyboards and guitar, this is quintessential progressive rock. All the right elements are there - complex musical interplay, a solid rhythm section, time changes, and so on. This release is sure to please the fan of mellow Italian symphonic rock. The overall sound reminds me of early PFM, yet not quite as upfront and in-your-face. It is guitar and keyboard driven, with occasional vocals. Highly recommended. -- Mike Borella

La Celebre Ascension Abyssale De Joseph Celsius (79)

French progressive.

Apsaras (84)

Released in America on a major label, Apsaras' self-titled CD is rather lightweight, often bordering on new age.

[See Aksak Maboul]

Abflung (81)

Brumas (??), Siesta (??), Aquellare (74)

Heavy prog comparable to El Reloj or Campo di Marte.

Aquarelle (77), Sous un Arbre (78), Live à Montreux (78)

This seven member (bass, guitar, sax/flute, violin, keys, drums and voice) French Canadian ensemble has at least 2 LPs (Aquarelle from 1987, and a live set recorded perhaps a year or two later), of which I have heard only the first studio LP. On this album, Aquarelle play a melodic all-instrumental brand of very prog rock similar to fellow French Canadian band Maneige, except less quirky and more influenced by the classical music of the Romantic Era. The sound is dominated by acoustic piano, flute, violin and the wordless vocals of Anne Marie Courtemanche. Interestingly, they chose not to use the popular effects of the time (phasers, mu-trons, etc.), and as a result this music has aged well, and doesn't seem all that dated, even today (1996). This, however, is not a *great* record... the music is rather flowery and fussy and the playing seems to lack personality. The standout soloists are violinist Pierre Bournaki and the keyboardist/leader Jean-Pierre Lescaut. The rest of the players are merely competent, and the vocals never seem to fit in. -- David Wayne