Sera, Mattina (72)

He has played with Il Volo.

[See Volo, Il]

Procession (92)

Dallio was the piano player in Art Zoyd. Her solo album is strongly rooted in electronics, with african (?) poetry overlaid on several tracks. Some of the tracks are catchy and melodic, while others are ambient and pastel. Other musicians are used on a few tracks, but this is primarily a singlehanded project. Very nice stuff.

[See Art Zoyd]

Riflessioni: Idea D'Infinito (73), Argitari (75)

Pretty first LP of vangard music with great flute and drums. Not too good though, the second LP.

An Evening (70), Reaping the Harvest (71)

Round The Edge (71), Teenage Angst (9?, pre-Round the Edge recordings

Psych/Prog. Rare private pressing.

Dark (86), Tamna Voda (88)

Not to be confused with the psych. group of the same name, this fusion/space/prog group, led by percussionist Mark Nauseef (ex-Ian Gillan Band), released two very fine and very different records on the German CMP label. Dark features a rather unusual lineup of drums/hand drums, mallet percussion/synth, bass (by Mark London Sims, who went on to record with gonzo guitarist Nels Cline) and voice. The often wordless vocals, by Catharine Guard, are very nicely done as she tends to avoid histrionics in favor of atmosphere. The music by this version of Dark is really about percussion, especially ethnic percussion, and polyrythms. Some may find it a bit sparse, but I think the approach works. Several 'heavy' fusion-ish cuts also demonstrate that they can also kick ass. The second release, Tamna Voda trades the vocalist for a guitarist (Miroslav Tadic), and David Torn and L. Shankar guest on several tracks. Although Tamna Voda, like its predecessor has a strong ethnic (Middle Eastern / South Indian) flavor, this is one HELL of a kick-ass fusion record! Nauseef is a phenomenally talented, highly original, and criminally under-recognized drummer who is right up there with Bruford, Cobham, Gurtu, Simon Phillips, Bozzio, and the rest of today's drum greats. Nauseef and Tadic later teamed up with keyboardist Joachim Kuhn and bassist Tony Newton (Tony Williams' Lifetime, Gary Moore's G-Force) to make a frighteningly intense fusion CD called Let's be Generous (1991, also on CMP). I also recommend Mark Nauseef's solo releases on CMP, Personal Note, Wun-Wun, and Sura. -- David Wayne

Their first album involves a lot of percussion. I haven't heard it in a while, but I remember liking it a lot (I have never seen it in a store since a friend let me borrow it). I have the second one, Tamna Voda, which has Dave Torn and L. Shankar on it. The opening track, "Trilok," is most likely a tribute to Trilok Gurtu, the amazing percussionist who has recently played with Oregon and John McLaughlin. I'm still amazed every time I hear that track. The rest of the album is pretty good, but is a let down after hearing that track.

DarXtar (91), Darker (93), Daybreak (94), Starlog 1990-1994 (95), SJU (96)

Space Rock. Sounds like a meek version of Hawkwind. Their first and second album are not of studio quality, but their third album is good. -- Gunnar Creutz

[Points of reference are Eloy, Hawkwind, Pink Floyd and Porcupine Tree. Starlog 1990-1994 was limited to 50 copies.]

Click here for another darXtar Home Page (Henrik Hallgren's)

Mr. UNTEL (82)

Very good French symphonic band close to Marillion in style yet less commercial and earlier chronologically.

Output (70), Rischkas Soul (72), others

Experimental free-form jazz on the Brain label featuring bassist/cellist Eberhard Weber. Drummer Fred Braceful was in another jazzy band, Exmagma. Keyboardist Dauner has many, many more albums than this. -- Mike Ohman

A skillful German jazz and jazz fusion pianist and keyboardist who is best known for his work with the United Jazz + Rock Orchestra (with Jon Hiseman, Charlie Mariano, Eberhard Weber, Barbara Thompson, and others). One of his compositions, "Yin," appeared on the first album by Larry Coryell's Eleventh House. To my knowledge, none of Dauner's recordings as a leader were ever issued in the US. Output is a very strange, adventurous, avant-garde date on ECM (number1006, for those of you who are keeping track) with Eberhard Weber on bass and Fred Braceful (of Exmagma) on drums. Loaded with strange, distorted sounds (electric keyboards and amplified acoustic bass) and off-kilter drumming, Output still sounds fresh today, and if you are into avant jazz-noise, you should seek it out. For Rischka's Soul (on the Brain label), guitarist Sigi Schwab and a second drummer, Roland Wittich, were added. Unlike Output, Rischka's Soul isn't all that great. It's very dated-sounding, and the group tries to play in a variety of styles, from funk-jazz a la Eddie Harris to avant-garde noodling. In the late '70s through the mid-80s, Dauner's group, The United Jazz + Rock Orchestra, recorded a string of very polished, somewhat restrained, but very enjoyable jazz-fusion records which are really worth checking out. -- Dave Wayne

[See Exmagma]

Episteme (81), I've Known Rivers (82), Hemispheres (83), Undine (87)

Pianist and composer whose work encompasses the jazz, free improvisation, and contemporary classical realms, Davis' two recordings with his 'Episteme' ensemble (Episteme and Hemispheres) may appeal to those whose tastes include the work of Univers Zero, Art Zoyd, and Julverne, although Davis comes from a very different direction. As one might expect, given Davis' background in jazz, improvisation plays a major role in this music, but the compositions on both Episteme albums are stunningly rich, complex, dissonant, dense and polyrythmic. Undine is similar, but less percussive and more 'classical' sounding, ...Rivers is chamber jazz at its best: flute, piano and 'cello trios. Not really progressive rock, and certainly not for everyone, but potentially very rewarding. -- David Wayne

Numerous titles. Of interest: Miles in the Sky (68), Nefertiti (67), Filles De Kilimanjaro (68), Miles in the Sky (68), In a Silent Way (68), Bitches Brew (69), At Filmore (70), Jack Johnson (70), Live-Evil (71), On the Corner (7?), In Concert (7?), Agharta (75), Pangaea (75), Dark Magus (7?), Black Beauty (7?)

Almost singlehandedly, Miles Davis employed the musicians who would go on to form nearly every important band in the first wave of jazz-rock in the early '70s. The members of the Tony Williams Lifetime, Weather Report, Return to Forever, the Mahavishnu Orchestra and Herbie Hancock's Headhunters band were all Miles Davis' sidemen in the late '60s and early '70s. Davis late '60s albums In a Silent Way and Bitches Brew are arguably the first jazz-rock albums of any consequence, and are necessary listening for anyone interested in the genre. Davis' influence on jazz, fusion, and popular music in general is enormous and has been the topic of several books and countless magazine articles. If you are not into fusion, but are interested in checking out some of Miles' music, here is a very brief rundown of what may (or may not) appeal. Fans of Canterbury, RIO, Krautrock, Eno, etc. may well appreciate some of the earlier electric albums (In a Silent Way, Bitches Brew, and the still-controversial On the Corner) which are very 'textural', spacey and trance-like. In a Silent Way is almost minimalistic in its sparseness. All the subsequent live albums (Live-Evil, Live at the Fillmore, Black Beauty, In Concert) from the early '70s, however, are very electric, very intense, and very spotaneous. Personal favorite (albeit critically maligned) albums such as Jack Johnson, Agartha, Pangaea, and Dark Magus (all early '70s) are replete with primitive electronics, intensely distorted guitar sounds and strong rythms. 1975's Get Up With It is similar, but much more spacy and loose. Several compilations (Big Fun, Directions, Circle in the Round) also contain lots of worthwhile music. Circle in the Round contains a stunning, near-ambient version of CSN&Y's "Guinivere." In the mid-'70s, Miles went into semi-retirement from which he emerged in 1981. Most of Miles' work in the 1980s and 1990s was in the jazz-funk vein, although Star People has some wonderfully intense moments. -- David Wayne

For now, I'll only add the following to the above: Probably the best place for a prog fan to get into Miles is through Bitches Brew and In a Silent Way. Give them time to gel. Then, work your way backwards through Filles and Nefertiti, then forward through Agharta and Pangaea. What this allows is for you to hear how the fusion genre developed, and where it went. -- Mike Taylor

[See Mahavishnu Orchestra | Return to Forever | Weather Report]

I Put the Spell On Fire (87), ?? (??), Dialogue 3 (8?), Cry of the Hawk (94)

The full name of the band is "Dawn Dialogue Between Two Worlds." This is an excellent progressive band from the USSR, some very nice stuff here, with some classical, jazz and rock influences, very colorful and melodic, and unique enough, to the point that it's difficult to draw any paralells or cite any specific influences. Their only album was I Put The Spell On The Fire which was a 1987 release culled from tapes recorded in the early 80's in a hotel room under "difficult conditions" at a time when rock music was strictly forbidden. Hence the recording quality is not the best, but the music more than makes up for it. Vocals are in Russian.

Wide Open N-Way (70), The Neighbour's Son (72)

Another great Danish psych/rock band in the vein of Culpeper's Orchard. Though some folk elements are still evident, they are less prominent than in Culpeper's Orchard. Guitars are the primary instrument, with only a smattering of piano (played by Kenneth Knudsen of Secret Oyster) here and there. They also get more of a progressive feel in places, with even some brief passages of Hillage-style guitar, and perhaps a little heavier than Culpeper's Orchard, overall. Though not released on CD, the album is well worth tracking down.

[See Coronarias Dan | Secret Oyster]

Io Non So Da Dove Vengo E Non So Dove Mai Andro'. Uomo E' Il Nome Che Mi Han Dato (73)

Yet another in the stream of solid Italian bands. Nothing new, but still rather enjoyable. Their only album may have one of the longest titles in progressive history.

The album is a mix of hard-rock and acoustic music, but the lyrics aren't so good.

Dead Can Dance (84), The Garden of Arcane Pleasures (84, EP), Spleen and Ideal (85), Within the Realm of a Dying Sun (87), The Serpent's Egg (88), Aion (90), A Passage in Time (91, comp.)

Very middle-eastern sounding band featuring both male and female vocalists. Will not be everyone's cup of tea. However if you are willing to take a chance it can and will grow on you.

There seems to be a raging debate as to whether this band is progressive or alternative or what. Whatever it is, the sound is very odd, like some folk themes from the dark ages with modern pop overtones. Two vocalists (male and female) and medieval instruments, with some modern instruments in the mix too, make this a very unique sound - I've never heard anyone else that comes close. The compilation A Passage In Time is a good starting point.

Very mellow music with a medieval feel to it, with lush synths and vocals. The female singer sounds great, almost gives me goosebumps. Other than the rich harmonies and vocals theres not much else, the music can get very simplistic and boring at times.

The music draws on styles and instruments from many cultures and many times, from 15th Century Italian dances to eastern European polyphonic chants. The timelessness of their sources, coupled with heavy use of atmospheric synth sounds and lots of reverb, generates an overwhelming sense of scale in both space and time. The lyrics, when they're not in Gaelic or some other mysterious tongue, are grand, tragic, and sung with deep confidence. If you liked Anne Rice's "Interview With a Vampire," this music may appeal to you. It also shares some elements with the Cocteau Twins, especially the enchanting female vocalist's talent for glossolalia.

One of the most original bands of the past ten years, if not of all time. From their 1984 post-punk Joy Division-esque first album to their highly-acclaimed 1990 Aion, this Irish band has voyaged on uncharted waters no one else could even conceive of (let alone creatively execute). Ethereal and transcendental beyond belief, DCD's music transports the listener not to other worlds, the way Floyd and Tangerine Dream do, but to the ancient times of *this world* - Ancient Greece, Spain during the 14th or 15th century, even the land of Galilee. The music is potently religious (in a pagan rather than orthodox fashion) and very very vocal, though it is supplemented by highly varied (although almost exclusively acoustic) instrumentation: church bells, bagpipes, small string ensembles, and an assortment of percussion from every corner of the earth (all channeled through harmonic modes retrieved from the Middle Ages and Renaissance). The two singers, Brendan Perry and Lisa Gerrard, trade off lead vocals, but in addition Lisa often multi-tracks a forest of backup vocals. Brendan usually sings in English, but Lisa prefers anything but (Latin, Italian, wordless keening, you name it); some songs resemble a liturgical mass or Gregorian chant. Many people despise Brendan's at times pretentious-sounding vocals (he has been compared unfavorably with Sinatra), but if you like Morrissey at all you shouldn't have a problem. Only the very first album contained rock-rhythm-section-driven tracks, so listeners preferring the comfort of bass and drums will be disappointed. This music is *very* serious, rarely joyous, and never humorous (though they draw the line at angst). Not for the faint at heart. Although they have released six or seven albums, many of which are on CD (though mostly as imports on the 4AD label), the following three CDs are arguably the highmarks of their catalog: Within the Realm of a Dying Sun (heavily orchestrated, dark and moody, lean on percussion, Joy Division/Mahler/Wagner- influenced, superbly produced); Aion (representing the band's style finally coming to full maturity, a near-perfect integration of all the elements honed on their preceding albums); and the Ryko compilation Passage in Time (probably the best CD for newcomers).

The Dead Can Dance (DCD) are a difficult band to characterize. Their first two albums not withstanding, the DCD sound depends greatly on who wrote or arranged the particular piece. The DCD consists of Brendan Perry and Lisa Gerrard, plus other studio musicians. In general, I would say that the sound has an ancient feel to it. Lisa is attracted to chants, Reniassance, and Mediterranean music; she sings in many tongues (even when it's English :-). Brendan has a flair for the darker side of life; "doom and gloom" as a friend of mine has said. Compositionally he uses a lot of deep resonant drums/percussion; lyrically, his themes that reflect personal as well as social fears and traumas. In "Anywhere out of the World," in Spleen and Ideal, we hear: "And maybe it's easier to withdraw from life/ with all of its misery and wretched lies/ away from harm" as the chorus; the final verse warns: "In our vain pursuit/ of life for one's own end/ will this crooked path/ ever cease to end?" This is typical of his work. Their first, self-titled album is a dark and foreboding trip through a netherworld. This mood is matched in the (purposefully) muddy and distorted sound quality. For example, both Brendan's and Lisa's vocals are heavily augmented, not unlike those of the Cocteau Twins' Elizabeth Fraser. The second album, which is an EP that is now reproduced on the CD version of the first album, is very similar to the first album -- nothing particularly unique. I just recently bought Spleen and Ideal, so I can't faithfully review its content. Suffice to say that this album begins to lighten up compared to the first two. Lisa's vocals have been greatly lifted out of the quagmire of the swirling sound effects of Dead Can Dance (or The Garden...). One can also begin to hear and recognize the ancient and third world influences and melodic modalities that became increasingly important in their later albums. As I have not heard Within the Realm of a Dying Sun, I will not comment on this one. The Serpent's Egg is their best effort in my opinion. Brendan's poetry is both refined and deep: (last verse) "Indifference/ the plague that moves throughout this land/ Omen signs/ in the shapes of things to come.." These lines from the song "Severance" talks of our lack of concern for the Earth, the global community, and our own well-being. He is right on the mark! Lisa's vocals continue to improve; both her range/tonality and style(s) expand with each album. Aion is a joyous album. It would surprise me if there is anyone who could listen to "Saltarello" and not want to get up and dance. This album continues the rich vein that DCD has tapped into in the last three albums. Brendan and Lisa have a marvelous nack for exploring and expounding on ancient genres. "Saltarello" is an Italian 14th century piece and "The Song of the Sibyl" is 16th century Catalan. The brillance they bring to these pieces, and others inspired by ancient works, is breathe-taking. A Passage in Time is a collection album produced (for RYKO) for the American market. Oddly enough (or maybe not so odd), it only covers the "ancient sounds" albums. There are two new songs on this album. Both are remarkable and optimistic; Brendan has finally choosen to write a positive poem. This album is a very good introduction to the Dead Can Dance -- it is also the only non-import album they have released.

I have Aion and it is a rather unique album. While not Progressive in the traditional sense, this album may be of interest to some of you who just like things a bit out of the ordinary. Dead Can Dance are essentially two musicians (male and female) with a couple of guests on a few tracks. Aion shows *very* strong Celtic tendencies but with a bit of rock sensibility. Both musicians contribute to the vocals that is very rich and full. Aion is very well produced with wonderful sonics which makes it a very pleasurable listen. Nicely done and highly recommended for something out of the ordinary.

I've got most of the Dead Can Dance albums. The style varies considerably from album to album. The core musicians remain the same: Lisa Gerard and Brendan Perry, who share singing duties. Gerard is superb IMHO, with a dextrous Indian-like voice. Perry is a bit variable, sometimes rich and menacing, but sometimes not so good. Dead Can Dance has a fairly standard UK "alternative" sound, with poorer singing from Perry. My least favourite but hints of what comes later. Spleen and Ideal was the first really DIFFERENT album. Slow and grand textures, with eastern influences, with wind instruments and strings replacing a lot of the ususal "rock" instruments. Quite good, but some of the album is still kind of "standard alternative". Within The Realms of A Dying Sun is my second favourite. Lush strings make dreamy textures for some great vocals. Even Perry sounds quite good on this album. He sings for the first half, and Lisa Gerard on the second half, which is more Eastern; in fact Dead Can Dance are always more Eastern and otherworldly when Gerard is singing. The Serpent's Egg was the most "Eastern" sounding of all DCD, fused with a lot of percussion. However, I find this album less satisfying than Within The Realms of A Dying Sun because it seems a bit lifeless and lacking in energy. Aion my favourite. A (one-off) change of direction, with a very medieval sound, yet otherworldy. I think it sounds like Middle Earth music, containing all the elements of that world: battle, sorrow, yearning, celebration etc. Both singers are excellent here. The a capella vocal tracks are especially haunting. Into The Labyrinth Most recent. A step backward to a more contemporary sound has resulted in a poorer, duller album IMHO. -- I.H.Cornwell

Smell the Fragrance (91), Moontan (93)

Smell the Fragrance is the Dead Flowers' first album released in 1991. The psychedelic cover art is all paisley and solarized photos harkening back to those golden years of flower power. Dead Flowers music is a combination of aggressive punk and psychedelia. Ten of the eleven songs are original Dead Flowers tunes full of monotonous bass ostinatos that probably work well with drug induced trances. The non-Dead Flowers song is an excellent cover version of Jimi Hendrix's Manic Depression. Smell the Fragrance is a decent debut album but only hints at what the Dead Flowers can do. Can't Understand just begins to suggest the Pink Floyd/Hawkwind cosmic jams that appear on Moontan. My favorite song other than Manic Depression is the quasi-industrial Third Eye Shades. These Dead Flowers have blossomed over the past two years and Smell the Fragrance is a good bench mark to use to chart their progress.

Light your sandalwood incense, take a deep breath, and exhale slowly. The Dead Flowers have released their second CD Moontan. Moontan opens with the powerful instrumental rock of Chocolate Staircase inviting comparisons to a hyper version of Pink Floyd's "Set the Controls for the Heart of the Sun." These guys really cook! They then slow things down a bit with Spiral Eye, a slow space rock jam in the tradition of Ash Ra and Hawkwind. Just when you begin to float among the pollen grains, Dead Flowers shatters the illusion and brings you crashing into the nineties with "Filling in Time" and its post punk shouting backed by sizzling guitars, bass, and drums. The Dead Flowers then sets their "way back" machine for a nine minute trip through "Thought World," a slow bluesy ballad that caused me to lose touch with time and space. I thought I was back in 1968 sitting in a smoke filled coffee house complete with black lights and strobes. Following on its heels is "Gaia's Love Hole," another slow contemplative trip filled with echoing flutes, guitars, electronics, birds, children at play, and strands of Beethoven. Suddenly, after a young child recites "Twinkle, Twinkle Little Star," the Dead Flowers make another mid-course correction slamming you back into the nineties with "Hammer Rash," a melding of Killing Joke and psychedelia. While your head is still ringing, "Slowburn" (not to be confused by the Peter Gabriel song) starts to heat things up with its fantastic guitar work and vocals. Somehow it reminds me of The Doors. Closing out the album is "Feed It" sounding as if the Dead Flowers mated Hawkwind's "In Search of Space" with Joy Division's "Closer." A curious and inventive one minute ditty of echoed and layered gibberish chanting follows Feed It but does not appear on the liner notes. Moontan is an exceptional and varied release by one fine new band. Buy this CD, and you won't be disappointed.

Elton Dean (71), Oh For the Edge (76), They All Be On This Old Road (76), Happy Daze (77), El Skid (77), Boundaries (80), The Bologna Tape (85), Unlimited Saxophone Company (89), All the Tradition (90, w/ Howard Riley), others.

Dean was the sax player in Soft Machine circa Volume Two, Third, 4 etc. Ninesense was his big-band project started after he left the Softs in '75, and naturally the sound is very jazz oriented. Features Dean, along with other Soft Machine alumni Alan Skidmore, Harold Beckett, Marc Charig, Nick Evans, and others.

British saxophonist who played with Soft Machine (Third through Fifth). His eponymously-titled first record (on British CBS) featured most of Soft Machine (including Mike Ratledge) and sounded a great deal like like Soft Machine (circa Fourth). The rest of Elton Dean's solo recordings are largely acoustic modern jazz, often tottering stylistically on the edge of the avant-garde. All are excellent and display a high degree of musical integrity. El Skid is relatively conservative, high-energy, all-acoustic modern jazz with saxophonist Alan Skidmore, bassist Chris Laurence and drummer John Marshall. Both Boundaries, which features Keith Tippett (King Crimson, Centipede, Mujician, etc.) on piano, and The Bologna Tape, are a bit more "out there". Unlimited Saxophone Company is a sax quartet plus bass and drums. All the Tradition features free interpretations of 4 jazz standards by a quartet of sax, bass, piano and drums. Dean has also appeared on recordings by Hugh Hopper, Soft Heap, the Anglo-Italian Quintet, Keith Tippett's Mujician, Phil Miller's In Cahoots, and US jazz/new music trumpeter Dennis Gonzalez. Pretty much all of this stuff, except for Dean's first solo record, the first Soft Heap record, and In Cahoots, is in the jazz/avant-garde style, and will only serve to irritate or perplex most mainstream progressive rock fans. -- David Wayne

While Dean has played in numerous progressive/fusion bands (Soft Machine, Soft Heap, Phil Miller's In Cahoots, Pip Pyle's Equipe Out, various groups with Hugh Hopper), all of the records under his own name are definitely jazz records, often pretty loose and raucous affairs. For example, Unlimited Saxophone Company, which features four saxophonists with acoustic bass and drums, is only recommended to those who like lots of long, fire-breathing saxophone solos. The record of most interest to progressive rock fans would probably be his first, recorded while he was still with Soft Machine, with Mike Ratledge guesting on a couple tracks. I have always had a liking for Happy Daze, the second of the two records with his 9-piece group called Ninesense. It has a great version of my favorite Dean tune, "Seven for Lee." -- Dan Kurdilla

[See In Cahoots | Soft Machine]

9 to 5 (95)

Released on Ad Inferno, a branch of the Swedish Ad Perpetuam Memoriam label. deathOrgan blend the organ-driven energy of ELP, Atomic Rooster and Deep Purple with the metal energy of current bands like Faith No More, Young Gods and Entombed. deathOrgan is Per Wiberg on Hammond organ, Klas Hägglund on bass and Taurus pedals, Marcus Källström on drums and percussion, and Patrick Schultz and Joachim Sjöström on vocals. Wiberg's incredibly intense organ drives the band with fury, fueled by a Leslie amplifier and wah-wah pedal, as well as the powerhouse rhythm of Hägglund and Källström. Schultz's and Sjöström's death-metal vocals growl with howling anger above it all. The first six songs are in the 4-7 minute range, and all are massive doses of furious energy that definitely remind me of Faith No More. But slap a big, hairy mustache on Wiberg and we're talking Jon Lord all the way! The seventh and final cut, "Miles Away," is a nine minute instrumental dedicated to Miles Davis, although the song is still a hard rock/psych organ workout rather than anything particularly influenced by the former jazz giant. While deathOrgan's style isn't generally my gig, after spending long listening sessions with last issue's electronic music, I was ready for a slab of hard rocking grooves and deathOrgan delivered in spades. Follow up with Sailor Free! -- Mike Taylor

Emile au Jardin Patrologique (82), Battre Campagne (85)

Excellent, Henry Cow-influenced RIO band from Neuchatel, Switzerland who recorded two worthwhile albums and then disbanded. The first (Emile...) is the more jazzy and "out" of the two, and the large size (nine members) and diverse instrumentation (saxes, clarinets, violin, keyboards, bass, guitars, drums, percussions, and voice) add to the spontaneity and flexibilty of the music. Vocals are more prominent and the horns are de-emphasized for a less-jazzy sound on Battre.... Both albums are 'must-haves' for fans of the RIO/Canterbury style. Several members of Debile Menthol went on to play with other interesting bands. Guitarist Jean M. Rossel formed the more folk-influenced Nimal with 'cellist Tom Cora (Skeleton Crew, Curlew, et al.), drummer Pippin Barnett (Orthotonics, Curlew), and others. Other members of Debile Menthol went on to form a group called L'Ensemble Raye. -- David Wayne

[See Ensemble Raye, L' | Nimal]

Et Fils Le Mal D'adam (79)

[See Ange]

Histoire de Fou (79), Vie En Positif (90), Epicier Marchand d'Rock (93)

Keyboard player uses lots of mellotron creating lush symphonic prog.

[See Ange]

Song of the Sad Times (74)

Dutch Prog.

El Poeta Del Ruido (80)

Very odd, low-fi, RIO-influenced quartet from Mexico. Their first, and only, record covers a very wide musical field. This is due, in part, to the fact that each of the players are multi-instrumentalists. About half of El Poeta... is highly-structured, keyboard-dominated instrumental music which reminds me more of RIO- and/or Canterbury-influenced bands like Dedalus, Hellebore and Picchio del Pozzo than, say, Soft Machine or Henry Cow. The rest is very spacey, improvised (?), free-form music dominated by voice, keyboards and hand-percussion, which would have made a stunning movie soundtrack. I really enjoy this record. Although it sounds a bit dated, it has a lot of charm. Violinist/clarinetist/keyboardist Alejandro Sanchez later formed an equally wonderful, Univers Zero-inspired band called Nazca. -- David Wayne

[See Nazca]

Dedalus (73), Materiale Per Tre Esecutori E Nastro Magnetico (74)

The first LP has a jazz-rock sound and reminds one of Soft Machine. The second one has a more electronic sound.

Dedalus were a four-piece Italian band. Their self-titled album also features Rene Mantegna from Aktuala on African percussion. Instruments consists of violin, Fender Rhodes, guitar, sax, bass and drums. Synthesizer makes an appearance on one song. The five songs range from four to fourteen minutes in length. Dedalus play a very spacey form of fusion and jazzy prog that is probably best compared to Soft Machine. The saxophone and violin feature prominently. The African Percussion adds a bit of "other worldliness" to the spacious mix. There is a hint of free-form experimentalism but it's not reduced to pure improvisation; there is control and some general direction to the music. Dedalus is a generally undernoticed album, undeservedly so in my opinion. The 14 minute "CT 6" is an excellent balance of fusion ala Arti E Mestieri and spacey fusion ala Soft Machine. I think many fans of middle period Soft Machine (circa 5) would quite enjoy this spacey fusion. I sure do. Check it out and see if it is worth your while.

Although best known as hard rocking early proto-metal pioneers, their organist Jon Lord (as well as other members of the band) were trained musicians capable of much greater things. Of interest to progressives: their 1970 "Concerto for Group and Orchestra," penned and orchestrated by Lord, showed a very different side of the band.

[See Captain Beyond | Warhorse]

Clockwork (81), Turning: Turning Back (??), Southern Exposure (??), Altiplano (??)

Alex Degrassi is an acoustic guitarist, whose playing style has its roots in classical guitar and is a lot like that of Michael Hedges, only not quite as manic. His earlier albums (Turning, Exposure) are entirely solo guitar (the better stuff IMHO), but later he starts to include synthesizer, electric bass, clarinet, doumbek and tabla percussion, and even vocals in his arrangements, sometimes with pleasant effect, but often a little bit cheesy and "New Age." If you like Enya, you'll probably love all of his stuff. If you like Michael Hedges or classical guitar, you'll probably prefer his earlier albums.

Baroque in the Future (88)

This ELP influenced trio is led by keyboardist Motoi Sakuraba, who also has a solo album to his credit. Deja Vu's only album is titled Baroque in the Future, a fairly impressive mix of mostly vocal and some instrumental tracks.

[See Pazzo Fanfano di Musica | King's Boards | Sakuraba, Motoi]

Antagonisme (80)

Pre-Tiemko album by drummer Delaunay. Antagonisme also features keyboardist bassist Robert Klemper who was with Asia Minor at the time. Said to be very original, in the classical vein of Art Zoyd and Univers Zero. Keyboard-dominated with complex themes.

[See Asia Minor | Tiemko]

Out-Pop Options (8?), Any Questions? (84)

Trio with guitarist Carl Weingarten, guitarist/synthesist David Udell and keyboardist/synth guy Walter Whitney. Any Questions is an interesting, tuneful, synth-dominated record with lots of loops, electronic percussion and occasional funky bass lines to keep things moving. Fans of Frippertronics, the Fripp-Summers duets, and perhaps Group 87 will appreciate this. -- David Wayne

[See Weingarten, Carl]

Schonberg Kabarett (78)

Ex Opus Avantra. She record two other albums but I don't know anything about them.

[See Opus Avantra]

The New Breed (91)

Bay area five piece prog-metal a-la-Queensryche type band with an outstanding vocalist.

Visa de Censure n°X (75)

Sort of a supergroup that got together to record a film soundtrack. Members included Cyrille Verdeaux, Christian Boule, Joel Dugrenot, Gilbert Artmann and Tim Blake, Jean Padovani, and others. Somewhat comparable to Clearlight.

[See Blake, Tim | Boule, Christian | Clearlight | Dugrenot, Joel | Lard Free | Raux, Richard (and Hamsa Music) | Spacecraft | Urban Sax | Verdeaux, Cyrille | Zoo]

Dolce Acqua (71), Lo Scemo Del Villaggio (72), Delirium III: Viaggio Degli Arcipelaghi Del Tempo (74)

A very original band who released three albums and were very difficult to classify. These are the type bands that hold the most interest for me and the range of styles on Delirium's Lo Scemo E Il Villaggio are astounding. Their first Dolce Aqua has also been reissued in Italy.

Heavily folk influenced early 70's Italian band with nice melodies and good vocalist. Their first album Dolce Aqua is nice enough, but could hardly be considered progressive IMO. A second album Lo Scemo E Il Viaggio is purportedly better, with more fusion creeping into their sound.

In the first LP the instrumental songs are near to the jazz and the other songs are a mixture between commercial and vangard music. the second one is very similar to the first. The last one has more vangard sound. When the band dissolved Ettore Vigo went on to play in the Kim and The Cadillac.

Delirium (85)

Mid-80's Mexican progressive band, drawing influence from the 70's Italian scene as well as the 80's british progressive revival. Their sound is crisp and concise, well executed, melodic and colorful, with depth and power. Violins, synth and guitars are ably supported by a top-notch rhythm section over the album's six long tracks. I believe they only have the one self-titled album, which unfortunately has not been transferred to CD from the crappy LP pressing yet.

Set Free (??), Novus Magnificat - Through The Stargate (86)

Careful here. I've heard two albums by her: One was boring new-agey crap (title was Set Free) with all the usual self indulgent typifiers. The other one was Novus Magnificat which is one long 60 minute beautiful symphonic space opus, which I would highly recommend.

Anno 1972 (72), Written In The Sky (74)

Symphonic keyboard prog with mainstream rock/R&B vocal tendencies. Some parts are great, others are commercial and uninteresting. -- Mike Ohman

Sirius and the Ghosts (91), Les Eaux Troubles (93)

Solo Univers Zero member who put out an excellent solo album out recently.

Percussionist for Univers Zero on his first solo effort. As with Univers Zero, the music is complexly dark, though Denis's work is more accessible than most of UZ's output. The music features a lot of nice, angular perucssion rhythms and interplay with the piano and clarinets. If you are interested in breaking into the UZ arena or RIO scene in general, Denis's album or Present is a great place to start.

[See Art Zoyd | Univers Zero]

Sandy Denny (70), Northstar Grassmen and the Ravens (71), Sandy (72), Like An Old Fashioned Waltz (73), Rendezvous (77)

Original vocalist of the Strawbs, later of Fairport Convention, then her own band Fotheringay, and finally solo. She did about five albums under her own name. The style of these is predominantly folk rock a-la Steeleye Span et al, sometimes pointing in jazzier directions, sometimes even country. Of interest to progressives mainly for her rich and beautiful voice, and her connections to many great bands.

Vocalist for early editions of Fairport Convention (Judy Dyble was FC's original vocalist). Some solo stuff, plus a recent boxed set. Her stuff is probably too folk-oriented for most proggers, but the later FC stuff would certainly appeal to Jethro Tull fans, since most everyone in the band has appeared on Tull albums.

Don't bother with any of her solo stuff if you're looking for progressive music. Buy Fairport Convention's Liege and Lief.

[See Fairport Convention]

Dimension "M" (??)

'70s prog.

Desequilibrios (93)

This Brazilian band shows the usual lineup including vocals (in Portuguese), keyboards, guitars, bass and drums. The style is a text-based melodic/symphonic rock that evokes numerous British bands but the delivery offers pleasant surprises. The instrumental work is captivating and this is where you find various influences that reach beyond the usual style. The technique of every member is strong and the production is excellent. Desequilibrios deserves a serious listen from most fans. -- Paul Charbonneau

[See Bletzqi Zatsaz]

Gladium Caeli (91), Deus Ex Machina (92), De Republica (95), Diacronie Metronomiche (96)

This Italian group includes six superb musicians on vocals, guitars, keyboards, violin, bass and drums. Most tracks on De Republica are marked by the intense presence of all members. First, there is the abundance of lyrics (in Latin) sung by this very expressive singer. Guitar, keyboards and violin often join in for furious instrumental breaks. The rhythm section is also very active and aggressive. Finally, the group is fuelled by a very explosive energy that makes even more spectacular the already impressive technique of all members . A steaming mixture of rock, jazz and classic. -- Paul Charbonneau

To many people progressive is typified by a dominant keyboard sound or eclectic guitar work. But if you narrow your range to just these areas then you will overlook a number of very significant bands. One such band is Deux Es Machina. In some ways this band reminded me of early Yes, not in sound though but in style. One of the hallmarks of Yes was that each individual musician played seperate intricate parts that somehow combined to make a cohesive whole. Yet each part was just as evocative individually as they were together. The same is true here. The instrumentals are extremely tight yet are filled with layer upon layer. One can hear many influences while listening, yet they remain merely influences and not dominant themes. The music is truly original. However among the influences I detect are PFM, Focus, early Tull and even Machine Head-era Deep Purple. This is a band that when you use the term progressive rock, the emphasis is on the word rock. A final note I could not comment on this band without mention their vocals which are absolutely stellar. The singer is very much in the Robert Plant mode. I have also seen posts on the net which compare him to Demetrious Stratos of Area. However I can't really comment on this. What I can say is that the singer is capable of incredible range and expression. Going back to the Plant comparison if you think of Plant at his prime (IMHO) say the first two Zeppelin albums (and in particular "Whole Lotta Love") then you have a small inkling for the treat you are in store for.

The literal translation of "Deux Ex Machina" states "God in the Machine." In common usage however, the phrase represents something that has come out of nowhere and taken everybody by surprise. It is the latter interpretation that fits this band's music. Deux Ex Machina has come out of nowhere. An Italian band whose first album was released in 1991, they are just beginning to get any sort of distribution. And they are taking everyone by surprise as well. Could they be the band that we've all been waiting for? A band that takes the progressive philosophy of the 70's and the modern sound of the 90's and spits out a stream of killer releases? Having heard Deux Ex Machina for the first time not too long ago, they impressed me a lot. A *lot*. First off, they have the best vocalist to come upon the scene in a decade. Alberto Piras belts out the songs with a clear, high-pitched tone that reminds me of Queenryche's Geoff Tate (what he did in the mid-eighties at least), and Area's Demitrios Stratos. Piras even uses some of the weird screaming/moaning/rolling vocal gymnastics that made Stratos unique. Guitarist Mauro Collina pulls off both blistering solos and smooth acoustics with his jerky-yet-clean style. His speed and technical prowess is remarkable, yet full of time changes and stop/start playing. His style reminds me of no one in particular, but if I had to compare him to someone it would be with Steve Hillage's playing on Arzachel or perhaps Steve Hacket's early Genesis efforts. Collina is backed up by virtuoso drummer Marco Matteuzzi, whose rhythms are non-stop action; rarely a few seconds without a fill or adding a few extra beats, and bassist Alessandro Porreca who follows Matteuzzi for the most part but goes off on his own occasionally. However, even when Porreca is following the rhythm, he's playing a fast, interesting line. Are you catching the drift yet? So far we have four exceptionally talented musicians playing non-stop classic progressive music. Now let's throw in keyboardist Luigi Ricciardello, who uses thick synth and moog backdrops, and Alessandro Bonetti on electric violin. Put together, Deux Ex Machina sounds like a lot of different bands - their influences are obvious, tasteful. I can hear hints of Area, Led Zeppelin, Rush, Tonton Macoute, Hawkwind, Crimson, and even Khan. The album is full of heady jams, fast licks, and spacy harmonies. The rhythm section is more reminiscent of Brand X (maybe not *that* virtuostic) than Hawkwind, though the overall feel is something like what you get from Space Ritual era Hawkwind, combined with Khan and maybe even Black Sabbath. Other influences seem to be Ossana and Area. So is there anything disappointing about Gladium Caeli? Of course there is - no perfect 10's in my book. The keyboards and violin aren't prominent; they are usually used for chording in the background, but do have occasional leads. The guitar dominates and drowns them out, which isn't so bad since Collina is an excellent player, but one wonders why they are there at all if rhythm is their only purpose. Also, on later songs on the album, the drummer falls back on some snare-bass pounding, as opposed to his continual riffing throughout the first 30 minutes or so. These are detractions, but I'm largely impressed with the effort as a whole (though not so overwhelmed as to forgive or forget!) In one release, Deux Ex Machina has eclipsed all but a few of the new wave of progressive artists. They've blown past Italy's best (Nuova Era, Calliope, Ezra Winston, Eris Pluvia) and are now the band to beat. If there is one new band you get into this year, this should be it. And with their second release due in less than a month, this brilliant sextet should finally have the opportunity to get the recognition they deserve.

Deus Ex Machina (Latin, pronounced "day-oose ex mah-keen-ah") has been raved about many times in this group, and judging only from their second album, I would say it's with very good reason. I've not heard their first one, so I can't make any comparisons to it. First off, the style of the band isn't very easy to describe, but yet it is very accessible and easy to like, I've found. This album is very consistent, smooth and likeable from the first listen. Vocals are prominent (more about that later), but the band is both talented and intelligent enough to toss in a mega-dose of blazing instrumental passages as well. Stylistically, Deus Ex Machina is *very* unique and not without their share of quirkiness and idiosynchracies. Some moments remind me of a heavier Gentle Giant, others make me think of both Camel and Echolyn but DeM completely maintains an original sound which varies from light and wistful to more straight-ahead grandiose rock. Some may have heard this band billed as Italian heavy-prog-rock, but I wouldn't use those words. Yes, it "rocks" but no, even though there is a lot of distortion guitar, it is more grand and symphonic than it is heavy. The thing that's hardest to capture in words about this band is their sense of "quirkiness." As far as the players go, they are all fantastic. Obviously well-trained and practiced musicians with no shortage of creativity or inspiration. The drummer is light and quick, full of finesse and good taste. The violinist is also great, but not surprisingly, only comes to the fore in a few limited spots on the album. The bassist is the weakest of the sextet, playing adequately underneath whatever is going on, but usually settling for a supportive role. The guitarist is simply *incredible*. His acoustic work is a lot like Michael Hedges, actually, minus all the patented slapping and harmonics. His lighter electric guitar work rivals that of early Steve Howe (e.g. Close to the Edge era), and his heavier electric stuff is like, well,...sorta like...hmmm, well very unique. And then there's the vocalist Alberto Piras. *WOW!* You really have to hear it to believe it. Imagine Freddy Mercury (Queen) merged with Geoff Tate (Queensryche) and you will have a vague notion of how Piras sounds. He's got a miraculous range, able to hit powerful high notes with full throat and chest, and hit deep and warm low notes too. He turns on and off both vibrato and tremolo with great ease and can nail some pretty wide intervals too. Most importantly, his timbre is rich and smooth and full. I can't rave about him enough, he's one of the best vocalists I've ever heard in any style of music. As far as the tunes go, 2 instrumentals: one solo (2-track) acoustic guitar, and the last track which is a bizarre variation of the opening 2 minutes of the album. 7 tunes with vocals, 5 of which are in Latin, the other 2 in Italian. "Cor Mio" is the most "commercial" tune on the album with its verse/chorus structure and that moog-like key solo loaded with enough sus2's and sus4's to give it a very neo-prog feel momentarily. The title track is very interesting, showcasing the drummer with a satisfying barrage of drum fills at the end. The strangest and most interesting tune on the album, is in my opinion "Lo Stato Delle Cose." Here, the lyrics are actually printed and sung backwards, if you can believe that! For example, the line "per tutti la nostra ..." is written and sung as "rep ittut al artson ...." I guess this is some kind of joke, but to be honest, since I don't know Italian, I can't even tell if I'm not staring at the lyrics. Anyways, the music is no joke here; very building, strong, and inspired. I played this album for some friends and they were very quick to point out what I also to believe to be the biggest problem with this album, and that is the production/mix. While the recording is obviously very clean, the drums are mixed *so* high and in-your-face that they drown out the guitar and keyboards in some places. Places where there simply should be more guitar and keys. Unfortuantely this means that I can only go so loud on the volume control until it becomes just too piercing and sharp. It doesn't ruin the album, but I am a bit surprised that they let it go with the drums so high in the mix..... The artwork and packaging are first-rate, and I paid $18 for it. Money very well spent, I'm pleased to say. As I've said, this band is very easy to listen to, and easy to like, and I'm sure plenty of people out there who've never heard of this would indeed be impressed. If only for the vocals, it certainly deserves a listen.

This has all the ingredients of a great album: excellent playing, good singing, complex instrumental bits, and it is indeed pretty good, but I prefer the two above. I tend to notice the drummer because I'm a drummer and this one is excellent, (mind you, I like the Xaal drummer just as much). Doubts have been raised about the mix, saying that the drums were too high, but I don't agree (of course I'm biased), I think the mix is fine. The singing is in Latin and Italian; this doesn't spoil things, it adds charisma. Occasional Gentle Giant influences, but sounds much more modern than Änglagård; definitely a 90's sound.

Deus Ex Machina are a PHENOMENAL new Italian band with two releases to date under their belt, the outstanding debut Gladium Caeli and the follow-up Deus Ex Machina. They are a six piece band with emphasis on guitars (lots of guitar), violin and keyboards. There is also a strong vocal presence (lyrics in Latin!) featuring one of the better Progressive vocalists of recent years. Gladium Caeli, the one I suggest you get first if you can locate it, is a simply incredible debut statement. The music is vaguely comparable to the '70s Italian Prog scene in general though to no bands in particular. Generally they are fast, heavy and intense ala Semiramis or Balletto di Bronzo but also feature some quieter moments that highlight the lyricism inherent in classic Italian Prog. The music is complex, dynamic and vitalized! These guys are never standing still prefering to charge forth into barrages of such sonic intensity that you are left gaping in awe. The guitar seems to be the dominant instrument and it defines the sound. Violin and keyboard take a slightly subservient role to the guitar but are also important to the band's sound. The bassist and drummer feed off of each other and are also major contributors to the complex interplay between all instruments. Mere rhythm keepers they are not! Deus Ex Machina follows closely down the parth forged by their debut though the quieter passages seem to appear slightly more often. Overall, though, it is the same and a worthy purchase if you can't locate Gladium Caeli readily. Highly Recommended!

Deutsche Wertarbeit (??)

Solo album by synthesist Dorothea Raukes.

[See Streetmark]

The Deviants (69)

Also know as Mic Farren and the Social Deviants. Pre-Pink Fairies. I know that had 3 albums, I remeber seeing them in record stores years ago. I only have one and its reissue on Logo records. Mic Farren did issue some single on STIFF in the late 70's and was on a few STIFF samplers.

[See Pink Fairies]

The Girl Who Was Death (88), Eliogabalus (90), Sacrilegium (92), Sacriledge of Fatal Arms (92, re-make of Sacreligium), Dies Irae (96?)

Devil Doll are an Italian band who sound nothing like the archetypal Italian progressive music at all. No fusion or lush symphonics here! What they offer is a very unique blend of gothic imagery and Victorian "Jekyll and Hyde" ambience, spun over a collage of piano, tortured vocals, sinister accordion folk music interludes, choirs, violin and waltz themes. The dynamics of the music is outstanding and never clumsy ... it moves between diverse elements with skill and power. The vocals may not be to the liking of some as there is a lot of them and they are more whispered/screamed than sung, in general. They fit the music perfectly though. The Girl Who Was ... Death is a conceptual work based on the cult UK series "The Prisoner" and takes it's name from one of the episodes. It demonstrates the maturity to come and has a little more (but not much) in the way of powerful rock sections. Mr Doctor also deigns to sing normally occasionally! Lots of accordion, violin and harp. A rock opera? Both Eliogabalus and Sacreligium are excellent works of extended progressive gothic "opera," for want of a better term. Highly metaphorical story-telling is important to the band's approach ... for example, Sacreligium tells the story of a man in his grave looking back over his life, complete with the closing of the funeral as a bonus after the music has finished! Devil Doll excel at creating atmosphere with very sparse instrumentation ... Mr Doctor, the enigmatic and unidentified band leader, employs his idiosyncratic vocal style to add to this. It may sound peculiar but I can hear a Marillion influence. I know that sounds strange given the description above but Marillion hinted at this sort of style on their early albums but never pulled it off explicitly or in such a grandiose and effective manner. Don't get the wrong idea though ... Devil Doll are not what you'd call a neo-prog band at all. I'd wholeheartedly endorse the view that Devil Doll are amongst the world's finest progressive acts of the '90s.

[See Mr. Doctor; Several of the members of Devil Doll, including Mr. Doctor and the entire Devil Chorus are native to Slovenia (formerly part of Yugoslavia)]

At King (85), Vision In The Dark (87)

The most commercial of the neo progsters. On At-King their vocalist sounds like Great White's and on Visions in the Dark the Vocalist's grasp of English is horrendous. Other than that - commercially influenced neo progster. I mean, if this is classic progressive, do we have to die and go to heaven to hear Yes?

Have only heard At-King. They are in the same boat as Aragon. (similar in sound and style to Marillion, Genesis, etc.) The music is better but the singer is worse. Their second album is supposed to be better. It has a different singer on it.

A Swiss progressive rock group, very much in the vein of Marillion and other neo-progressive bands. Their sound is centered around a massive arsenal of keyboards, used to good effect. The highlight of Vision In The Dark is the 17+ minute title track ... full of myriad solos and full-sounding arrangements. Their first CD, At-King, is slightly less polished, yet excellent listening for those "into" the eighties sound.

Very good Swiss band with heavy Marillion and IQ influences. They are very strong instrumentally, but some consider their vocals to be a little weak (Jon Anderson with an accent). They have two releases, with a third on the way. Vision in the Dark is a classic, and an absolute must for fans of the aforementioned bands.

A very bad Marillion clone. Vision in the Dark was recommended by other Marillion fans, but I can't listen to it anymore. The music is passable (not at all on a par w/Marillion), but the lyrics are terrible. I think that "Jester" (no kidding, that's what the vocalist calls himself) should have stuck to his native language, Swiss. Not recommended.

Piece of crap. Don't bother. I like Marillion and IQ but this is just garbage.

Although the band seems to want to pattern themselves after Marillion (just look at the album cover art...), they come up short for the most part. The first album At King is pathetic, with very weak vocals, and a severe lack of imagination - I'm really surprised they even pressed it into a CD. The second Vision In The Dark fares much better, partially due to improved writing, but mostly due to the addition of a lead vocalist who can sing fairly well, even though his thick accent makes some of the english lyrics barely understandable. Soundwise, the second album combines some of the better elements of bands like Yes, Marillion, Genesis, Supertramp and others, offering very little that is uniquely their own, thus overall pretty derivative. Their music contains a lot of variety within its scope, and the band's playing is fairly tight, but for every good point there's a bad one to match, and the net sum is less than remarkable. One notable exception is side three of the second album, the Vision in the dark sidelong title cut, which has some very nice moments in it.

Do you like Marillion? Do you like Gabriel-era Genesis? Do you like progressive music without originality? You're gonna love this band! What can I say - a true clone. With a vocalist named Jester (who you just keep wishing would shut up) and a couple of CDs to their "credit," one in particular Vision in the Dark has a cover very reminiscent of Mark Wilkinson, this band is sorely in need of a clue. While they do present some good moments, their keyboards are reminiscent at times of some of the best of Tony Banks. One can never quite get over the feeling of having heard it all before...and heard it done better.

Yuck. I can't emphasis enough how much I dislike this band. People will recommend them to fans of old Marillion, but these guys can't touch Fish and the boys. The vocalist ("Jester") sings in English with a heavy accent, which really intrudes on my enjoyment of the music. Might've stood a chance with me if he had sung in his native language, Swiss (I think). 2 albums I know of: At-king and Vision in the Dark.