Douar Nevez (77), Allex Dire a La Ville (78), The Earth's Lament (79), Acoustic (83), Musiques Pour Les Silences a Venir (85)

French guitarist that loosely ties in with the Magma school (Widemann, Moze and Fouquet play on a lot of his albums), although his albums sound nothing like Magma. His early stuff like Douar Nevez and Allez Dire A La Ville are quite unique, while his more recent stuff like Acoustic and Musique Pour Le Silences a Venir seem more folk and Celtic influenced. Everything I've heard by him is great one way or another.

This guy is a fine guitarist, whose fretwork has graced recordings by Alan Stivell and the Fairport Convention. I own his first two solo efforts (Douar Nevez and Allez Dire a La Ville) which are a bit of a mixed bag. Most of the players (e.g. Benoit Widemann) on both of these are also associated with the great French band Magma, and they provide skillful, funky and interesting backup to Ar Bras' guitar and gruff, folkie vocals (in French). About 3 to 5 cuts on each of these records are instrumental and have a pleasantly aggressive jazzy fusion feel. Overall, I'd say both records are unique and very successful, but more rewarding for people interested in folk-oriented music. Sadly, Musiques Pour Les Silences a Venir sounded to me like very lame folk/New Age music with a vague Celtic pastiche, similar to the work of Alan Stivell, but nowhere near as interesting. -- David Wayne

Arachnoid (79)

Maybe the very best of the French one-shots, Arachnoid's 1979 self-titled album is a masterpiece, brimming over in intensity and plain good taste. Very Crimsonesque, and often symphonic, yet not in the normally associated way, the album is extremely original and likeable, with a full sound not normally associated with the French. A must!

One-shot French band from around 1976, heavily influenced by mid-period Crimson, yet still uniquely french sounding, instrumental with dual keys and blistering guitar, sometimes very strange and unique sounding, but overall it's nothing to write home about.

Don't Bring The Rain (88), The Meeting (92), Rocking Horse (92, recorded 89)

They only have one release, Don't Bring the Rain, of which I am aware, and it is quite good. It is gothic in places, and the songwriting seems very mature for a first album. One problem: lack of a drummer. Most of the percussion is programmed and serves the purpose of keeping the rhythm only. The singer does take some getting used to, but it is not too much of a problem. He vaguely resembles the vocal style of Midnight Oil's singer in "Beds are Burning."

The music is pretty good, but I really can't stand the singer. I might be able to get used to him over time, but I'm probably not willing to spend the money to take the chance. Musically along the lines of Marillion, Genesis, etc..

Australian. Their only release, Don't Bring the Rain, is great. Very much like Marillion with Rush vocals, I think. Intelligent lyrics, strong music, despite the fact that they often make use of a drum machine. Recommended to fans of neo-progressive.

Nothing terribly interesting but I like it anyway. The keyboardist and vocalist are the redeeming qualities, while the guitarist absolutely sucks. This one's ok, but there are better bands to spend your money on.

Another Marillion wannabee with a truly nauseating vocalist. Aragon are an Australian fiasco that only barely sound like a progressive band, and along with the poppish drum machine sound, makes me absolutely cringe. Only for the UNadventurous, and for those who would settle for mediocrity in music.

Overall these guys come off reminding me a cross between Marillion and Rush, although the singer is *much* more powerful than fish in raw gut-felt emotion. The music is carried by strong guitar and keyboards, which are generally strong enough to cover up the programmed bass and unimaginative drumming. This all based on their 1988 release Don't Bring On The Rain. I haven't heard the new stuff yet.

I was looking forward to hearing this band, since they are still around. However, I wasn't impressed. I wouldn't call their music "progressive rock" in the same vein as ELP, Gentle Giant, and so on. Their style is more like Yes's late albums like 90125: a little more thought-out than straight "pop," but not much substance. "For Your Eyes" has a vocal melody reminiscent of Rush's melodies, sung in a style similar to Fish of Marillion. (Perhaps this similarity was intentional.) The vocalist has a high range but is not in complete control of his pitch. The chord patterns are cliched, and there are no solos to speak of. The drums are interesting but sound like a machine. (Maybe it IS a machine?) I heard only an excerpt (5 minutes) from "The Crucifixion." It has a lot of drones and simple, block chords. The soloing is minimal at best - listen for 2 measures, and you've heard everything the solo has to offer. I found the vocals annoying. In conclusion: the music was better than typical "pop," but it did not hold my interest.

Their music combines the influences of Genesis and Marillion with a tilt towards the latter, and the" are certain to be one of the bands carrying the torch of progressive rock into the nineties. Rocking Horse is the long-awaited second release from Aragon, the Australian neo- progressive band, whose first release, Don't Bring The Rain was pretty well received. This is more along the same, Marillion-influenced, lines, with a 20-minute title track, with echoes of "Crucifixion" from their debut. Les Dougan's voice is a bit more subdued on this release, which will probably be regarded as an improvement by many, but, musically, this is on par with any other eighties progressive band, with a little more bite than contemporaries such as Pendragon, Casino, etc. The other tracks are a bit more spare and atmospheric, and include long instrumental interludes, composed around keyboards and percussion. The recording quality on this release is not quite as pristine as might be expected, and this is explained with the following sleeve- note "All songs ... were originally intended for demo release and therefore the recording quality may not be upto our usual standard. We nevertheless hope that you like the moods and atmospheres of the songs and that you will listen to them in the spirit in which they were conceived.."

Maquette (80)

Similar to Ange, Mona Lisa, or Synopsis ... lots of vocals and keyboards.

Breathe Awhile (69)

Prog.

Marron Dingue (79)

French progressive.

Four Daisies (88), Still Searching (90), Normality of Perversion (94)

A rather boring neo-prog band from Italy. Not truly bad, but in the wake of Nuova Era and Ezra Winston, it seems like these guys just can't hang. Often very Gabrielesque, and although not sounding exactly like a British 80s neo-prog band, these guys cut it close

This Italian band has a sound falling somewhere between maybe Banco/PFM and Misplaced Childhood period Marillion, possibly with some mainstream tendencies Springsteen) thrown into the mix occasionally as well, and while not really stunningly groundbreaking, it's still a lot more interesting than the your average boring Marillion clone-oids. Instrumentation is the basic four, with added tenor sax and flute, and very stylish vocals (all in English) by Marco Galletti. Four Daisies is their first album, which is actually just a collection of their early demos, and tends to be weak and derivative. Still Searching is their latest, from 1990, and has a much more mature and full sound, with a lot of overlapping guitar-keyboard melodies, some overt symphonic tendencies, and a full range of acoustic-electric dynamic expression. Definitely this is the one to get.

Arcansiel are one of the better recent Italian bands to contribute to the progressive rock scene, along with Eris Pluvia, etc. While most of these bands are seventies-revivalists, Arcansiel has opted for a more neo-progressive sound very much in the spirit of early Marillion and prime-period IQ. The vocals are in English, and are not encumbered by any serious accents that tend to make the music sound unnatural. The title track on Stillsearching is a 21+ minute piece in eight parts with long instrumental interludes, and is probably the standout on this CD, with moods that vary from the quiet to the symphonic. Somewhat unusual is the presence of a sax player, who interjects occasionally with Mel Collins-ish contributions, without getting overwhelming.

Very good progressive.

Archaia (77)

French progressive.

[Inventive mix of Magma, Art Zoyd, Henry Cow, Jade Warrior. Has percussionist but no drummer.]

[See Artcane]

Badrock For Barn I Alla Aldrar (7?), II (7?), Tre (77)

Sudamerica (o el regreso a la aurora) (??)

I believe Sudamerica (now available as a double CD) was originally released somewhere around 1970. Based on this album, they sound vaguely like a South-American Pink Floyd.

Ardo Dombec (71)

German prog on the Pilz label.

Arbeit Macht Frei (73), Caution Radiation Area (74), Crac! (75), Are(A)zione (75), Maledetti (Maudits) (76), Event '76 (76), Anto/Logicamente (77?), 1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano! (78), 1979 Il Concerto - Ommagio a Demetrio Stratos (79?, includes various artists), Tic and Tac (80), Area '70 (80?), Parigi Lisbona (96, recorded '76), Concerto Teatro Uomo (96, recorded '76)

An inventive Italian jazz rock fusion band. Their first 4 albums are classics of inventive Italian jazz rock fusion featuring the stupendous vocalist Demetrio Stratos who may have been one of the most unique singers in history. Stratos unfortunately passed away so many years ago. Their first four Arbeit Macht Frei, Caution Radiation Area, Crac! and Areazione are only recommended to the explorative but will reward the listener with their uniqueness.

One of the most unique bands ever. Riveting ultra-high energy schizophrenic jazz-rock fronted by the operatic vocals of Demitrios Stratos. The band's Instrumentation was guitar, bass, drums and keys with trombone, bass clarinet and flute. There are five albums I know of: Arbeit Macht Frei, Caution Radiation Area, Crac!, Areazione, and Maledetti. I've only heard 2, 3 and 5, but these are all pretty much equal in intensity. Probably not recommended for the Marillion/Alan Parsons crowd.

Crac! is a phenomenal album. It is hard to describe but, to my ears, it often sounded quite a bit like a cross between National Health and Mahavishnu Orchestra. But this band was out long before National Health. There are several places where the classic Stewart Hammond organ tone is used. There is incredible interplay here. Demetrio Stratos, the vocalist, can't be described by me, but he is rather unique and very good. He takes vocal excursions to places where few vocalists dare to tread. Italian lyrics. Only the last cut is a hard listen, being similar to "crash and bang" Henry Cow, but it's only two minutes long so I usually listen to it. Fans of National Health and Mahavishnu Orchestra (and I think Gentle Giant fans) would really go for this. Highly recommended to those who like spice in their music!

This is the best italian progressive band, in Italy they are a cult band and the voice of Demetrio Stratos is unforgettable. They started with a free-jazz sound like Soft Machine and Nucleus. Then they became more experimental with an interest in Arabian and Greek popular music (Stratos was Greek).

These guys are great! Crac! is one of the better early Italian efforts. Area can be described by one word ... insanity. They play complicated pieces so fast, so well, and feature a general weirdness that puts them almost in the avant garde mold. No one sounds like Area and no one ever will. They use fast, intricate, overlapping rhythms and their vocalist alternatively howls, whines, growls, moans and yodels (occasionally he even sings!) The singing in in Italian so I have no idea what he's saying but the singing style makes me wish I did. This is a classic for the experimental.

Crac! is the only one I've heard all the way through. It's one of the most original Italian bands. They do a sort of dramatic jazz-fusion with some unbelievable vocals by Demetrio Stratos. I can't really compare them to any other band, because there never really was another band like Area. The band is quite adept at playing in odd time-signatures, like the fast 11/8 meter on "L'Elefante Bianco." Notable is bassist Ares Talovazzi, because it's not often that a bassist can catch my attention unless he's really good. The band makes occasional use of horns, woodwinds and multiple synthesizers; the latter played not only by keyboardist Patrizio Fariselli, but also by guitar player Giampaolo Tofani (Stratos also plays some keyboards). Stratos' vocals give an air of avant-garde to the music, yet it's accessible enough to be appealing to the less adventurous. A good starting point for people exclusively familiar with symphonic prog, but wishing to try something more experimental. -- Mike Ohman

One of the really interesting bands from the '70s. Briefly: They sound like a mix of Balkan music, Weather Report, Cecil Taylor and King Crimson. Technically they are on the same level. Their records are as different as King Crimson's, so do not give up if you dont like the first one you hear. The singer, Demetrio Stratos (unfortunately dead now), has a powerful, overwelming voice. He experiments with all the sound possibilities of a voice, and also with more than one tone at the time. He made three solo records that were 10 years ahead of their time. A tribute live-2CD to him is also available. The bass player from the first record went to PFM, I think he was not versatile enough. The guitarist Gian Paolo Tofani made a solo record: Indicazzioni (1977), that probably would make Robert Fripp or Henry Kaiser raise their eyebrows and maybe even blush from envy. It is partly played on a Les Paul mounted with an EMS prototype guitarsynth, making sounds that I have not heard anywhere else! -- Michael Bohn Fuglsang

Parigi Lisbona and Concerto Teatro Uomo are live recordings never before issued. Concerto Teatro Uomo is a complete two-hour show.

[See Electric Frankenstein | Premiata Forneria Marconi (PFM) | Stratos, Demetrios]

Songs from the Lions Cage (95), Pride (96)

An English neo-prog group formed by Mick Pointer (founder of Marillion) and Clive Nolan (keyboard player of Pendragon). In this band you will found all the archetypes of Neo-Prog.

British progressive band. Songs (all composed by Clive Nolan and Mick Pointer) are a mix of Marillion in their "Grendel" period, Strangers On A Train, Pallas and IQ. First album is classic progressive rock with long tracks and good old solos on guitar and moog synthesizer. John Carson has a very Fish-like voice. Lots of people will notice that Mick Pointer is available on drums. -- Michel Schudel

Arena is a typically British project with direct ties to Marillion (ex-drummer) and Pendragon (keyboardist). The band also features vocals (Fish style), guitar (Hackett / Rothery style) and bass. The style on Songs from the Lions Cage, very well executed, is a symphonic rock typical of the "second wave" of British bands from the '80s. A rich production and a powerful sound add to the already dramatic aspect of the compositions. Short instrumental interludes also serve as transitions between longer tracks. Fans of the style won't believe their ears! -- Paul Charbonneau

[See Marillion | Nolan, Clive | Pendragon | Shadowland]

Together Now (72), Circus (75), others

I've only heard so much from Argent, but I have a couple albums. Argent, led by and named after keyboard player Rod Argent basically played art rock. Now many, if not most, may be familiar with the song "Hold Your Head Up," of which many covers have been done, by Blue Oyster Cult, etc. Rod Argent showed a good deal of potential in this song back in 1972, with lots of solo Hammond work and "uplifting" lyrics. The material back from '72 was mainly AOR, but it was very good AOR; it just had a "non-sell-out" type of sound. However, by 1975 Argent's popularity may have increased or decreased, depending on what the rest of the country was doing (they may have begun to get tired of the whole encompassing prog scene; same with Kansas and Starcastle--a quick die-out!) but Argent's music grew closer to traditional progressive rock with their album Circus. Here, lots of Moog work can be found, plenty of good melodies, and some very good dynamic musical concepts. The album is a concept album, relating the follies of a man's life to the life as a circus character. All the names of the songs have something to do with the circus, naturally. Some of the lyrics are somewhat stupid, but it doesn't really take away from the rest of the album. Some of the main melodies within songs lack a little bit, but then again, I did say that they're predominantly art rock. They're not Iconoclasta or Art Zoyd. Songs to watch out for are "Circus," with its awesome instrumental lead-in. Also, there's the drippy-sounding "Highwire," but complete with a RIPPING guitar/ keyboard "duel" in 7/8. There's also the very melodic and swooning heartbreak tune "Clown." "Tightrope" is a tune which has some diverse riffs for the band, showing off a guitar-driven Sabbath or Deep Purple-type jam somewhere in the middle. The songs "The Ring" and "The Jester" lack some with respect to musical creativity as far as I recall. Overall, I would say, that if you want something that's still got some meat on its bones (so to speak) and you're not looking for intense prog/fusion, and looking for more accessible types, Argent is about the best as art rock gets! Buy an Argent album, and you won't be disappointed. -- David Barrio

[See Intergalactic Touring Band, The]

Via (81), The Planet's Morning (83)

Keyboard-prog band that has been compared to Berluc and Stern (Combo) Meisen.

The Dreams of Mr. Jones (90?), New Scientist (9?), Cover Me With Rain (92), Spritual Physics (93

The Dreams of Mr.Jones: You can tell these guys are neo-prog wannabees, but really all they're doing is straightahead rock with catchy melodics and an affected vocalist. Only for the most unadventurous.

Decent AOR-style neo-prog. Don't expect anything wildly different and you won't be disappointed. There are many worse bands in this realm. Good vocals, guitar to the fore, at least on The Dreams of Mr. Jones. The CD includes bonus tracks from an EP, evidently.

Arkadas (84)

Wild mix of freaky jazz and Turkish influences.

Warrior (80)

Prog with medieval influences and religious slant.

Arktis (74), Arktis Tapes (74)

1914 (81)

Symphonic rock album with six long tracks.

Armageddon (70)

I'm not sure if this band is considered part of the German underground scene or not. Musically, they sounds more like part of the early British hard rock/prog scene than they do the bands of the German underground. Like both the German and British scenes of the early 70's, slightly fuzzed guitar is the dominant instrument. However, the jams seem to have more of a blues feel rather than the spacey vibe that was inherent in much of the German underground. Recommended to those who like to rock.

Album has a cover version of Jeff Beck's "Rice Pudding."

Armageddon (75)

Band formed by Keith Relf after leaving Renaissance. Progressively speaking, nothing special, the music basically being moderately heavy British rock, perhaps with some progressive overtones. All guitar and harmonica, no keyboards, and lots of energy. If you like to rock this may be for you. It would have been at home in 1971 but to me it sounds dated for 1975.

[See Captain Beyond | Illusion | Renaissance | Stairway]

Patchwork (??), Mosaique (92)

French Neo-prog with guest appearance by Steve Rothery of Marillion.

French prog/pop group. Female vocals, all in French; Marillion's Steve Rothery guests on one track. This CD has a really interesting artwork: two "creatures" playing a chess-like game.

Progressive rock with French vocals fronted by a female vocalist. The music is very lush and melodic, reminiscent at times of Epidaurus. It might interest Marillion fans to note that one of the songs features a few minutes of a guitar solo by Steve Rothery. Mosaique is the second release by this French band, led by a female vocalist. Musically, the interplay between the fluid guitar lines and lush keyboards is quite reminiscent of Marillion (in fact, Steve Rothery guested on their first release), but the vocals are less intense than those delivered by Derek Dick, leading to a (kinda) Renaissance-meets-Marillion effect. For those who enjoy full-bodied, symphonic music, this release should hold appeal.

Ars Nova (68), Sunshine and Shadows (69)

Formed in the USA in 1967, a typical studio group which was very ambitious. Covers in fact all kinds of styles and may well have been one of the absolutely first groups to be labelled progressive. Included brass and classical instruments, and instead of a pause between the songs, which were impressively constructed, they played half a minute or thereabout of classical pieces. The first album is one of the most varied albums I have ever heard. A little fumbling, though, and a sour singer at times, but well worth listening to.

Band with horn section that made what they called "baroque-rock."

Fear and Anxiety (92), Transi (94), The Goddess of Darkness (96)

These three Japanese ladies for a trio in the purest tradition of ELP. The compositions on Transi, all written by the keyboardist, show strong classical influences and are delivered with virtuosity and ferocity. The complicity of the bass and drums, also very intense, only adds to the drama and energy of the performance. The sound is familiar to ELP fans (Hammond organ and synths) but manages to distinguish itself by the authenticity of the compositions. A high quality production that offers symphonism with heavy sounds and explosive rhythms. -- Paul Charbonneau

Rather uninspired female symphonic prog trio in the ELP / Deja Vu / Motoi Sakuraba / Social Tension vein. Overrated.

Arsenal (80), Created With Our Own Hands (82), Second Wind (84), Sport and Music "Pulse 3" (84), 5 (8?), 6 (8?), Alexey Kozlov and His Arsenal (8?, comp. from 5 and 6)

All-instrumental Mahavishnu-inspired fusion group led by keyboardist and saxophonist Alexi Kozlov. With Our Own Hands even contains a song titled "Dedication to Mahavishnu"! That said, Arsenal definitely have their own sound, and many progressive fans would find their music highly appealing. The most Mahavishnu-like elements in Arsenal's overall sound are the Moog solos (very Jan Hammer-influenced) and Kozlov's lengthy compositions, which borrow heavily from Mahavishnu's later releases (such as Visions of the Emerald Beyond), and are replete with odd time signatures and "Eastern"-sounding voicings. Unlike Mahavishnu, Arsenal's sound is rather mellow and spacey. Acoustic piano, acoustic guitar, reeds and sitar are prominent in the mix, and the music on With Our Own Hands is more reminiscent of less edgy-sounding groups like Camel, Return to Forever, or the Yellowjackets (at their most adventurous). Not bad at all... -- David Wayne

Supernatural Fairy Tales (67)

Pre-Spooky Tooth.

Hopes and Fears (78), Winter Songs (79), The World As It Is Today (80)

Basically Fred Frith, Chris Cutler and the either-you-love-her-or-hate-her ex- Slapp Happy vocalist Dagmar of Henry Cow, Art Bears thrived on challenging and very hard to listen to music, and are supposedly the logical step onward from Henry Cow. While not displaying the almost free jazz tendencies of Henry Cow, Art Bears were very cerebral, almost to the point of burning out. Their three albums are all equal in quality and are only recommended (pun not intended) to those who like Univers Zero, Henry Cow, or Magma etc. (of course they sound little like any of these anyway - but you get my picture.) I like 'em anyway.

Henry Cow spinoff (Fred Frith, Chris Cutler, Dagmar Krause) that makes some pretty good music but then ruins it with Dagmar's weird amelodic vocals. I suppose one could get used to it, but I've tried many times and haven't yet.

Art Bears are a branch of Henry Cow and include Dagmar Krause on vocals, Chris Cutler on percussion, and Fred Frith on guitar/ violin/keyboards/etc.. Several people have said that they sound a lot like Henry Cow. I have only heard HC's In Praise of Learning and the only song on that album similar to the Art Bears is "As beautiful as the moon ... Terrible as an army with Banners." They are not nearly as psychedelic as Henry Cow and the songs are mostly short peices worked around a single concept. Their music is very dark in concept and in atmosphere. The lyrical content varies with each album. The World as it is Today is very political/marxian (there is a song cycle called "Six corpses in the mouth of the bourgeoisie" composed of songs like "The Song of the Monopolists" and "The Song of the Oppression of Labor Under Management"). Winter Songs is a collection of stories as told by various pieces of 16th century sculpture. Pictures of the art are included in the insert. Hopes and fears deals with the dismal side of the human psyche and songs based on bits of history (pirates and minotaurs).

More than any other group that I've heard, Art Bears' music exemplifies the lyrical content. Each song is made to, almost perfectly, complement the images evoked by the lyric. They use dissonance quite subtly in all their albums. Try Winter Songs or The World as it is Today (they come together on CD from Wayside) then get Hopes and Fears if you like them. Hopes and Fears is more raw and the lyrics don't match the music as much as on the other two.

A trio from Henry Cow. Similar thing but generally quieter.

Criticised for being to cerebral, but you should ignore that sort of criticism whenever it appears. Art Bears are incredible. Very hard to get into, but no-one said it would be easy to learn how to appreciate brilliant music! Dagmar Krause is my favourite female vocalist and she sings really beautifully here. There are wild tonal ranges, bizzare instrumentations and strange compositional arangements. Like In Praise of Learning era Henry Cow taken to it's logical conclusion. Fantastic.

I have Winter Songs. If you like Henry Cow and can tolerate Dagmar Krause's voice (I actually like it. What's wrong with me?), you'll find this album somewhat rewarding. More song-orientated than Henry Cow ever was, though. I heard some of Hopes And Fears as well. It seemed like the lost Henry Cow album. -- Mike Ohman

[See Henry Cow | News From Babel | Slapp Happy]

Art in America (83)

A one-shot band. Very similar in sound to Yes though not as complex. Their album tends to be rather uneven. It features some strong tracks in "Art in America" and "Sinatra Serenade" but loses it on others.

American band. Made one self-titled album. The album was produced by Steve Morse and his band-mate from The (Dixie) Dregs, T Lavitz, sat in on keyboards. Good rock, with some quirky lyrics. Special characteristic is the precence of a harp. Not "progressive" in the classical symphonic sense.

A Detroit band, I saw them live in 1983. They consisted of a singer/guitarist, a harpist and a drummer. Their unique lineup made for a fresh, rhythmic sound.

Symphonie Pour Le Joir Où Brûleront Les Cités (76), Musique Pour L'Odyssée (79), Génération Sans Futur (80), Symphonie Pour Le Jour Où Brûleront Les Cités (81, different recording, expanded line-up), Phase IV (82), Espaces Inquiets (83), Le Mariage du iel et de L'Enfer (84), Berlin (87), Nosferatu (90), Marathonnerre I (93), Marathonnerre II (93), Faust (95). Some albums reissued in various multi-title combinations.

With a lineup consisting of piano, viola, cello, trumpet, saxophone and such, Art Zoyd makes a music that is really closer to modern classical music than it is to rock, yet the energy level and power are closer to the intensity of Magma, with strong dynamics and atmospheric climaxes. Very beautiful stuff. Only gripe is that they could use a real percussionist at times (rather than sync machine). Le Mariage Du Ciel et de L'Enfer is as good a place as any to start.

First off: I don't know why this is called "rock." To me, it sounds just like 20th-century classical music. I'll try to describe the entire (8 minute) piece called "Masques": The opening is a dissonant violin solo, playing in quarter tones. This moves to sliding string and brass sounds, which provide some tension. Soon, it changes to a plucked bass, joined by the violin, with a lot of minor seconds. A burst of trumpet follows, leading to a VERY virtuosic trumpet solo over a strange violin and bass pad. This becomes a mass of sound, with strings, brass, and moaning human voice. Repeated notes build more tension, and then there is silence. A new theme enters: a bizarre, rhythmic motif, like a weird march. A 4-note figure, based on a tritone, accompanies the next section, followed by a return of the march. This builds to a climax, and the piece ends. Not your typical prog rock, eh? :-) In all, I really liked this piece. I don't think I'd listen to it every day, but I am eager to hear more Art Zoyd.

Superb neo-classical/electronic outfit. A bit like Univers Zero at times (not as dark though). Their early stuff is better I think. Later on around Le Mariage, they start to add electronics and get a bit more repetitive. Still good but not as good as the early neo-classical acoustic stuff. The first three albums are great.

I heard a number of different albums, Symphonie pour le Jour ou... (the remixed version of the first album, Symphonie pour le Jour du...), Phase IV and Le Mariage du Ciel..., plus selected tracks from the Marathonnerre albums. I guess you could classify this as "new music," sort of dark, chamber music type of avant-garde instrumental music with piano, synths, cellos, trumpet and woodwinds. Apparently influenced by such 20th-century composers such as Bartok, Schoenberg, Stravinsky, et al. I can also hear sonic connection between them and Univers Zero, but there are no drums here. As a result, Art Zoyd are much closer to pure classical music in sound. I'd just as soon hear Bartok, but I like Art Zoyd enough, though they'll never be a favourite of mine. I'll recommend that UZ fans listen to at least one of these. -- Mike Ohman

Art Zoyd were early member's of Chris Cutler's Rock In Opposition (RIO) movement. As such, their music has no compromise for popular value. I have their 1980 release, Generation Sans Futur. This work is more honestly approached as a neo-classical chamber ensemble than as a rock band, although some sections do have a building intensity comparable to '73-'74 era King Crimson. Art Zoyd are popular with the same crowd that gets into Univers Zero. The only "rock" instruments I've picked up on are electric guitar (played very cleanly, sometimes jazzy) and electric (?) bass. Instrumentation has included violins, cello, (perhaps a violincello, too), piano, harpsichord, trumpet, sax, French horns, woodwinds, and snare drum. I'm sure I've missed a few instruments, and not all of these are employed on every tune, of course. Art Zoyd make very good use of dissonance, without dissolving into noise. Some of the tone colors employed for the brass reminded me of Stravinsky. The music has a somber, somewhat dark quality, which may invoke Bartok in your mind. If you like Univers Zero, or have a passion for Stravinsky, Bartok and other 20th century classical, you would like at least this album. -- Mike Taylor

I think modern classical fans would disagree with those who say Art Zoyd "sounds just like 20th century classical music." They would point out the constant use of electric bass, keyboards, and guitar and the driving rhythms as obvious aspects of rock music. (I have always been impressed by what an intensely rhythmic band this is, despite having no drummer.) To me, Art Zoyd seems one of the most difficult bands to categorize. They show the obvious influences of rock, jazz, and classical, but I wouldn't put them firmly into any one of those categories. I prefer their earlier records (up to and including Les Espaces Inquiets). The later ones have more synthesizers/sequencers and fewer acoustic instruments. (Those who are into synth music might well prefer the later ones.) My recommendation to start would be the 2CD set including Musique Pour L'Odyssee, Generation Sans Futur, and Symphonie Pour Le Jour.... Another 2CD set includes Phase IV (originally a 2 LP set) and Les Espaces Inquiets. -- Dan Kurdilla

Faust features Univers Zero's Daniel Denis as a member.

[See Art Zoyd III | Dallio, Patricia | Denis, Daniel | Univers Zero | Zaboitzeff, Thierry]

Art Zoyd is also referred to as Art Zoyd III, referring to the incarnation that started on the 1976 Symphonie... album as a separate entity from the band that recorded the single "Sangria."

[See Art Zoyd]

Odyssee (77)

One thing you're sure to notice about this French band from the moment you set the needle in the groove, is the similarity between guitarist Jack Mlynski and Robert Fripp. Mlynski often treads precariously the line between homage and ripoff in his Frippian guitar tangents. Please note the similarity to the guitar strumming in the middle of "25e Anniversaire" to the same strumming at the beginning of "Lark's Tongues In Aspic Part Two." But the rest of the band seem to have personalities of their own, notably synthesist Alain Coupel, whose playing is noticeably un-Crimsonlike. Still overall, I think that there is definitley a Crimsonesque air permeating the whole of the album, though it's overall an enjoyable ride that only the most resentful Crimson fans will not want to embark on. Especially notable is the 16-minute "Artcane I," composed by percussionist Daniel Locci.

[See Archaia]

Tilt (74), Giro di valzer per domani (75), Quinto Stato (79), Acquario (83), Children's Blues (85), Live (90)

A fusion band featuring the an exceptional drummer in Furio Chirico. Chirico is so dazzling that you may end up only listening to him if you buy these. Drummers must own these since I have never heard Bruford, Moerlen, or Pip Pyle as impressive as this guy. He literally riffs all the way through these and are worth the money alone for the drumming although the music complements him very well. The names - Tilt and Giro di valzer per domani. A posthumous live release is also available.

Ripping jazz-rock from Italy, powered by the amazing drumming of Furio Chirico. Two studio albums Tilt and Giro di valzer per domani have both been reissued on CD, as well as a live set, which is OK but not as intense as the studio stuff. They are a six piece on Tilt (Drums, Guitar, Bass, Keys, Soprano Sax, Violin and Vocals) and add a full time lead vocalist on Giro. Very energetic, tight changes, colorful melodies, and excellent playing by all.

This jazz-rock band played in some gigs with Area (big friends) PFM and Gentle Giant. The first album is interesting and is very similar to the Mahavishnu Orchestra. Their best LP is Tilt and the last LPs are jazz-fusiony sounding.

All the Rush-heads who insist that Neil Peart is the best thing since the flush toilet should give a good listen to the drummer of this band. We're talking non-stop action; rolls, fills, and rythyms complex enough to be called "melodies" for drums. Killer stuff. On tour the dude must have taken oxygen between songs because I don't see how he could keep up the speed for as long as he does. This seven piece Italian progressive jazz outfit offers good, fast, busy fusion styled prog rock with occasional vocals but the drummer really sets them apart. Not quite as sharp as say... National Health, but busy nonetheless. I like the Giro di Valzer offering a bit better than their other CD, Tilt, and I'd say its worth picking up just for the drumming.

Much ink has been spilled about the drumming of Furio Chirico and for good reason: the guy is phenomenal. He is all over the place using all available musical space yet is never bombastic or overbearing. The music on Tilt and Giro di valzer per domani is generally pretty similar, though there are some differences. For the most part, I'm reminded of Ponty-era Mahavishnu Orchestra with violin and guitar trading licks against the non-stop riffing of Chirico. The guitar player, Gigi Venegoni, shows some nice McLaughlin influences with fiery guitar runs burning up the tune while the soaring violin adds more fuel to the flame. Add in some saxophone to round out the sound, the style perhaps a bit reminiscent of Elton Dean's playing with Soft Machine or Wayne Shorter from Miles Davis and Weather Report. Tilt has a slightly more symphonic edge, though still very much fusion, because the keyboard work is featured a bit more. The keys lean toward the lush end of the spectrum, hence the symphonic edge. Vocals are found on a few songs on each album; though a full-time singer is found on Giro..., he can be heard only on approximately one-third of the songs. Highly recommended to all fusion fans. -- Mike Taylor

Tilt is an undisputed classic of the fusion-prog subgenre. Highly influenced by the Mahavishnu Orchestra, the band uses guitar, violin and saxophone as lead instruments, and the sounds blend very well. Gigi Venegoni is one of the best Italian guitarists. Beppe Crovella adds a critical symphonic element to the sound with mellotron, organ and synths, while Furio Chirico is one of the fastest, most accurate drummers ever. Yet he knows when to lay back, the first half of "Positivo/Negativo" and the slower parts of "Articolazioni" are good examples. Highly recommended. Giro di Valzer jettisons the symphonic element, so is slightly disappointing in the face of Tilt, yet is still a good album on its own. Not unlike Isotope, Hatfield and The North, or other Canterbury fusion groups, fans of the aforementioned will enjoy this. Quinto Stato, without Venegoni, Crovella or violinist Giovanni Vigliar, is a good deal more disappointing. Still not bad, but the rather bland straight jazz approach doesn't work nearly as well as the previous styles did. It's hampered further by the presence of Rudy Passuello on vocals on four tracks; he's one of the most grating, gravelly vocalists I have ever heard. -- Mike Ohman

[See Secret Cinema | Trip, The | Venegoni E Co.]

Related to Urban Sax/Lard Free.

Arzachel (69)

Originally known as Uriel, this was the earliest formation of Steve Hillage and Dave Stewart. Hillage left for university, leaving the members for Egg's first release. Though the recording quality leaves something to be desired, the music is superb and forshadows much of what was to come from these guys in later bands. Some is pure psychedelia, some hints at the Egg to come, while the longer cuts sound like crosses between Floyd, T-Dream, and even Ash Ra Tempel. Quite the variety and quite good, if somewhat on the raw side.

Arzachel was the forerunner to the group Egg, the Canterbury band that released three classic works of organ-dominated progressive rock. It features all the members of Egg, ie Dave Stewart, Clive Brooks, and Hugo Campbell, plus Steve Hillage, making it truly a collection of luminaries of that genre. The music is somewhat in the vein of Egg, augmented with Hillage's guitar and vocals. As with Egg, Stewart and his organ (ahem!) dominate the mix. By and large, the compositions are not as uncompromisingly complex as Egg-works, but the overall tone places this well within the classic UK progressive/hard rock style of the late sixties/early seventies (this was recorded in 1969), alongside bands such as Atomic Rooster and the like.

[See Egg | Gong | Hillage, Steve | Stewart, Dave]

Asfalto (78), Al Otro Lado (78), Ahora!! (7?), Lo Mejor de Asfalto (80; comp.), Cronofobia (??), Corredor De Fondo (??), Others

Harder-edged symphonic progressive.

I have heard Asfalto, Al Otro lado, Cronofobia and Corredor De Fondo. Al Otro Lado is an incredible album and the only one I would consider progressive. It is truly a gem of heavy guitar-oriented progressive rock with excellent keys and vocals in Spanish. Cronofobia and Corredor De Fondo are generic mainstream rock and of no interest for prog fans. Their self-titled debut, is not nearly as progressive as Al Otro Lado but has an excellent 11 minute track. The rest of the album is unimpressive. Al Otro Lado is out on CD, grab it. -- Juan Joy

L'Hirondelle (76), Tradition et Renouveau (78)

Folk-prog in the vein of Malicorne with synths and mellotron.

Götterdämerung (91), Esoteric Poem (92), Arkana (92), Imago Mundi (93)

Italian band with english vocals. Their sound is full of power and grandeur, very symphonic, with affected vocals, shifting moods and almost schizophrenic dynamic changes. Overall, their material is full of feeling and emotion, ofttimes ethereal, yet very directed and always dark. Start with Arkana and work backwards. The vocalist is nothing short of exceptional, and the rest of the band supports him well, rather than burying him. The extended instrumental passages show a band capable of producing raw power, melodic cohesion, and subtle restraint when needed. Comparisons ? Sometimes I hear echoes of some great 70's Italian bands like PFM, Raccomandata RR, Island, and others, yet the vocalist reminds a little of Aragon, Galadriel or Mugen, sort of gothic, but to be fair, these guys are pretty unique.

Asgard are an Italian progressive group who are proponents of the neo-progressive sound. Götterdämerung is very Marillion-influenced, ranging from the symphonic guitar/keyboard music to the dramatic vocal stylings. The music is pretty well constructed, with all the hallmarks of the "prog" sound, churning chords, variations in moods, broadly conceptual lyrics (in English), etc. and would make a worthwhile addition to the collections of those who are interested in the new progressive scene.

Arkana is the band's third and includes vocals (in English), guitars, keyboards, bass, drums and flute. The style is a melodic rock that obviously evokes recent British bands. The tracks are based on strong vocal presence and simple but varied and very dramatic arrangements. Their progressive development features various intensity levels; from rich ballads to a more rock sound that occasionally gets a bit raw. Guitars and solid rhythms set the tone while the keyboards insure the symphonic touch. As suggested by the presentation, themes have a dark mythical flavour that evokes the middle-ages. -- Paul Charbonneau

In The Realm Of Asgard (72)

Ash Ra Tempel (71), Schwingungen (72), Seven Up (73, w/ Leary), Join Inn (73), Starring Rosi (73), Inventions for Electric Guitar (75)

I classify this group with early Tangerine Dream, Conrad Schnitzler, and other people whose records, at least to me sounded more like experiments in sound rather than music. I do not care much for that kind of stuff, but I'm sure that, given lots of spare time, I could learn to appreciate their music.

German trippers from the 70's, creating space rock with extended psychedelic jams, later evolving into a more melodic sound, they have a long string of albums, one of which is purported to feature Dr.Timothy Leary (of LSD fame). The group's mainstay and leader is guitarist Manuel Gottsching, the band also featured (at various times) Harald Grosskopf, Klaus Schulze and others. I'm only familiar with the first two and the last one (which is basically a Gottsching solo album), those three are excellent. This group later evolved into Ashra, and became more electronic oriented. See also: Cosmic Jokers, Galactic Supermarket.

Ash Ra Tempel is probably the best known band of the German space scene. Their albums are all classics; those with Klaus Schulze (Ash Ra Tempel and Join Inn) are the best. Here's something I wrote about their first release: It seems many Germans are big on the space/electronic style, with bands like Tangerine Dream, Kraftwerk, Grobschnitt, Brainticket, Gila, Popul Vuh, Amon Düül, and Ash Ra Tempel. Ash Ra Tempel's first release is a classic of the space/cosmic genre. Featuring the first collaboration between space wizards Gottsching and Schulze, Ash Ra Tempel is an acid-drenched space journey from start to finish. Press the play button, close your physical eyes, open your mind's eye, and let your imagination soar. The trip begins with "Amboss" ("anvil") and you are quickly drawn into your head. Guitar, EXCELLENT space drums, and electronics blend and separate, oscillate to and fro, taking you into the "Temple of the Sun." The journey is long but seems quick. Time stands still. You'll know when you're there, as Gottsching's guitar absolutely freaks out over Schulze's frantic drumming. The golden light of the Temple pierces your brain, welcoming you, inviting you to explore its inner vastness. Curious and aware, you accept. The pounding of the anvil draws you in, deep into its reaches. You are as light as the anvil is heavy. You feel his presence and you begin to seek him out. He's at the center of the Temple; he IS the Temple. Behind the door - is it Ra? Eager in anticipation, your heart (or is it the anvil?) pounding, your mind racing, you open the door, only to find........darkness. The anvil is quiet. "Amboss" ends in a space climax with no gentle set-down. It just ends - there you are - suspended; wanting more - keep your eyes closed. "Traummaschine" ("dream machine") delivers the next dose of cosmic force with a VERY slow injection. It's two minutes into the song before you realize the music has even resumed. At seven minutes, you realize you've been swept along the currents of the cosmos, as in a dream, but still nothing dramatic has happened - a safe voyage thus far. At this point though, the music really begins to pulse, building in swirling rhythmic intensity until you suddenly realize you are no longer gliding gently along but are instead dreaming wildly, nightmares and fantasies flashing on your eyelid movie screens. After one climax, you are briefly set down for a short rest before the next, even more intense orgy of drums and space guitar. Only then are you gently returned to your warm abode to revel in your recent journey. You may open your eyes but you may never see things quite the same. The dawn breaks. A must for space travellers. I'll settle down a little for their fourth album, Join Inn. Klaus Schulze had left after their self-titled first but rejoined the band for Join Inn and his presence is evident throughout. Join Inn is structurally similar to their first album with two songs. The first ("Freak 'n' Roll") is the energetic "rockin" piece and is comparable to "Amboss" while the second song is much spacier with more emphasis on texture. This one is like "Traummaschine." If you like one of these albums, you'll like the other. Both are essential albums from the German space scene. -- Mike Taylor

Early German space rock featuring Klaus Schulze and Manuel Gottsching. Long psychedelic jams, which are fun, but owning one or two of them is probably enough. Recommended: Inventions....

Ash Ra Tempel was the legendary German electronic group that spawned Klaus Schulze, though, at that time, Manuel Gottsching was the prime mover. Their music is very spacy and psychedelic, in the manner popularized by early Hawkwind and Amon Düül II. The standout, though, is Inventions For Electric Guitar, which features Gottsching's electric guitar only, played through all kinds of echoes, reverbs, phase-shifters and the like, and makes for a very compelling listening experience. At times the music is similar to the hypnotic style of releases such as Transfer Station Blue, but, for the virtuosity of the music, remains in a class of its own. The other releases would be of interest to collectors of electronic music from the early seventies, when that genre was sprouting. Seven-Up features Timothy Leary, with his "altered-state" interludes, while Starring Rosi features, to a degree, the vocal talents of Ms. Rosi.

Masters of spacerock, starring guitarist Manuel Goettsching. The emphasis, not surprisingly, is on guitar rather than keyboards. Goettsching's guitar is often filtered and distorted beyond recognition, he may well be one of the first innovators in guitar synthesizer technology. The first, self-titled album is the best Ash Ra Tempel album I've heard so far, celestial guitar jams with echoey percussion that sounds like the result of what might have been if Tangerine Dream had continued to develop the sound begun with Electronic Meditation. Not surprisingly, drummer Klaus Schulze used to be a member of Tangerine Dream. We all know what became of him. Seven Up is a mixed bag. Half of it is psych-blues weirdness interspersed with acidic, spacy freakouts, while the other, infinitely better half is more of the echo-guitar sounds we all know and love, only this time with extra layers of sound created by flute and keyboards, and featuring a guest spot by acid-guru Timothy Leary reading some unintelligible prose underneath the sheets of sound. The only other Ash Ra Tempel album I've heard in its entirety is Starring Rosi. As its title indicates, Goettsching's then-girlfriend Rosi Mueller plays a prominent role here, essentially the same as Tim Leary's role in Seven Up, though her voice is mixed much louder. The album is more song-orientated than any previous Ash Ra Tempel album, and suffers because of this, not to mention the fact that most of the music sounds like the Grateful Dead! There are some moments of dreamy electronics that make it somewhat worthwhile, though. I also heard a bit of Inventions for Electric Guitar on "Music from the Hearts of Space," or some equivalent radio show. More "ambient" than most Ash Ra Tempel albums, apparently this one was just Goettsching alone. Pleasant listening. -- Mike Ohman

[See Ashra | Gottsching, Manuel | Richard Wahnfried | Schulze, Klaus]

New Age of Earth (77), Blackouts (77), Correlations (78), Belle Alliance (79), Walking the Desert (89?), Tropical Heat (90)

Manuel Göttsching's second incarnation in a much more electronic vein. Try New Age Of Earth or Blackouts. Later albums get more commercial yet recently, they have supposedly gotten better.

This is the group that Ash Ra Tempel evolved into, relying increasingly more on electronics and less on guitars. There were four excellent albums in the late 70's/early 80's: New Age of Earth, Blackouts, Correlations and Belle Alliance, then they broke up for a stretch and got back together in 89 and recorded a couple more (Walking the Desert, Tropical Heat) which I'm not familiar with. Start with Correlations or Belle Alliance.

Continues in the Ash Ra Tempel tradition, more melodic and hypnotic. Recommended: New Age of Earth.

Manuel Göttsching's artistic vehicle. The music is well entrenched in the Berlin style, very reminiscent of Klaus Schulze, but more oriented towards the guitar, mostly processed through a large variety of effects. Tropical Heat is well in line with the sequential, guitar and synth instrumentals that are his trademark. Combined with the percussive assistance of Harald Großkopf, and his own unique multi-layered guitar riffs, this release is sure to appeal to those who enjoy the European electronic sound.

Ashra was Manuel Göttsching's continuation of Ash Ra Tempel, moving from the outerspace psychedic realms of the temple to the electronic domain of Berlin. Essentially a solo vehicle, Blackouts consists of Göttsching's guitar solos over sequenced patterns of synthesizer, ala Tangerine Dream. Some of Göttsching's solos are variations on short patterns similar to the sequencer motifs. Others are fully developed solos, played fluidly and with a steady hand which is in contrast to the wild excursions of the acid-drenched Ash Ra Tempel. Often the guitar is run through a delay to double the sound or make it spacier. The 17 minute "Lotus" comes closest to the original Ash Ra Tempel, at least in concept if not execution. Here Manuel uses his abilities to captain your brain through celestial atmospheres of cosmic proportions. Overall, Blackouts is very relaxing and a great way to unwind after a difficult day. Correlations adds Harald Großkopf on drums and percussion, and Lutz Ulbrich on piano, mellotron, more guitar, and string synth, in addition to Göttschings guitar and sequencers. As you'd expect, the sound has more depth relative to the previous offering; however, I'd say that overall the sound is similar to Blackouts despite the added dimension and more rhythmic variety. If you like late '70s Tangerine Dream, Klaus Schulze, etc., you will want to check out Ashra. -- Mike Taylor

Apparently when Manuel Göttsching signed up with Virgin Records, he was no longer allowed to use the Ash Ra Tempel name. So he concatenated it to Ashra, and continued making albums. New Age of Earth is very synth-orientated, but uses enough guitar so that you'll know who this is. Of the post-Ohr/Cosmic Couriers releases, this is probably the best, though I haven't heard the next one Blackouts. It's supposed to be good as well. Correlation finds Ashra a band again, Göttsching is joined by Harald Großkopf (ex-Wallenstein) and Lutz Ulbrich (ex-Agitation Free). They start getting more commercial, even resorting to disco (blech!) on "Club Cannibal," but there's enough good stuff to keep you interested. The beautiful "Oasis" and the hypnotic "Pas De Trois" are two of the better tracks. Belle Alliance is half short songs, half long pieces. The lengthy "Code Blue" sounds as though it could have been recorded at the same time as the first Ash Ra Tempel album, while the lovely "Mistral" resembles something from _New Age Of Earth_. -- Mike Ohman

[See Agitation Free | Ash Ra Tempel | Kistenmacher and Grosskopf | Richard Wahnfried | Wallenstein]

Japanese group. Vocals (I think).

Asia (82), Alpha (83), Astra (85), Then and Now (90), Live in Moscow (90), Aqua (92), Aria (94), Arena (96)

Here's a punching bag if there ever was one. Don't get me wrong, I really enjoy a lot of Asia's output, but they are probably one of the most controversial bands discussed in progressive forums. At first blush, this looks like a great line-up. John Wetton, ex-King Crimson and UK, on bass and vocals, Steve Howe, ex-Yes, on guitars, Geoff Downes, ex-Yes keyboardist, and the incredible Carl Palmer of ELP on drums. Heck, the album even had a beautiful Roger Dean cover. But consider that Wetton's work had become increasingly less progressive with UK (listen to the "new" tracks on UK's swan song LP, the live Night After Night) and his solo album from 1980, Caught in the Crossfire. Consider Downes' work in the Buggles ("Video Killed the Radio Star'). Now you worry. The first album is generally considered the best of the bunch. There are lots of pop singles here, 2 or 3 of which were all over US radio in the early 80s. There are a few slightly more progressive tunes as well, usually tempered with AOR-readiness and power chords. Typical of these were "Time Again" and "Cutting It Fine." Disc jockeys who had long appreciated the relatively unpopular output of the various band members were happy to see these guys make it big, and gave them a big push. The band was huge. They quickly put together a second album in a very similar mold. The personality clash between Howe and Wetton took its toll, and Wetton left. The story goes that Wetton wanted to continue the pop-song approach, while Howe was ready to move on to something different. Greg Lake replaced Wetton briefly for a tour of Asia (the continent), but bowed out immediately thereafter. Wetton returned, Howe left. Mandy Meyer (ex-Krokus!) signed on for Astra. This album, while still containing a few power-chord laden AOR-prog rockers like "After the War," was littered with second-rate pop tunes like "Wishing." Meyer was no replacement for Howe, and Wetton and Downes were getting more and more concerned with chart hits. There was a long hiatus, and then a greatest hits album was released with four new songs (with several different guest guitar players), none particularly in the progressive vein. The album generated one minor US hit, "Days Like These," a feel-good pop tune. Another song was co-written by David Cassidy, ex-of the Partridge Family. (O, how the mighty have fallen). The fact that many consider that track to be the best of the 4 new tracks might tell you something. The band travelled to Moscow (where evidently they were still popular) with new guitarist Pat Thrall, and recorded a live album with one new track. Wetton performs some songs from his King Crimson/UK days on the CD and accompanying video, making the album historically interesting. Of course, the hits are there as well. Wetton left the band after the album's release. Downes was determined to continue, and brought in John Payne as Wetton's replacement and Al Pitrelli to play guitars. Downes re-enlisted Steve Howe as a special guest on the next album, Aqua, and its subsequent tour. Aqua was even less progressive than their previous efforts. The general consensus of the net prog rock community was that the brief Howe-penned instrumentals and the single ("Who Will Stop the Rain?") were the best of the bunch, although not particularly progressive. Furthermore, Payne's voice (and appearance!) is in a class with the singers from many "poser" metal bands, which is not a good thing. Even Greg Lake's writing contributions couldn't save this one from the wrath of the netters. I would recommend that fans of progressive music buy the CDs in chronological order until you get to one that you really dislike. Chances are you won't like any of the later ones either. I might add that many younger prog rock fans "cut their teeth" on this band's first album and Yes' 90125, and explored the past of each member based on the popularity of these two albums. Kind of endears Asia to many proggers.

Arena is the most progressive thing they have ever done. I was not impressed with the first two albums with new singer John Payne, but Arena I highly recommend. It opens with an instrumental latin groove called "Into the Arena" then the title track. John Payne sings with much more power and soul than before, and Geoff Downes keyboards are more prominent, as on the eight minute "Day Before the War." The songwriting is strong all the way through, this is without a doubt one of Asia's best efforts. -- Eric Hillstrom

[See Atoll | Emerson, Lake and Palmer | Family | King Crimson | Wetton, John | Yes]

Crossing the Line (79), Between Flesh and Divine (81)

Truly fantastic Turkish/French progressive band that put two great album out Crossing The Line and Between Flesh And Divine. The latter has just been reissued by Musea on CD!!!

A French-Turkish band that recorded two albums in the late 70's then split. Their sound could be related to a mesh between Snow Goose period Camel, King Crimson type guitar pyrotechnics, and the very french sound of bands like Pulsar and Ange, with some slight jazz influences. Vocals are sung in english, and sung well. The two albums are Crossing The Line and Between Flesh and Divine, the latter one is absolutely essential. In the late 80's they supposedly reformed and started work on a new album, but nothing ever materialized of it.

Asia Minor released two albums, but only Between Flesh And Divine, the latter, has been reissued on CD. The music is very much in the vein of Camel, all the way from the flute leads to the melodic guitar and keyboard work, down to the vocal style. The band is French, but the lyrics are in English. At times, though, the musicians let loose and unleash aggressive barrages, very much in the spirit of their countrymen, Edhels, and the like. All in all, this is well executed progressive rock that runs the gamut of moods, from the quiet to the symphonic, and can be likened to a blend of Camel and Edhels/Minimum Vital, with an added melodic bent.

Between Flesh and Divine is a classic of French symphonic. At least they're usually considered French, though there are also Turkish members in the band. Plenty of flute can be found swirling in and out of the keyboard, mellotron, and guitar. There's a somewhat dark, haunting feel to the music, similar to other French bands such as Pulsar. Sounding pretty unique to my ears, I guess I can imagine a hybrid between Camel and the above mentioned Pulsar. Strongly recommended.

I like Between Flesh and Divine but it still hasn't really grabbed me. The instrumentation is great...a good active bassist and drummer, a fine guitarist and competent vocalist but the music hasn't made me want to listen to it that often. The synths are a bit tinny but nothing I can't deal with. I can't think of any band off the top of my head to compare these guys to. They definitely fall within the symphonic category and they are doing something original. At times the vocalist reminds me of the male singer from Dead Can Dance - that dreary, depressed, drugged out style. Other than that words fail me. But I still recommend it.

[See Delaunay, Eric]

Ramasse - Miettes Nucleaire (??), Nouveaux Modes Industriels (??)

Industrial/weird.

Asterix (70)

Mindgate (??)

Electronic duo.

Astral Navigations (71), Gagalactica (89) (recorded early 70's)

Astral Navigations is really a recording of two different bands, Lightyears Away and Thundermother. Lightyears Away is folk/psych (more toward the folk end) and features Bill Nelson who was later to join with Be-Bop Deluxe. On the one song I heard, it was mostly pleasant singing (male, some female) over piano with some short, very fuzzed guitar breaks. The song had some nice diversity in style. For example, at one time the piano is replaced with acoustic guitar and flute. Not bad and worth a listen if you're into the folk end of psych/prog. Thundermother are said to be more straight-ahead rock with heavy guitars.

[See Be-Bop Deluxe | Nelson, Bill]

Astralasia (90?)

Part of current UK psych scene. Rumored to be Magic Mushroom Band in disguise.

[See Magic Mushroom Band]

Foresight (80)

ELP/Genesis vein, loaded with keyboards.

A Circle in the Forest (88), Brilliant Streams (90)

This is an instrumental Japanese group. They have two CD's out 1988's Circle In The Forest and 1990's Brilliant Streams, which are both excellent musically! If you like instrumental progressive rock in the vein of Camel, you will probably like this group. It is hard to draw comparisons as they don't necessarilly sound like anyone else.

This is the Japanese band led by bassist Yoh Ohyama, with a sound that falls somewhere between contemporary jazz-rock fusion and Ommadawn period Mike Oldfield, with some very tight and complex polyrhythmics, soaring guitars, multi-layered keyboards and some excellent acoustic guitar work as well. Their music is instrumental, with vocals (some tracks) added only for effect (No Lyrics). The outcome is a stunning blend of acoustic and electric styles. Circle in the Forest is the band's first album from 1988, an outstanding masterpiece in itself. Brilliant Streams is their second, and shows even more mastery and maturity in the band's sound, and the influences are less evident. Each album has one long 20+ minute opus, and three or four shorter tracks as well. Both are must-haves!

Opening notes of Brilliant Streams remind me of the Strawbs circa Hero and Heroine. Continues with piano and breathy synth still with Strawbs feel. Some classical guitar. They are a current band and the sound has an up-to-date quality to it.

Asturias, is a group that captures the style of Mike Oldfield very well in Circle In The Forest, with a slightly mellower edge, but with many of Oldfield's trademarks including abrupt changes in mood and melody, and the use of the fuzz guitar. Overall, the music is very melodic and keyboard-oriented, at times reminiscent of Yanni's earlier work, especially Optimystique, with delicate piano-synth lines. The final, title track is upward of 22 minutes in length and is, to all intents and purposes, a tribute to Tubular Bells.

I've heard a lot of people raving about this band, and I honestly don't see what all the fuss is about. Leader Yoh Ohyama's chief credit is for "Computer programming," and I think that in itself says a lot about Circle in the Forest. Very mechanistic sounding, with pre-programmed rhythms, bland digital synths, and heavily filtered (both electric and acoustic) guitars. Everything is polished to a digital sheen and ends up sounding remarkably false. Some of the songs are well written, but they certainly deserve better than the Yanni-esque new-age treatments they are given here. The first five minutes or so of the 22-minute title song are pretty good, but then the drum-machines and computer-driven sequences start and they lose it...and can't get it back. Not worth the high import price you'll undoubtedly have to pay for this. (There's a second album called Brilliant Streams which I've heard is similar, so I don't have high hopes for it, either.)

Asturias is a current Japanese band who have released two albums. Like many other current Japanese bands, they create a very modern sound centered around digital piano and other synths. The four songs on Brilliant Streams, the only album of theirs I've heard, have a very full, romantic sound. In addition to the keyboards, you'll hear very tasteful bass, electric and acoustic guitar, and some drums. When there are vocals, they are typically without lyrics. One song and some passages border close, and sometimes wanders in, to the new age realm a la Yanni, which may turn off some die-hard Prog fans. It doesn't turn me off, exactly, but I don't find it particularly engaging, either. The strongest influence, however, was Mike Oldfield. Asturias build layers of sound comparable to the British multi-instrumentalist. Sometimes this influence is very obvious but it is usually more subtle. The electric guitar tone used, as well as the style played, is also comparable to Oldfield. Perhaps a good summary of the album would be "Mike Oldfield goes new age." Overall, Brilliant Streams is an enjoyable album but I certainly wouldn't go out of my way to get it. -- Mike Taylor

Adolescence (??)

Atavism of Twilight (92)

One of the best bands to emerge in 1992, though unfortunately their sole release is currently available only in cassette format. The music owes equal debt to the symphonic and fusion realms. In fact, AoT reminds me of a cross between two excellent bands, Änglagård (symphonic) and Djam Karet (fusion). Indeed, AoT has opened for Djam Karet in concert and DK's Chuck Oken engineered the AoT release. "Audion" described Atavism of Twilight's music as an amalgam of Italian progressive, King Crimson, and Mahavishnu Orchestra with flute ala Camel and Solaris, which is pretty accurate. Certainly, the flute playing is very melodic, standing out nicely against washes of mellotron (on "Glorified Form," for example). The melodic lines often sound pastoral, belying the rhythm section that is always ready to burn and constantly hinting at the barnstormer that could burst forth at any moment. When the rhythm section does finally kick into overdrive, just watch out. The guitar scorches, the flute becomes frantic, the mellotron sings forth and the whole band explodes in dynamic fury, laying waste to all that holds against it. Get it and get out of the way! -- Mike Taylor

Known best for opening at Djam Karet's most recent show, this is yet another band from the Los Angeles area making progressive music. An instrumental five piece consisting of flute, guitar, keys, bass, and drums, this is the best new band I've heard since Änglagård. An amalgam of fusion and symphonic styles, they draw from bands such as Camel, Jethro Tull, Focus, Kenso, Mirthrandir, and many, many others. Perhaps they are closer to Kenso than any of the other bands listed above, but this cassette contains more fervor than any of the Kenso releases. Non-stop action, they combine sophisticated writing skill with knock-out, firey playing. The compositions are upbeat without sounding campy. Atavism consists of ever-changing motifs and leads, avoiding the "repetition trap" that all too many instrumental bands fall into. Each musician is considerably skilled and all contribute equally to lead and rhythm parts. The drums, flute and guitar are particularly busy. Unlike many bands that play complex music, Atavism of Twilight never becomes too esoteric or academic. They remain listenable, and have a universal appeal. I think most prog-heads will like this tape, and I recommend it very highly - this is brilliant material. -- Mike Borella

Beginning Of The End (7?, EP), Intencion (76), Reviure (78)

Atila is your basic four-piece progressive outfit, consisting of moog and guitar explorations over a solid rhythm section of good bass and aggressive drumming. The moog is supplemented by Hammond organ. When I said basic above, I don't mean to imply the music is basic - the music is excellent. Intencion and Reviure each consists of four songs where the guitar and EXCELLENT moog work explore a variety of time signature and key changes throughout each song, trading licks, providing counterpoint and rhythmic underpinning during solos and so forth. I can't compare the moog style to anyone off the top of my head, except for perhaps the moog work in Mezquita or Crack, two other excellent Spanish symphonic progressive bands. The guitar influences range from David Gilmour to Carlos Santana to Andy Latimer to Jan Akkerman and beyond. Vocals can be found in one or two songs but not often and they aren't a detraction when present. Excellent symphonic that is particularly recommended to fans of the moog synth.

Stay Tuned (85), Neck and Neck (90)

The famous country guitar picker made an album titled Stay Tuned in the late 80's that could only be described as progressive, blending country, jazz and instrumental rock styles into his own answer to fusion, it included guests like Mark Knopfler, Larry Carlton, Earl Klugh and George Benson.

Atlantide (76)

A band so influenced by Yes that they plagarize some guitar riffs and melodies. Not bad for seventies symphonic prog, but very derivative at times! -- Mike Borella

This is a nice French band, from the classic CRYPTO label. Their sound is quite derivative of Yes, but they sound amazing, since they don't use keyboards! Well... they *do* use them, but it's quite hard to notice, and there's no keyboardist credited on the album! The bass/drums work is amazing, and the guitarist pulls out some very Howe-esque riffs. The vocals are soft and gentle, very "French", but without those boring recitations and speeches that many French bands insist on putting on their albums. This is straight symphonic prog rock that'll sure please most progheads. -- Luis Paulino

[See Horrific Child]

Francesco Ti Ricordi (??)

Rare heavy fuzz/organ prog.

Atlantis (72), It's Getting Better (73), Atlantis (74), Ooh Baby (74), Get On Board (75), Atlantis Live (75), Top Of The Bill (78)

When Frumpy broke up, Inga Rumpf and Jean-Jacques Kravetz formed this band. The second self-titled one (on Polydor, from 1974) is reported to be country-rock with no relation to prog, so investigate with caution. -- Mike Ohman

[See Frumpy]

Atlantis Philharmonic (74)

Overrated (IMHO) classical rock band from the US. Why does everyone like this so much?

Mid 70's duo from Cleveland consisting of Royce Gibson on drums and Joe DiFazio on everything but the drums, blending then-current rock styles with jazz and some classical influences, often sounding a little like what ELP might've sounded like if they had a real guitarist. They released one self-titled album in 1974, which was re-released on CD a few years ago. Overall though, the sound is a little dated and the vocals are not that strong, this one hasn't stood the test of time. Good, but not great.

Decent American progressive. Apparently this is fairly popular, but I think there are better US bands, such as Lift and Mirthrandir. Perhaps if they had a chance to do another album. Stylistically, they compare somewhat to ELP, perhaps with a little bit of Camel's melodic sensibility. Lyrics are average. Not bad for two guys, though. One handles all the percussion while the other handles everything else: keyboard, guitars, bass, pedals, etc. - his strong suit is the keyboards.

Blå Vardag (79)

While Kaipa might be the best known Swedish band from the '70s, I think Atlas' debut far exceeds the quality of the debut of their fellow countrymen. Style-wise, though, Kaipa does serve as a good comparison. Atlas were a quintet fronted by two keyboardists employing the usual organ, electric piano, mellotron and mini-moog. Organ, electric piano and synth are the main stars. The keyboard players were Erik Björn Nielsen and Björn Ekbom. The other three members of Atlas were Janne Persson (elec. guitar), Utte Hedlund (Rickenbacker bass) and Micke Pinotti (drums). One need only listen to the two part, 14 minute "På Gata" to hear all that is good about this band. With both keyboardists playing against each other and the guitar, and with the entire band galloping through different thematic variations every few measures, the band whips out complex, melodic arrangements with relaxed ease. After racing through the first ten minutes, the band settles back into the second section, a breezy jam to close out the last few minutes. These instrumentals, with an aura typical of most Swedish bands, sound just as fresh today as they would have in 1979. The first five tracks of this disc are from the original LP and there is not a slacker among them, whether it is the three minute "Gånglåt" or the seven minute title track. APM's reissue includes three bonus tracks. The first is "Björnstorp," and is culled from Mosaik, the "follow-up" release after Blå Vardag. (I am not clear whether Mosaik is an Atlas album. "Bjornstorp" contains four of the five Atlas members, and three of them play on only one other song on the album. Guitarist Persson is the only Atlas member to appear on most of the album, playing on all but one track; this one song doesn't feature any Atlas members.) "Hemifrån" was composed in 1977, but the band reunited in early 1995 to re-record the track. Finally is "Sebastian," recording during rehearsals in 1978. While the bonus tracks enhance an already fine album, the reason to buy this disc is for the tracks that comprised the original LP. Highly recommended. -- Mike Taylor

This Swedish group featured: double-keyboards, guitars, bass and drums. All tracks on Blå Vardag are instrumental and showcase the excellent melodic work of the keyboards and guitars. The rhythms are also solid and very appropriate. You will then find all the instrumental elements that made the bands from the '70s so famous. Despite the obvious references, the music remains original and accessible, while maintaining a considerable level of complexity. A solid production that proudly represents its era. -- Paul Charbonneau

Atmo (90)

This two piece neo-progressive outfit features keyboardist Salvo Condorelli along with vocalist / guitarist Mario Gulisano of Edith. The two share drum programming chores. While sounding similar to Edith, they are more experimental than that band. Missing is the simplistic Marillion wannabe style. Instead they opt for an approach reminiscent of Pink Floyd. While I find the music more interesting than Edith's Ice, it lacks the complexity and virtuosity that I listen to progressive music for. But the programmed percussion isn't much of a detraction, in fact it occasionally sounds more talented than the average human drummer! Most of the tracks are simple keyboarding and picked guitar chords with a few guitar solos and various effects. Atmo seems to be opting for a Floydian, neo-prog new-age sound. If this sounds like something interesting to you, you might want to check this out. However I can't recommend this to the average listener. Atmo has moments, such as the tracks "Living Forest" and "Nature Forces Bent." "Sinfoniko" is particularly good, probably the best on the tape. Unfortunately these moments are few and far between. With all the wonderful music being released and re-released these days, Atmo falls far down my list of bands to listen to.

[See Edith]

The German's Gates (79)

Multiple influences from Ange to King Crimson, including Genesis.

Musiciens Magiciens (74), L'Araignee Mal (75), Tertio (77), Rock Puzzle (79), L'Ocean (89), Tokyo, C'est Fini-Live (90)

One of my favorite symphonic progressive bands is the band Atoll. Creating a music that owed much to Yes and Genesis, yet again remaining distinctly French, Atoll were a talented ensemble who showed a finesse with dynamic and melodic arrangements. Their debut Musiciens-Magiciens is an excellent example of their music, rich in synthesizer textures and dynamic rhythms and featuring another strong French vocal presence - Andre Balzer. 1975 featured L'Araignee-Mal, a concept album which added a good violin player and moved a little toward fusion realms, while remaining distinctly symphonic. Maybe the one most of you would like best is their third Tertio. Probably the closest album France had to a Yes album, the fusion direction was substantially altered and a lusher sound enveloped. Tertio is a startling display of symphonic rock and the album's best cut "Tunnel," a veritable menagerie of key and time changes, gives no better indication as to this. Atoll's fourth Rock Puzzle while also good moved closer to a more commercial style of prog rock, with shorter songs with verses and choruses. After a complilation Cosmic Trips Atoll "reformed" in the late 80's with a completely different line-up, only featuring Christian Beya (who joined on L'Araignee-Mal) from the 70's line-up. Two albums followed both being a Japanese-styled neo-progressive (and highly pop-oriented) that are poor successors to their 70's releases. (L'Ocean and Tokyo C'est Fini a live album.) -- Mike McLatchey

Atoll was one of the best known French prog bands, they had several albums to their credit. Their sound is a little more agressive than other frenchies of the period like Ange and Pulsar, with pretty much a style of their own. Their singer tends to get annoying, though, which is why their best albums are the ones where they stretch out instrumentally the most and are not confined to the song format: L'Araignee and Tertio are clearly their best. They reformed in the late 80's (with only guitarist Christian Beya from the original band lineup) and released two more albums: L'Ocean and Tokyo, C'est Fini-Live. I have L'Ocean and it's not that hot.

The two pieces from Musiciens Magiciens were wonderful. If you like Close to the Edge-era Yes, you will like this album. My only complaint is that the drums were recorded too weakly in some sections of "Le Baladin...." The second tune, "Au Dela...," has some similarities to Nektar's Recycled, but only good similarities. (I'm not a big Nektar fan myself.) I'm going to buy this album. The two pieces from Tertio were less impressive. The band's sound has changed here. If you close your eyes and ignore the singing, you could easily mistake this album for Camel (circa Nude). The music is not as dynamic as the tunes from Musiciens Magiciens, but not bad.

Atoll's beginning's can be traced back to February 1972 when Luc Serra and Jean Luc Thillot pulled out their acoustic guitars and played while riding on a train from Paris to their home town of Metz, France. Along for the ride was Alain Gozzo, who would become Atoll's drummer. By the time the band were ready to record their first album, they had added Andre Balzar on vocals and Michel Taillet on keyboards, vibes, percussion and backing vocals. Thillot switched to bass but also occasionally contributed 12-string guitar as well as backing vocals. The quintet released Musiciens-Magiciens in November 1974, which included guest flute and sax played by Laurent Gianez. Luc Serra's guitar solo on "Le Berger" could have come from a Buffalo Springfield album, and the vocals also occasionally recalled the California country-rock style, one of the band's early passions. Even so, the progressive elements were obvious as these songs were more evolved and intricate than standard CSN&Y fare. Atoll, in true progressive rock style, also wrote a three-part, eleven minute composition called "Le Baladin du Temps." The style of the song lands somewhere between the complexity of Yes and the dramatic style of Ange. With the opening theme, a middle development and exposition, and a reprise of the main theme, Atoll revealed themselves to be serious and talented musicians who only needed a little polish to take off off the rough edges. Perhaps the song that best reveals the young band's talent is "Je Suis D'Ailleurs," with it's many fluid transitions among several complex themes and variations.
After Musiciens-Magiciens was released, the band went through personnel changes that ultimately strengthened the band. Serra was replaced by guitarist Christian Beya. Atoll also wanted to add further depth and color to their sound, so added Richard Aubert on violin. Stylistically, Atoll shifted toward a more aggressive fusion direction, highlighting the interplay between Beya, Aubert and Taillet. Atoll released their second album, L'Araignee-Mal in December, 1975. L'Araignee-Mal (The Evil Spider) is a stunning concept album, with a tight and well-defined style. The album's opener, "Le Photographie Exorciste," still reveals Yes's influence, as the ending creates a dense, battle-like atmosphere reminiscent of "Relayer." The fusion aspect is strongest, however, and "Cozotte N.1" and "Le Voleur D'extase" evoke Mahavishnu Orchestra circa Visions of the Emerald Beyond, with dizzying duels between guitar, synth and violin. Despite the "evil" or "bad" thread that unites the album, the music is actually very melodic, uplifting and expressively dramatic. Nowhere is this more evident than the side long title suite. Voracious violin, gutsy guitar, and searing synth work meld to create a mind-blowing blend of fusion and symphonic prog. Not to be outdone by the other musicians is Gozzo, who rose to a much higher talent plateau with these recordings. His drumming, against Thillot's excellent bass work, is formidable. In my mind, L'Araignee Mal stands as the pinnacle of Atoll's work and is an essential for any prog collection.
Somewhat to their detriment, Atoll decided to head in a symphonic direction and asked Aubert to leave the band. Gone then were the depth and color added by his violin, the very reasons they asked him to join in the first place! Tertio was released in October 1977 and, although the funk fusion groove occasionally reared its head, the music was definitely more symphonic. From the Wakemen-like synth break in "Les Dieux Meme" to the overall Yes-like theme that opens "Gae Lowe (Le Duel)," the comparison to Yes is never far away. In addition to the change in style, Atoll's compositions became more concise, with most songs in the five minute range, although "Tunnel Part I" and "Tunnel Part II" combine to a total of nearly 14 minutes. And, to further define the change, the driving power of the fusion engine was replaced with more intricate compositions. Balzar's powerful and dramatic vocal style, not used very effectively on Musiciens-Magiciens, is very expressive on "Le Cerf-Volant" which, when combined with the Tony Banks-styled synth work, falls somewhere between Ange and Genesis in style. "Gae Lowe (Le Duel)" doesn't work as well; the duel exists between a funky fusion groove and the afore-mentioned symphonic themes and the two never resolve fully. The two-part "Tunnel," however, is a hallmark of Atoll's symphonic period, a delightful masterpiece with many complex melodies and excellent solos by Beya and Taillet. Gozzo once again displays his excellent chops with his best performance on this album. And, if that isn't enough, Stella Vander (of Magma) and Lisa Deluxe add feminine backing vocals for depth.
Rock Puzzle was released in September of 1979. The members remained the same from Tertio to this album, but Atoll's fourth release marks the beginning of the decline of band. At the insistence of the band's label, Eurodisk, Atoll streamlined their sound, and included rock numbers, ballads and even disco-styled songs in their repertoire. To add fuel to the fire, the label added strings and horns to further commercialize the sound. "L'ultima Rock" is a very straighforward rocker with a too obvious brass section added in, and "Garces de Femmes" is another uptempo rock number. Contrast these to the string section added to the ballad "Kaelka," which begins with cheesy fake bird sounds. "Eau (H20)" alternates between gentle acoustic guitar and rockier passages. Although it has a proggy feel, it also borders too close to becoming a mere "power ballad." The worst is the danceable "Smarto-Kitschy," with it's disco-styled beat and layered, syrupy string section. This song was actually remixed as "Atari! That's a Game" and used as the theme music to a game show based on Atari video games! If it were only a couple of minutes long, "Smarto-Kitschy" would be acceptable as "tongue-in-cheek" fun but at nearly eight minutes it is purely painful. Rock Puzzle does have a few redeeming songs: "L'Age d'or," "La Maison de Men-Taa" and "Puzzle." The first is very progressive, despite the streamlining. The second is very concise and direct but contains expressive soloing from Beya, as well as some wonderful atmospheric synth work from Taillet. "Puzzle" is the standout and is an excellent cut, in the vein of Tertio's "Tunnel." And, once again, it features the vocal talents of Stella Vander and Lisa Deluxe. The CD reissue contains several bonus tracks, including remixes of "L'ultima Rock" and "Puzzle," as well as the Atari theme song mentioned above. Atoll was not satisfied with Eurodisk's promotion of any of their albums and opted out of their contract with the label after the release of Rock Puzzle. Eurodisk attempted to cash in on whatever popularity Atoll had gained around the world and released Cosmic Trips, a compilation album.
Internal tensions in the band finally caused a serious rift and many members bailed out. Eventually, Atoll was reduced to a quartet of Gozzo, Taillet, Jean-Jacques Flety on guitar and Didier Lozano on bass. Earlier, Gozzo had met John Wetton at a UK concert and approached him about producing Atoll's fifth album. After hearing a tape of L'araignee Mal, Wetton agreed. After working out new compositions, Atoll went in search of a vocalist. Eventually, they asked Wetton to sing but he also wanted to play bass, so Lozano left Atoll to make room for Wetton. This formation went into the studio and recorded three tracks, which are included as bonus tracks on Musea's Rock Puzzle reissue. Polydor, who were courting Atoll, were negotiated with EG, who had Wetton under contract, but they reached a stalemate. After a period of time and with negotiations making no headway, Wetton could no longer wait and joined Asia. The irony is that the first bonus track on Rock Puzzle from the "Wetton-era" Atoll is the Wetton-penned "Here Comes the Feeling," which was to appear on the first Asia album. Even the two remaining songs, written by Atoll, were very much prototypical Asia-type songs, thanks to Wetton's influence. With the news that Wetton joined Asia, Atoll folded up until the late 1980s, when Christian Beya attempted to revive the name. This new Atoll recorded one studio album, L'Ocean, plus released a live album, Tokyo, C'est Fini, which was culled from a live Japanese tour in support of L'Ocean. I have only heard "Metamorphose" from this period, which is included on Musea's Enchantment sampler. "Metamorphose" features Beya on acoustic and electric guitars and Andre Teitschaid, who creates a chorus of voices. This is a fairly nice, textural cut but most of L'Ocean is said to be a mix of rock and pop with only a hint of prime progressive Atoll of old.
Atoll, in their short history, released two excellent and very different albums, L'Araignee-Mal and Tertio. Fusion fans should start with the former while symphonic fans will prefer the latter. Both are excellent and belong in any well-rounded progressive rock collection. -- Mike Taylor

Highly regarded French band. I've heard their first three albums. The first one, Musiciens--Magiciens, is mediocre. Shrill, piercing vocals make it irritating for a start, but the fact is that none of the songs save the 11-minute "Baladin du Temps" really have any quality that draws the listener in. It sounds like neo-prog, yet it was made in the mid-70s. L'Araignee-Mal is a vast improvement on their debut. Adding a violinist to the band and a touch of fusion to their sound, this is a very exciting album. The vocals are much improved, going a little loony on "Le Photographe Exorciste" as per Ange, but for the most part unobtrusive, and most of the music is instrumental anyway. The drums, unlike the first album, are very strong and colourful, reminding me of Arti E Mestieri in the faster passages. Keyboards and violin are also prominent, the former sounding not un-Wakeman-like. The side-long title track is totally mindblowing; highly recommended. With their new-found confidence, the band made Tertio, which is what I believe their first album ought to have sounded like. Lively keyboards and active drums, with powerful yet not strident or annoying vocals make this a must-have for French symphonic prog fans. "Paris, C'est Fini" and the two-part, 14-minute "Tunnel" are the high points. There's a few more Atoll albums, but they aren't supposed to be very good. -- Mike Ohman

[See Asia | Family | King Crimson | Komintern | Wetton, John]

Ne Czivay... (77)

Heavy prog with melodic passages in Italian style.

A.I. 2984 (89), Caccia Grossa (91)

The first album has a pop sound, the second one is more progressive.

Soft, keyboard-led prog.

Boulevard Of Broken Dreams (93)

French symphonic.

Aubrey Small (71)

Fantasy/Parlour Band styled prog.

Aucan (??), Brotes Del Alba (80)

Argentinian folk-progressive. Hints of Genesis and other symphonics. Quite good.

I find Aucan better than the well known Brotes del Alba. This is more like Celeste. -- Tom (AshRaTemp)

Audience (69), Friends Friend's Friend (70), House On The Hill (71), Lunch (71)

Early British band who only barely verge progressive and really only belong here, because they were on the Charsima label. Their best is House On The Hill which reminds me of an early British Prog band mixed with Arthur Brown raving lunacy - i.e there is some part on there which is about Satan or some such nonsense.

August (90)

Japanese band that purportedly sound a lot like Renaissance Mark I or Illusion (the band).

Japanese band with a folk-rock sound similar to Solstice, but without the violin. Excellent guitars and great female vocalist as well. Japanese lyrics.

August are one of the many newer symphonic bands from Japan that have dominated the scene through the later half of the '80s and into the early '90s. August opens with gentle female vocals (no words) over piano, then picks up the pace as guitar, drum and bass kick the song into high gear. Then it settles down again, then back into high gear. Beautiful! I would tell you the title but they are all written in Japanese. The second track is written in a similar manner, with the sounds of bird songs and flowing water over acoustic guitar, though it remains a serene instrumental ballad throughout. The third song opens with more vocals (Japanese lyrics this time) and acoustic guitar, again pastoral. I think you are beginning to get the idea. The music is not all acoustic guitar, piano and vocals. There are some wonderful electric guitar solos inlaid within the acoustic matrix. These guys remind me quite a bit of Mr. Sirius circa Barren Dream but less classically influenced. August is a stunning, gorgeous album and recommended to those into Mr. Sirius or the mellower side of the Japanese symphonic scene. -- Mike Taylor

Aunt Mary (70), Loaded (71), Janus (73), Best Of (??)

Their first, Loaded from 1972, is somewhat typical of the early UK proto-prog scene, at times somewhat reminiscent of bands like May Blitz, Gravy Train, High Tide, Moody Blues, Wishbone Ash, etc. Mainly the band is rockin' electric guitars and English lyrics. Later on, they dip into some Emerson-styled Hammond organ and acoustic guitars for a bit of variety, hinting at the style they were to further develop on their next LP. Janus is more representative of what I think of when I hear Scandanavian progressive. Organ and electric guitar bring out the progressive elements, while the acoustic guitar lends the folky feel of that region. Like Culpeper's Orchard from nearby Denmark, the music is often electric guitar jams over acoustic rhythms that break into nice acoustic melodies and vocal harmonies, of which the latter is sometimes vaguely reminiscent of Crosby, Stills, and Nash. Organ and some moog is found throughout; the Hammond work will still remind you of Keith Emerson, though the overall sound is *nothing* like ELP. Overall, Janus is a better album than Loaded and is the better starting place. Both are worthwhile though if you like the idea of folk-tinged early progressive. -- Mike Taylor

To me it is not prog but more a forerunner to heavyrock in the British early '70s rock tradition.

Aunt Sally (84)

Odd mix of Henry Cow-like and broken rhythms, strange female vocals.

Autograph (85), Kamenni Krai (89, aka Stone Land)

Phenomenally popular in the '80s, Autograph were perhaps best known as the Russian band who appeared at Live-Aid. As it turns out, they were much better than the limp Journey-esque arena-rock anthems they churned out on that day. Their debut LP (really an EP, it's only 27 minutes long) is mostly instrumental and incorporates lots of bright, classically influenced themes. -- Mike Ohman

Automatic Fine Tuning (76)

As far as I know, their only LP was Automatic Fine Tuning The bulk of this is taken up by an extended psychedelic/progressive instrumental, "The Great Panjandrum Wheel," which features some nice guitar work from Paul A. MacDonald and Robert Cross. Not quite the monster it's sometimes described as, Automatic Fine Tuning is probably best compared to some of the early British progressive bands on the Vertigo label, like May Blitz or Beggar's Opera. If you like that sort of stuff you'll like this. -- Doug Bassett

Avaric (88, a compilation of pre-released material?)

Folksy progressive band featuring (French progressive/avant-garde label) Baillemont Production's Lionel Baillemont on guitar.

Lionel Baillemont's progressive folk combo.

Muse Of The Round Sky (92)

Amazing and unique debut by this new artist on Hearts of Space. Avgerinos sounds like many of the other innovators on Hearts of Space, i.e Roach, Rich, Stearns, Demby but manages to transcend his influences with a blend of futuristic electronics, ambient shades, and brilliant atmospheres. An underrated gem.

Aviator (78)

Half-way decent album with Jack Lancaster, John G. Perry, Clive Bunker and Mick Rogers, produced by Robin Lumley.

[See Caravan | Jethro Tull | Lancaster, Jack and Robin Lumley

Non Communique (92)

French jazz-fusion band uses a diverse arrangement of keyboards and electric guitars. Should not be confused with the Grecian Axis that recorded in France.

Ella (71?), Sewers Down Inside (73), Axis (73)

The members of Axis are all from Greece, but they lived and published in France. I know of three LPs by them. The first one from around '71 is really horrible pop-stuff, avoid it!!. But the second from 1973 is a masterpiece! These four guys (keyboards, bass and two drummers) perform excellent Jazzrock/Fusion in the Canterbury-Style. Highly recommended!! (its by the way the only LP by them which came with a foldout cover and prog-like cover art). They also published a third one (again called just Axis), but here you find only hard rock. (Danger!! There is also a Heavy Metal Band called Axxis, two x's, don't mix them up!!). -- Achim Breiling

Axolotl (81), Out Manoeuvre (83)

In a strict sense, this fine French band is more "strange" than "progressive." Their punningly-titled second album (Out Manoeuvre) is an intriguing blend of avant-garde jazz, Beefheart-influenced rock, and primitive electronics. The occasional vocals are in French and are kind of creepy. Band members are listed on the jacket, but I have never heard of any of them before or since. Instrumentation is pretty standard: bass, guitars, keyboards, saxes, drums, but the resulting music is NOT for the Yes, Genesis and Marillion crowd!! However, fans of Faust, Henry Cow, Can, the Residents, and X-Legged Sally will appreciate this. -- David Wayne

[Axolotl is an album of free-jazz music.]

Joy of a Toy (70), Shooting at the Moon (71), Whatevershebringswesing (72), Bananamour (73), The Confessions of Dr. Dream (74), Sweet Deceiver (75) Odd Ditties (76), Yes We Have No Mananas (76), Rainbow Takeaway (78), That's What You Get Babe (80), The Kevin Ayers Collection (83), Diamond Jack and The Queen Of Pain (83), Deja...Vu (84), As Close As You Think (86), Still Life with Guitar (??)

My favorite is The Confessions of Dr. Dream, not only because the music is so good, but because it contains examples of almost all his many styles. Other good ones: Whatevershebringswesing and Joy of a Toy. His latest album, Still Life With Guitar, is boring. None of his material is in print in the U.S.A.

After leaving Soft Machine, Kevin Ayers banded with David Bedford, Lol Coxhill, Archie Leggatt, and Mike Oldfield (a lineup of luminaries from the Canterbury scene) to form his group, Whole World, with whom he recorded a BBC Radio 1 concert in London, in 1972. They were accompanied by an orchestra, which added a new dimension to their compositions, though, in the liner notes, Ayers feels that may have "overcomplicated" the music. However, it is for such "complications" that most progressive rock fans live! The improvisational and spontaneous spirit of the scene pervades the performance, but is tempered with the focus on playing "songs," not just long, self-indulgent jams. Being in his prime, Ayers' deep vocals work to good effect, with much the same degree of uniqueness as his contemporary, Richard Sinclair.

Originally the bass player in Soft Machine, Kevin Ayers fleshed out a solo career as a sort of a prog-rock singer-songwriter. The fact that musicians of the calibre of Mike Oldfield, David Bedford, Steve Hillage, et al., have worked alongside him should mean that at least one Ayers album ought to be in your collection. Ayers' first solo, Joy of a Toy (which takes its name from a song he did with Soft Machine), marks the beginning of his union with experimental composer David Bedford, who plays keyboards and does some imaginative arrangements to Ayers' songs. Operating much in the shadow of Soft Machine, this album even features guest appearances by Robert Wyatt and Mike Rateledge. Includes some of Ayers' classic songs: "Lady Rachel," "Girl on a Swing" and "Eleanor's Cake Which Ate Her." Also an avant-garde undercurrent seems to be rising within several tracks: "Oleh Oleh Bandu Bandong" is a 7/4 vamp featuring schoolgirl voices singing in the language of Madagascar, the slowly accelerating "Stop This Train Again Doing It" resembles the more experimental tendencies of Soft Machine. The experimental edge is ever widened on Ayers' second LP, Shooting At The Moon. "Rheinhardt And Geraldine" starts out as a high-energy rocker, then breaks into a wild section of tape-edits and radio sounds. "Pisser dans un Violon" is an improvisational piece for bass viol and sound effects, while "Underwater" is a contemplative soundscape. There still are some songs here, most notably "May I?," considered a classic by his fans. Also of note, "The Oyster and the Flying Fish," a duet with folksinger Bridget St. John. I heard two tracks from the next album Whatevershebringswesing: "Stranger In Blue Suede Shoes" and "Song From The Bottom Of A Well." The former is a bluesy Lou Reed-styled number, another favourite of Ayers' fans. The latter is a dark, nightmarish song with lots of scary sound effects. Bananamour finds Ayers moving into more accessible territory, in which only the spaced-out "Decadence" can be truly called progressive. Still, "Shouting In A Bucket Blues," with Steve Hillage on lead guitar, is another fan-pleaser, while "Hymn" and "Interview" are personal faves. Ayers' side on the June 1st 1974 album consists of his most popular songs from previous albums: "Stranger In Blue Suede Shoes," "May I?," "Two Goes Into Four" and others. Mike Oldfield and Ollie Halsall both play together here. Ayers' best subsequent LP is supposed to be The Confessions of Dr. Dream, which is claimed to include a killer reworking of the old Soft Machine song "Why Are We Sleeping." The worst is apparently Sweet Deceiver, according to all reports I've heard. -- Mike Ohman

[See Soft Machine]

Beyond (76), Others?

This Aussie prog-jazz fusion band recorded at least two albums which were eventually released in the US in the mid-70s. I have one of these (Beyond) and it is an almost schizoid blend of Mahavishnu Orchestra-inspired instrumentals (lots of hot guitar solos!) and very smooth, pop-influenced jazzy prog which reminds me a bit of Mark-Almond, early Supertramp or, perhaps, the Dutch group Solution (more saxes and keyboards on these). Worth checking out, especially if you like fusion from the 70s. -- David Wayne

Elixir (77), Azahar (79)

Late '70s Spanish progressive outfit which in many ways is typical of the other bands from that country. They mix excellent guitar (a trademark of bands from Spain) with Spanish folk influences. Vocals are in Spanish, in the Andalusian style. These albums are nice, but they are not the best that Spain has to offer. For the Spain novice, I recommend to check out Bloque, Triana, Crack, Mezquita and Granada. -- Juan Joy

Elixir, the only Azahar I have heard, is very good Spanish prog with hints of middle eastern influences often heard in Spanish prog. Style-wise, Azahar are in the vein of Mezquita, though not quite as good. Dominated by distinctive guitar style, over layers of synth. When they use acoustic guitar, they sound somewhat comparable to Triana, but with less obvious flamenco influences. The electric guitar can get very intense. The synth textures and tones is very reminiscent of Mezquita. The instrumentals are very nice, starting with a subdued theme and building layer upon layer to a climax. Vocals, in Spanish, are kind of rough but not overbearing. -- Mike Taylor

New japanese prog band that may have broken up before they produced anything. They have one song on the sampler Prospective Faces 2 (MIJ Label).