Dialect (??)

Diana Express (??), Golden Apples (??), Prayer For Rain (??)

Folk-prog.

Four Riders Of The Apocalypse (77, released in 92), Dice (78)

They did one self-titled album, which quickly went into oblivion and out of print. This is perhaps the most "typically progressive" Swedish band that has ever existed. Quite good instrumentally, actually. In their best moments they were a little Gentle Giant like, in their worst they were quite sleep-inducing.

Excellent symphonic-rock band from Sweden. Their earliest album Four Riders Of The Apocalypse contains 4 long symphonic trax and is entirely instrumental. Dice features a vocalist, is a little more lively, and sports a good sense of humor. Both are great and highly recommended.

Dice were a Swedish band whose self-titled release, issued only in Japan, quickly sold out. It was their only known release until the discovery of the material that now appears on Four Riders Of The Apocalypse. The music is squarely in the symphonic vein, dominated by keyboards, and washes of mellotron sounds. Howver, Dice are a bit more adventurous musically, in the spirit of Gentle Giant, and combine that element into the mixture. The music is, in the words of guitarist Orjan Strandberg .".. an instrumental symphonic rock piece, sort of in a 'concerto' form with 3 - 4 movements ...," and that is a very accurate description. With a variety of moods, a concept, and passages with shifting time signatures, this should appeal to those who like the melodic prog rock of the seventies.

Dice are a Swedish symphonic five piece band who existed in the late '70s. The first and only release while they were together is their eponymous release from 1978. Overall, their sound is closest to Yes and Gentle Giant, with bits of Focus and maybe a hint of the Canterbury scene. Dice contains four short songs (3-8 minutes) plus the obligatory side long suite. One of the short songs, "Utopian Suntan," is a sarcastic piece about the joys of nuclear radiation. The others are more "serious" symphonic works though the music in "Utopian Sunshine" is nothing to sneeze at. Overall, this is a pretty decent album though the vocals could be better. The music is very well played but the writing isn't the strongest. Only Dice know why, but their true masterpiece, Four Riders of the Apocalypse, never saw daylight until its release on CD in 1992. Recorded in 1977, before their "first" album, Four Riders is an instrumental tour de force. The music changes constantly and never gets boring, moving from slow organ builds to fluid synth lines. The same influences are at work but the writing is stronger and there are no vocals. Why the scrapped this one, we'll never know. Excellent and dynamic music. Start with Four Riders... if you can find it.

I can't remember which European country that this band comes from, but it doesn't really matter, since its the music that counts. An instrumental four piece (gtr,bass,keys,drums), Dice plays a complicated form of symphonic progressive. While I can't think of anything that really stands out about Four Riders of the Apocalypse, it's definitely worthwhile if you like bands like Amenophis or Mirthrandir. The music follows a theme of sorts, with occasional reprises and repeated rhythms. It seems to be something of a concept album, but w/o lyrics I can't be sure. The only drawback to this otherwise excellent release is that it is a bit too straightforward. There are so many bands of this style. While Dice is definitely one of the better ones, the cliches tend to get old after a while.

First (71)

German Prog/Hard Rock.

Diethelm/Famulari (83), Valleys In My Head (84), The Fixer (86?)

The Swiss duo of Thomas Diethelm and Santino Famulari create some of the most unique and refreshing sounding music, while still being relatively accessible. There are three albums I know of. The first two are LP only, the third was a CD. The core of the sound is created by Diethelm, who plays acoustic guitars with various delays, harmonizers and flangers as an integral part of his technique, and Famulari on keyboards and piano. Trilok Gurtu adds percussion on the first album, Fritz Hauser on the second, and Regi Sager adds her vocals on one track "Mindfresher" on Valleys. I've not yet seen or heard the 3rd album. What do they sound like ? As I listen I'm often reminded of Führs and Fröhling, but what D/F are doing is a bit more jazzy and less spacey and meditative. The guitar-delay-harmonizer thing is pretty unique, I can't really say I've ever heard anyone else utilizing it to this extent.

Daybreak (7?), Another? (??)

Ex-Emergency.

[See Emergency]

Huremics (8?), Vibrating Air (8?), Who Says So? (83), Extractions (85), Out of the Trees (86)

Although Extractions is old and difficult to find, it is certainly a minor masterpiece and well worth tracking down. The CD is about an hour in length and comprises thirteen songs, all instrumentals except for one number which features Elizabeth Fraser (from the Cocteau Twins). Five of the tracks are additional ones not on the vinyl release (and admittedly are a little weaker than the original eight), but the addition of such provides a soothing and at times humorous coda to the album and does not compromise its integrity. Most of the songs feature a standard rock quartet: two guitars, bass and drums. One cut adds sax, and a few others some keyboards and percussion. The music is mostly evocative, atmospheric, and dreamlike (reminiscent of the feeling of "Us and Them" from Dark Side of the Moon), the songs widely varied in tempo, dynamics and texture. The guitarists do not confine themselves to the standard (and rather pedestrian) rhythm/lead paradigm depended upon by so many two-guitar bands (Wishbone Ash comes to mind immediately, though I do think "Argus" is a masterpiece in its own right). They eschew such an approach, choosing instead to layer their sound(s) up from the ground without regard for traditional instrumental roles. It is rare that an electric instrumental ensemble can express so many different subtle hues of emotion, but Dif Juz deserves a medal for this finely constructed group of progressive/ambient tone poems.

Without a question one of the best progressive rock bands of the mid-to-late '80s, this quartet (2 guitars, bass and drums, with occasional saxophone, flute, keys, etc.) could be compared favorably to several of the so-called mostly instrumental "post-rock" bands (Ui, Tortoise, 5-ive Style, Scenic, etc.) which have breathed new life and media interest (i.e., have you read "Wire" magazine lately?) into progressive rock in the mid-'90s. Who Says So? is an early 8-song EP which lacks the lush production of their later albums. The music on Who Says So? sounds to me like a very appealing cross between Jamaican dub (a type of instrumental reggae), surf (driving rythms and twangy guitars) and punk (attitude and low-fi production). They did at least two more EPs before Who Says So? (Huremics and Vibrating Air) which were re-mixed and re- released as a very worthy full-length album on the 4AD label titled Out of the Trees. Despite the '4AD-ization' of the early EPs, they still sound remarkably fresh and energetic. Their first full- length album on 4AD, Extractions, is by far their best-known work. Produced by Cocteau Twin Robin Guthrie, and featuring Cocteau Twin Liz Fraser on vocals on one track, Extractions answers the musical question: "What would the Cocteau Twins sound like if they recorded for ECM?" The driving rythms and experimentation of their earlier albums are downplayed somewhat in favor of a more 'spacious' bass sound, and shimmering piles of guitar overdubs and effects. Fortunately, it all works, and Extractions is a lovely, atmospheric (but not wimpy) set which rewards repeated listenings. -- David Wayne

The Voyage (82), A World of Difference (92)

The Voyage was originally released in 1982 (after being recorded in 1979), and is a classic example of the symphonic, melodic progressive rock that emerged from Europe in the seventies. As with that style of music, the music consists of vocals (in English) and fluid guitar leads over layered keyboards, churning out minor chords. The best comparison would probably be to Rousseau, themselves a seventies-revivalist band, and, perhaps Camel and Sebastian Hardie. Clocking in at a little over 70 minutes, A World Of Difference is the second release by the Dutch band, whose music is very much in the melodic, symphonic progressive mode. They have modernized their sound somewhat, and shortened the compositions a bit, but still retain the melodic sensibilities that characterised their first release, The Voyage. As a result, they can be compared to Saga, who, within the format of shorter tracks, were able to tailor their tracks to retain the "progressive" nature of their music. Another point of comparison would be latter-day Kayak, whose music could be best described as "progressive pop." The last track, just short of 16 minutes in length, is very much in the vein of the music of their first release, and closes out the music on a high note.

Their first album The Voyage, originally recorded in 1982 and re-released on CD in 1991, features a rich, full sound with colorful melodies, excellent vocals, and a full range of dynamics. Their instrumental approach falls somewhere between the Belgian band Machiavel and latter period Camel. Most of the tunes change tempo and feel regularly, and in general the sound is not hard, but it does cook nonetheless; Lots of guitar and keyboard exchanges, with extended instrumental passages, big pedal bass sound, and plenty of very original ideas. They reunited due to the success of the CD re-release, and recorded a new album in 1992 aptly titled A World Of Difference. It sounds almost nothing like The Voyage, the only fair way to describe it is boring.

All About Yourself (96)

Influenced by Rush, Marillion, Genesis, IQ, Yes and Dream Theater.

Suite Per Una Donna Assolutamente Relativa (72)

This is pretty much a commercial band, only Suite Per Una Donna Assolutamente Relativa is progressive. It has beautiful lyrics.

Trapped (93)

Dilemma are a young, five-piece band (one each of guitar, vocals, bass, drums and keyboards). Trapped is their first release and is, I believe, cassette only. At just over 24 minutes, the four songs amount to a long "EP" rather than a full album. On the cassette, it says, "file under rock." That is oddly appropriate because it's very hard for me to call this progressive rock. The music is very accessible, hook-laden rock, quite straightforward, really. Dividing an eight minute song into eight sections hardly makes for a progressive album. The song in question, "The Horror of Time Travel," hardly has enough changes to warrant three parts, let alone eight. Stylistic comparisons can be made to the neo-prog scene as a whole, Rush and U2. Dilemma would fit right at home on the SI label, so if you get into the majority of bands on that label, you might like Dilemma as well. I found it quite boring. -- Mike Taylor

Land of the Midnight Sun (76), Elegant Gypsy (77), Casino (78), Splendido Hotel (80), Electric Rendezvous (82), Tour De Force - Live (82), Scenario (83), Cielo E Terra (85), Soaring Through a Dream (85), Tirami Su (87), Kiss My Axe (91)

Dimeola was the guitarist in Return To Forever in the early 70's, later solo. Many albums of varying styles, from pure jazz to progressive-fusion. More of interest here would be albums like like Splendido Hotel or Scenario although listening to these will eventually lead you to his more unique and satisfying latin-jazz-guitar oriented albums like Cielo e Terra or his more recent Kiss My Axe.

Fiery guitar player who first made his name in Return to Forever, then went solo. His albums have explored a variety of styles, but his best liked albums are the latin influenced fusion albums which are his first through Tour De Force, plus the recent Kiss My Axe (you'll have to forgive the title). Cielo E Terra and Soaring Through a Dream explore world musics, while Scenario and Tirami Su have some of the edge removed. The fusion albums have a slight degree of sameness. He just doesn't seem to be able to channel that fiery style into any stylistic changes. But that doesn't mean he's not worth hearing! Get Elegant Gypsy (my favorite) or Casino. You won't be disappointed if you like guitar fusion or just good guitar ability.

Electric Rendezvous and Kiss My Axe are incredible albums from one of the best fusion guitarists alive. I've heard that the live album was pretty poor though.

I've neither read nor heard any other opinions on the album, but Tour de Force Live is one of my favorite live albums.

[See Return to Forever | Yamashta, Stomu (and Go)]

Dimmornas Bro (77) and Mal (78?)

A Swedish band. Included here more for completeness, than as a recommendation. Of course, if you love "progressive" music, this one will go down too. And it probably helps to not know Swedish. But honestly not very original. One song is almost a Genesis rip-off.

Markov Process (94)

[See 5uu's]

Tales of the Storyman (82)

Push and Profit (93), Canto IV (Limbo) (94, cassette single)

Discipline is a band from the Detroit, Michigan area in the neo-progressive vein. Despite their name these guys sound more like a combination of Hogarth-era Marillion and IQ on certain songs. Their vocalist, Matthew Parmenter, reminds me of a young sounding Steve Hogarth, but his live stage presence is an experience in it's own, bringing together Gabriel-esque cotumes and make up ranging to Harlequin faces to straight jackets! Their CD, Push and Profit, is a good combination of many different styles, mainly progressive but with touches of Blues and classic rock. A very impressive album for their first attempt, bringing in elements of Gilmour sounding guitar and Martin Orford sounding keyboards with maybe even a hint of Greg Lake somewhere. Their CD single, Canto IV (Limbo), features one new song (title track) and two others from Push and Profit. -- Phil Slatterley

The Great Spectacular (76?), Freefall (77), What If (78), Night of The Living Dregs (79), Dregs of The Earth (80), Unsung Heroes (81), Industry Standard (82), Bring Em Back Alive (92), Full Circle (94), plus two best-of discs.

The Dixie Dregs, later known as The Dregs, are a 5-piece fusion band with influences from rock, jazz, country/western, and classical music. They feature guitar (Steve Morse), keyboards (Mark Parrish or T Lavitz), drums (Rod Morgenstein), bass (Andy West or Dave LaRue), and violin (Alan Sloan or Marc O'Connor or Jerry Goodman). Personally, they are one of my two favorite bands in the world, along with Gentle Giant. Their music is complex, intricate, and enjoyable. On a single album, their style will range from slow jazz to chicken-pickin' country to raucous rock and roll, all played with power and finesse. The best known Dreg is the guitarist, Steve Morse, who won the "Best Overall Guitarist" award for 5 years in Guitar Player magazine (as voted by guitarists). He is also the composer for the band, and his compositions are excellent. The drummer, Rod Morgenstein, is my favorite drummer on the planet. All the players are outstanding though. In addition, every one of their albums is great. Start with What If or Dregs of the Earth; Freefall is probably not a good starting place because the studio recording is inferior to that of the later albums. And see them live if you can!!. -- Dan Barrett

Most people think they sound like an instrumental form of Kansas. To an extent this is true. If you like Kansas I would suggest starting with the album What If?. Their other albums are more jazzy and have more variety than Kansas does. Favorites are Night of the Living Dregs and Dregs of the Earth.

Pompous with good reason. Southern boogie with a lot of progressive rock goodies thrown in. May be too slick for some.

My highest recommendation goes to the album What If which is clearly their best, although Freefall and Night of... are also outstanding.

Lead by the excellent guitar work of Steve Morse, the Dixie Dregs are a must-have for any guitar fan. Usually called fusion, but there is more evidence of a country flavor than jazz influence in the music. Fantastically tight, the band has loads of excellent interplay between guitar, keyboards, and violin. Morse is an incredibly talented guitarist who is very dedicated to his instrument.

Like others might say, sounds like a more complex, instrumental version of Kansas. Listening to Bring 'Em Back Alive makes me think of this group as a bunch of very talented musicians having a hell of a good time. Their music really smokes, and generally upbeat rather than depressing or introspective like Marillion or Fates Warning.

I have Dregs of the Earth, and, though I like it, I wouldn't say that I was as happy with it as I expected to be after all of the raves I'd heard.

[See Lavitz, T. | Morse, Steve | Zazen]

McMusic For The McMasses (82), No Commercial Potential (85), The Ritual Continues (87), Kafka's Breakfast (82, re-release and outtakes), Reflections From the Firepool (89), Suspension and Displacement (91), Burning The Hard City (91), Collaborator (94)

These four Californian musicians are very unpredictable. On Burning the Hard City, they play a kind of space-fusion that blends elements of psychedelic rock with electric jazz. This four piece band uses guitars, keyboards, bass, drums and sound effects to create very spacy music. But that doesn't translate into relaxation music. The compositions occasionally use heavy riffs and involve some improvisation that brings about long guitar solos. In fact, this disc will appeal primarily to electric guitar fans, even if it also features a very dynamic rhythm section. On Suspension & Displacement, the music is very experimental and ambient. This four piece band uses guitars, keyboards, bass, drums and sound effects but the tracks show very slow developments and serve primarily to create atmospheres. As a result, the music has an electronic sound where the use of melodies is limited to slow hypnotic sequences on guitars, keyboards or percussions. An original production with gloomy themes and an intensity that can make you dizzy. Certain scenes may not be suited for some audiences. -- Paul Charbonneau

First, lets all get the pronunciation down pat: zhahm ka-RETTE. Something like that, anyway. It's not DEE-jam Carrot. (According to the band, Djam Karet is a Balinese phrase that means "the hour that stretches.") However you pronounce the band's name, one thing is certain: Djam Karet has produced some of the most original American Progressive Rock within the past 10 years. Some people claim that Djam Karet is easily one of the top five American Prog bands in existence today. Others say that Djam Karet is one of the top five most HYPED bands in American Prog today. By the end of this review, I reckon y'all will know how I weigh in.
A few generalizations can be made about Djam Karet and their first four albums. The band is four members: Chuck Oken, Jr. on electronic and acoustic drums and sequencing; Henry J. Osborne on a variety of bass guitars; and Mike Henderson and Gayle Ellett on a variety of electric and acoustic guitars. All four members contribute percussion, keyboards and miscellaneous effects. Each musician has a heapin' helpin' of musical talent and each contributes effectively to the intensity and creativity of their music. When describing Djam Karet, I have always said they have the intensity of King Crimson and the spaciousness of Pink Floyd. Yet they sound like neither of them. Nor do they sound like anyone else. Djam Karet draw from many different elements of European Progressive Rock and have blended them into a unique musical statement. Reviewed here are the band's five CD releases. No Commerical Potential and McMusic for the McMasses (released under the band name Kafka's Breakfast?) were two previous cassette-only releases that are out of print.
The Ritual Continues features a variety of styles that would be explored in more detail with subsequent releases. The opener, "The Shamen's Descent," sets the stage with ethereal voices. Songs like "Familiar Winds" and "The Black River" have a relaxed groove with laid-back guitar solos. "Technology and Industry" picks up the pace with free-blowing jams, heavy guitar and thumping bass over shifting drum patterns. Then the pace slows considerably and takes on psychedelic hues for "The Ritual Continues"; tablas and sitars define the ages-old Shamen's ritual. From this point on, we hear less of the guitar jams and begin to move into spacier ethnic realms, as the Shamen's ministration of peyote recalls sacrosanct memories of the ancient tribe's forefathers. (OK, OK...I'm losing it here. Still, it sets the mood.) By "Fractured," we're treated to ominous synth and processed electronics amidst tribal percussion. The final 17 minutes of this album, "Revisiting a Quiet Place...," is a gentle wash of bird song, babbling brooks, night-time sounds, spacy music and interjections of found sounds and more processed electronics. This album flows wonderfully, which is why I'm a bit upset that they added two Happy Cancer bonus tracks as the second and second-to-last tracks, interupting the flow of the original album. Happy Cancer were a pre-Djam Karet formation with a couple of different members. "Tangerine Rabbit Jam" (cool name) is surprisingly Djam Karet-like but "Night Scenes" is a weird mix of slightly dissonant acoustic guitar, disrhythmic music and demented voices. Though "Tangerine Rabbit Jam" works OK in the general flow of the album, I find "Night Scenes" ruins the transistion from "Fractured" to "Revisiting...." Also, it's songs like "Revisiting..." that is one reason some people aren't able to get into Djam Karet. The disjointed addition of jackhammers and bizarre electronics to the tranquility of the night comes off as schizophrenic and disturbing. Others, of course, will find the juxtaposition amazingly powerful. I'm somewhere in the middle, though I quite enjoy the album as a whole.
Reflections from the Firepool is a cauldron of boiling and emotive guitars, brooding and atmospheric synths, and percolating percussion, seasoned with a dash of savory effects. Beginning with "The Sky Opens Twice," the band takes off on a melodic guitar romp with a heavy, sawtooth edge that soon becomes more brooding and passionate. The heavy instrumental edge is heard on the first few cuts. These tracks hint at the improvisational nature that marked the early days of Djam Karet. At any moment, I expected the band to take off on extended, free-form excursions but they generally stayed within the structure of the song. After these songs, the band moves into more atmospheric and experimental realms, straddling the border between Electronic music and Prog. For example, Oken shifts from the polyrhythmic drumming of "Fall of the Monkeywalk" to the electronic percussion heard in "Scenes from the Electric Circus" and "The Red Monk." The primordial "Animal Origins" highlights what I like about Djam Karet and this album: the band create and explore textures usually associated with Electronic/Synth music but create it with guitars, bass, percussion and only some synth. Except for the solos, you rarely hear the pick's attack on the guitar strings. It's as if the guitarist turned up the volume knob after striking the string, or if most of the notes were created just by sliding up and down the fretboard. Think of what Jimi Hendrix did with (to?) the "Star Spangled Banner," with his incredible use of sustain and feedback. Djam Karet successfully employ those techniques throughout this album. They are also capable of creating a good deal of tension within a song. For example, the "free-jazz" sax solo contained in "All Doors Look Alike" tries to drive the pace to increasing speed but the guitars remain steadfast. The tension is relieved by acoustic guitar reminiscent of early Pink Floyd. Thus, Reflections from the Firepool still shows the diversity of style heard on The Ritual Continues but the band has matured and made better use of studio and effects.
In 1991, Djam Karet released the paternal twins, Burning the Hard City and Suspension and Displacement. As the liner notes claim, the two albums each have a different musical focus, yet they are complimentary. Burning the Hard City takes an aggressive stance, with one guitar scorching, the other searing, both blistering. The buzzsaw attack of songs like "Grooming the Psychosis," "Province 19: The Visage of War" and the title track is relentless, and further honed by the driving bass and percussion. There is a tendency to want to call the instrumental, guitar-dominated songs "fusion." However, to my ears, jazz is not involved. This is instrumental rock, through and through. I'll note here one of the biggest complaints that many have about Djam Karet. On this album, six of the eight songs are 9-12 minutes in length. The problem is that, despite the meaning of the band's name, the songs don't necessarily have that much to say. The development of the main theme drags on too long before the solo comes in and often drags on too long after the solo ends. This annoyed me a great deal when I first got this and it is my biggest criticism of Djam Karet's style. Some of the songs on Reflections from the Firepool (e.g., "Scenes from the Electric Circus") suffer from this problem, as well. To be sure, there is some excellent guitar work to be heard from both Ellett and Henderson (I don't know which solos belong to which guitarists, so I'm not making distinctions) but I think many of the songs would have been more effective at seven or eight minutes. I say it used to annoy me; I've since adjusted after many listenings. First, there is a bit more going on in the background than is first apparent and, second, I've gotten used to it. In several cases, a song shifts mood and character enough such that it seems one song is actually composed of two. Still, especially in the case of Burning the Hard City, the repetition within a song goes beyond tension building and can get tedious unless I'm in the right mood. Many people, however, cite this album as their favorite Djam Karet release.
These same folks, however are sometimes not quite sure what to make of Suspension and Displacement. The sister album takes a vastly different approach, exploring fully the textural aspects of sound that can be created with a four-piece band. Both The Ritual Continues and Reflections from the Firepool contained a few songs in this style but Suspension and Displacement is nothing but brooding, atmospheric music throughout. Take for example, the opening track, "Dark Clouds, No Rain." This song calls to mind images of heavy, swollen, ominous clouds drifting overhead, ready to burst into an afternoon summer thunderstorm. Images like this are musically described across the nine songs of this 70 minute disc. A particularly interesting tune is "Consider Figure Three" which takes a university anatomy lecture and places it behind the atmospheric music. It sounds strange but works wonderfully. Occasionally they touch down on familiar ground, such as the Gilmouresque acoustic guitar work in "Severed Moon." Most of the comments above about their more electronic works apply in spades to this release. One interesting sidebar: Here on the north shore of Lake Pontchartrain in southeastern Louisiana, there is an abundance of rainfall. After a rain, the frogs start chirruping and the birds start singing. Listening to Suspension & Displacement balanced against the natural sounds drifting through the open windows was simply exquisite. Mother Nature was improvising against the brooding backdrop of Djam Karet and it worked marvellously. If you get into textural explorations, this album is a must.
With the release of Collaborator, the morphous Djam Karet further expanded the envelope that defines the band and their style. In this formation, Djam Karet is simply Gayle Ellett and Henry Osborne. Mike Henderson also gets credit though he is no longer a full member of the band; neither does he contribute to all the tracks. Gone completely is Chuck Oken. Collaborator is a collaborative album from afar: Various electronic musicians sent different, incomplete musical sketches to Djam Karet, who then finished off the ideas with their own. Never were the guests and Djam Karet together in the same room, nor were Djam Karet aware in advance of what music was to be sent. Collaborating musicians include Kit Watkins, Walter Holland, Marc Anderson, Carl Weingarten, Loren Nerell, Jeff Greinke and Steve Roach. Most guests contributed in final form to two songs, although two cuts are co-efforts (e.g., Watkins and Nerell, and Greinke and Roach). Surprisingly, Djam Karet were able to seamlessly intertwine their own ideas with the musical ideas sent to their door. I expected the effort to be somewhat disjointed. I would guess Ellett and Osborne spent a lot of time with the sketches before laying down their own ideas. Because Djam Karet often used various sequencers on their previous albums, differentiating between Djam Karet and the collaborative artist can be difficult. Yet, there is one thing missing that distinguishes Collaborator from previous Djam Karet releases: the guitars. While not the guitar-driven instrumental rock of songs on Burning the Hard City or Reflections from the Firepool, even the textural Suspension & Displacement features the distinctive buzz-saw guitar tone employed by Ellett (and Henderson). Of the 12 songs on Collaborator, few (e.g., "The Day After" with Steve Roach) are the cuts where the guitar is truly evident. The noticeable lack of electric 7-string guitar separates this release from Suspension & Displacement, the most similar Djam Karet album in style. Still, Collaborator flows well, is rich with inventive musical thought from all involved musicians, and is a fine blend of texture and atmosphere. I suppose a few folks will have trouble accepting Collaborator as a Djam Karet album. Why didn't they use the guitars more? Where are the burning solos that melt hard cities? Where is the reflective firepool?
In my opinion, Djam Karet are one of the better American Progressive bands of the late '80s and early '90s, though they may indeed have been hyped a wee bit in some circles. They certainly are no slouches, though. The band shows no compromise in their style; they play what they want to play. Having their own studio frees them from any commercial pressures they may otherwise feel. Sometimes, their melodies suffer from overdevelopment that can get tedious (e.g., Burning the Hard City) but the majority of their albums provide a good balance between hard, instrumental Prog and sonic explorations in texture. Personally, for starters, I would suggest Reflections from the Firepool as that provides the instrumental work of Burning the Hard City and the atmospherics of Suspension & Displacement on one disc. -- Mike Taylor

I have The Ritual Continues, which is spellbinding improvisational music. Has been compared to Edhels, but Djam Karet is infinitely better, more professional sounding and taking far more chances musically. Keyboards take a back seat here to the dual guitars of Gayle Ellett and Mike Henderson. The arrangements are percussive and often somewhat ethnic sounding. Early instrumental Amon Düül II is the closest comparison I can think of, maybe some Pink Floyd or Gong too. "Shahman's Descent" is really great! I've heard Reflections From The Firepool as well. It's another good one. -- Mike Ohman

After reading all the raves reviews on this band I was expecting something fantastic. The Reflections From the Firepool album is not. I was much more impressed with No Commercial Potential. Yes, they are very talented. Yes they are very innovative. No, they are not that good. There are some tracks I really like, and others I can't stand, with a complete range in between. At least two cuts (can't remember their names) show hints of true genious but most of them drone on and on and on... Djam Karet just don't keep my attention. I admit that the more I listen to Firepool the more I like it but after a couple of months I still don't like it very much. Case in point, I have no intention of getting it on CD right now. If I had to narrow it down, I'd say that the main detraction is their repetitiveness. Good rhythms are good rhythms but if you don't change fairly often I tune out. The title on No Commercial Potential says it all - an hour of improvisational jamming is not something you every expect to hear on the radio. Good thing too. The 3 cuts on this cassette only release are "spontaneously composed" excursions into duel guitar/bass/drum indulgence. Compared to Reflections from the Firepool, this is much better. The rhythms are busier, dual-leads and guitar harmonys, and its a hell of a lot less repetitive. This seems surprising in a spontaneous jam, but DK shines with their unique interpretation of heavy fusion. The tracks seem to have a well-thought-out approach that their other offerings lack. Quite a remarkable and worthwhile undertaking.

Imagine a sound with the force and power of mid-period King Crimson, the fluidity and spaciness of Pink Floyd, and the percussive power of Peter Gabriel's "Security." Throw into that mix a generous helping of the new Industrial Rock, and you have the sound of Djam Karet. Their sound is progressive, snarly, full of fire and 100% instrumental. These guys, who come from the Los Angeles area, are no newcomers to the music scene. Their first recording was in 1982: McMusic for the McMasses under the name Kafka's Breakfast. Although it didn't do much in the states, it was widely respected in UK progressive circles. Their 1987 live release titled The Ritual Continues was voted among the top ten releases of that year by Electronic Musician Magazine. In late 1991 Djam Karet released two new compact discs. The first is titled Burning The Hard City and focuses on the more hard driving side of the band's sound, the rock and the rhythm. The bottom end is handled by the top notch rhythm section of Henry Osborne on Bass and Chuck Oken on Drums. At the top end you have the dual blistering lead guitars of Chuck Henderson and Gayle Ellett: some comparisons could be made to Dave Gilmour, Bob Fripp, Steve Hillage, or electric Steve Tibbetts, but all in a more industrial rock setting. The two switch off between lead and power rhythm, alternating solos, Ellett also filling in on keyboards on some of the tracks. All of the discs seven tracks are outstanding, the most noteworthy being "Province 19: The Visage of War," reminiscent of Crimso's "Larks' Tongues" period, the scorching "Grooming the Psychosis," "At the Mountains of Madness," and the incredible title track "Burning The Hard City." The other CD is titled Suspension And Displacement, and focuses on the more industrial and spacy side of the band's work. Here the guitars whirr and groan, and synthesizers are used liberally for effect, not melody. Haunting rhythms and textures seem to appear out of nowhere, from every shadow. All of the discs nine tracks hail superb, including the eleven minute album opener "Dark Clouds, No Rain," "Consider Figure Three," a riveting "The Naked and The Dead," and "A City of Two Tales, Part One Revisited," a re-recorded and much improved track that originally apeared on Ritual. The two discs are very different, but complementary. Both contain around 70 minutes of music each, and were in the works for well over a year. Both are brilliant and imaginative. Highly recommended. Also worth checking out is their back catalog, especially their 1989 release Reflections From The Firepool, and the previously mentioned 1987 release The Ritual Continues.

Djam Karet is a California based band whose somewhat fusion-tinged brand of progressive rock recalls some of the best improvisational bands of the seventies and prog bands of the new French scene, such as Edhels or Minimum Vital. The music is very strong, and is fronted by guitars and keyboards. Another possible comparison would be to the long lost Dregs, though Djam Karet tend to be more "spacy" at times. Reflections From The Firepool was released a couple of years back, and is orders of magnitude more sophisticated and virtuosic than their previous works. It exemplifies the style of the band as described earlier. Burning The Hard City is the follow-up to Reflections... as far as style is concerned, and is, in their words, .".. 70 minutes ... Full on, aggressive instrumental rock with chunky power rhythms, wailing guitar solos, and complex musical interplay between two guitars, bass, drums, keyboards, and percussion!." That sums it up pretty well! In addition, Djam Karet also compose electronic music, and the companion release to Burning..., Suspension and Displacement, is evidence of their skills in that area. To leverage off their descriptions again, .".. 70 minutes ... the quieter and darker side of Djam Karet. Acoustic instruments meld with synthesizers and treated guitar, weaving surreal dreamscapes of sound.." As before, that is a fair description, and the music is probably best compared with that of Klaus Schulze in his more atmospheric moments, or Michael Stearns.

Imagine influences of King Crimson, Pink Floyd, and Tangerine Dream at their improvisational best - mix in some vaguely ethnic musics - and top it off with one of the tightest fusion bands in history and you more or less have Djam Karet. Not that these guys sound distinctly like any of those bands, the influences just give a vague direction as to where their music is heading. Their all instrumental music may be some of the most original music heard since the classics of the early seventies Start with Reflections From The Firepool and than get the rest!

Great instrumental band from California. Five CDs so far, and a couple of tape-only releases before that. One live video as well. Powerful instrumental work that occasionally gets mellow like Pink Floyd, sometimes dissonant like King Crimson, and yet retains a style of its own. Worth checking out, IMO. Start with Reflections from the Firepool for a good cross-section.

I love Reflections from the Firepool and Burning the Hard City, but couldn't get into to the ambient...noise of Suspension and Displacement as much. The first is a compilation of earlier works, and has some great tracks on it. The second, well, how bad could an album with a track called "Grooming the Psychosis" really be? I'd say that a couple tracks remind me a good bit of Floyd, and Burning the Hard City has an overall feel which reminds me somewhat of Red from Crimson.

Djam Karet (on Reflections From The Firepool) have a relaxing quality to their music which makes it very listenable. For me, this album is mixed: some very good bits, lots of quite good bits and some bits which I find a little jarring. These subdivisions don't necessarily follow the guitar/bass/drums vs. midi sounds divide which also exists on the album: I like parts of each. I've only listened to this a dozen times so far, but I reckon it will yield a whole lot more in the future.

[See Gardner and Gayle]

Light Upon Light (78), Ornament Of Hope (79), Early Years (CD Comp. of material from the first two), Ancient Beauty (81), Companions Of The Crimson Coloured Ark (84), World Dance (88).

The band started out as the duo of Ken Laroche (flutes, recorders, piccolo, panpipes, bansri, kalimba, ocarina, khene, harmonium, piano and percussion) and Randy Armstrong (guitars, sitar, vibes, mandolin-harp, xylophone, bells and various percussion). The music at that point was an instrumental acoustic excursion into the proto-world music realm. For the second album, guest musicians were brought in on tablas and clay drums, acoustic bass and persian santoor, resulting in a more full sound which began to point in some progressive directions. The third album, unfortunately, was a little more consevative, relying heavily on classically inspired acoustic guitar and woodwind journeys to balance out the few adventurous tracks. With Companions they blossomed into a full blown five piece, adding the tabla and bass players who guested on the 2nd, plus a new member on soprano sax. Their new sound could be classified as equal parts world music, jazz, and progressive stylings, and is light years ahead of what they had done before. Effect vocals and synthesizer were added, as well as kit drums, in addition to the array of instruments already played. This one is clearly their best. World Dance carried on in a pretty much similar style as Companions, but I'd still reccomend starting with Companions.

The Mind Electric (86)

Jazz-fusion guitarist who recorded one really fine album in the mid-'80s. Sidemen on this effort included Kenwood Dennard (Brand X), and three members of John McLaughlin's One Truth Band: violinist L. Shankar, bassist Fernando Saunders, and drummer Tony Smith, among others. The record alternates spacey, acoustic-based tunes with heavier high-energy, highly electric fusion tunes which remind me of Brand X. This may be a hard one to find (unless you live in South Florida, where Dobson was based), but is definitely worth seeking out if you enjoy challenging, exciting jazz-rock. -- David Wayne

Entré (73), Fat Dogs and Danishmen (74)

Fusion/Rock-band with seven players, including brass section. The music is like Supersister or Burnin' Red Ivanhoe with more horns. Good stuff, recommended for people interested in the Scandinavian scene. Both LPs (published on the German Zebra label) are equally strong. -- Achim Breiling

Out To Bomb Fresh Kings (84), Armed Observation (87), Did Sprinting Die (90?), Beta 14 OK (91), Skin (95)

Absolutely psycho Cuneiform ensemble let by guiatrist Nick Didkovsky who decided to take Henry Cow-ish music make it even harder to listen to and wrote a computer program that would let his computer write the most inhuman and bizarrely distorted music ever. Basically, I can take only about five minutes of it, but in these five minutes I am severely challenged and wonder if alien music could sound like this. Only for the VERY VERY VERY adventurous.

It's difficult to describe this music by comparison, Nerve is truly out there by themselves. The band, led by Guitarist Nick Didkovsky, seems to involve a rotating cast of characters around the central core of Didkovsky, Dave Douglas on Trumpet, Yves Duboin on soprano sax, Michael Lytle on bass clarinet, and Marc Wagnon on piano and vibes. Drums were handled by James Mussen on the first two albums, and by Leo Ciesa on the third. Bass guitar was provided by Kyle Sims and Mike Leslie on the first two, Greg Anderson on the third. In addition there are various other players adding saxes, violins and other instruments to the mix. The sound is definitely in the jazz-rock vein, very angular, with constant changes in time sig, tempo, and instrumentation, all delivered at an almost unbelievable high energy level. Songs are sometimes separated with little tape bits, voices, solos, all spliced together to form a seamless though jagged whole, much in the way Zappa does. That these guys like to experiment playing in difficult time signatures is an understatement - sometimes they play in three or four different time signatures at the same time. The music is challenging, and often not pretty. Melodies are torn apart and patched back together, dissonance is rampant, and sometimes the whole mix disintegrates into a noisy mix of squeaking reeds and feedback, only to return again to the original theme. But everything is very precise and tightly arranged, these guys can really play. On the third album Beta 14 OK, there are several songs which were composed and arranged entirely by a computer program without human intervention, and subsequently performed by the band, a series of odder-than-usual tracks titled "Nerveware" parts 1,2 and 3. This disc clocks in at around 40 minutes but contains no less than 60 tracks, the last 44 of which are collectively titled "Nerve Events" and range from two to six seconds each, the idea being to allow the listener to reprogram all of these short bits in various orders or set the player on random mode, creating a new piece from all the pieces. It's a good workout for your CD player, if nothing else. The first two albums Out To Bomb Fresh Kings and Armed Observation are a little more straight-ahead and easier to sink your teeth into, tracks with a harder edge and less experimentation for experimentations sake. Having both of them on one CD makes for an excellent 70+ minutes of non-stop high energy. There is rumored to be a live CD recorded between the second and third titled Did Sprinting Die, supposedly representing one complete live show. I've never seen it, but I am trying to find a copy. It's hard to imagine how these guys could pull this off live. All their albums have been released on CD.

What can I say...this band is strange. BUT, sometimes that just what is needed. On Armed Observation we are presented with an album full of dissonance and experimentation with taping and studio effects. And yet....somehow it works. This is not a band for everyone. In fact I could see where a great many would really dislike it. But if you were in the mood for something truly experimental and truly challenging then give this band a chance.

Dr. Nerve, led by guitarist Nick Didkovsky, is a "member" of the downtown New York City fusion scene. Characterized by talented playing of extremely complex, angular and dissonant avant-garde jazz fusion, Dr. Nerve can take nerves of steel to get through, at least on Beta 14 OK, the only disc I currently have. What makes this particular work so unique is that at least parts of these songs were composed by software written by Didkovsky especially for Dr. Nerve. Instrumentation consists of guitar, bass, drums, vibes, trumpets, vocals, sax and clarinets. As far as I'm concerned, some of the songs are not much more than walls of noise while others are fantastic turn-on-a-dime bouts of musicianship. Beta 14 OK also contains 44 "Nerve Events" which are brief (generally several seconds) sound bites that you are supposed to arrange into your own unique musical score. I can't try it because my CD player doesn't register above 19 songs so I can only access the first three samples. Some of the earlier albums, such as Armed Observation are supposed to be better places to start. Recommended to those into avant experimentalism, heavy RIO, etc., NOT to the symphonic crowd.

[See Icconoclast]

Heavy Petting (??)

Folk-rock.

Three Parts to My Soul (71)

Very rare underground trio with lots of keyboards.

Late Night Movies, All Night Brainstorms (76), Figments of Emancipation (76), Sons of Survival (78), The Doctors of Madness (78)

Album (92), Twin Sunrise (95)

Album is the first production for this Brazilian group of four musicians on guitars, keyboards, bass and drums. Marcus Viana (violin) guests on one of the tracks which, all instrumental, are played in a very British style dominated by melodies and symphonic arrangements of keyboards. Guitar solos in the Steve Rothery or Steve Hackett style are also present. A rich sounding music where fairly simple compositions show limited inspiration. Nevertheless, a quality production and performances that are true to the usual style make the listening enjoyable. Twin Sunrise is the second production for this Brazilian group of four musicians on guitars, keyboards, bass and drums. Guests contribute vocals (in English) and strings on a few tracks and give another dimension to Dogma's sound. The guitar playing and the arrangements remain very British (Marillion) but the compositions are now more inspired and better crafted. Still very melodic and relying on symphonic keyboard arrangements, the music now incorporates elements that make more dynamic and less predictable.-- Paul Charbonneau

Molecules (80)

Prog/Symphonic Rock.

DOM (72, aka Edge of Time)

"DOM" is a term used (at least in Germany) for a two day acid trip. These guys were obviously deep in the heart of their trip and near whatever boundary holds this universe together when they recorded DOM, which is also (incorrectly) known as Edge of Time. The music seems almost pure and abstract improvisation, an atmosphere sustained for the entire album. The music is a very dreamy and ethereal amalgam of two flutes, mellotron, organ and guitar. Definitely one to be listened to late at night with many lit candles and, if you choose, under the influence.

1 (80), 2 (81), 3 (81), 4 (82)

After the spilt of Wire (the British new wave/punk band) B.C. Gilbert and G. Lewis realised their musical ideas under the name of Dome. They published 4 LPs with quite experimental avantgarde stuff. You find a lot of instruments here and several guest players. The style is reminiscent of these early wave/avantgarde bands like Tuxedomoon, Cabaret Voltaire or This Heat. So if you like these, give Dome a listen. All four Dome LPs have been reissued on 2 CDs by Mute. -- Achim Breiling

Idaho Transfer (76)

Prog. Private Pressing.

World (89), Garana (92)

Italian project of the three synth players Pier Luigi Andreoni, Ricardo Sinigaglio and Francesco Paladino. On their two records apear a lot of guest players, for example Chris Karrer (Amon Duul, Embryo) on guitar. The music is mostly quiet meditative stuff, with some folk or medieval influences. In some pieces they sing in some strange italian dialect, that even an italien friend of mine could not understand! Very nice stuff, higly recommended!! -- Achim Breiling

Dragon (76), Kalahen (86, recorded 77?)

Prototypical 70's Belgian band. They appear to have a multitude of influences, from Jazz to any of a number of American 60's psychedelic bands, to the french bands of the time such as Atoll. The album is a very mixed bag, featuring six longish tracks with English vocals, a lot of extended instrumental passages with some heavy guitar Jams a-la Quicksilver or Iron Butterfly, some folksy stuff reminiscent of Beau Brummels, Jeff Airplane or the Animals. Singer is lousy, and overall it's pretty lame, and would've been better left as a rare LP.

Universal Radio (7?), Scented Gardens for the Blind (74), S/T (76), Sunshine (77), Running Free (77), O Zambesi (78), Powerplay (78), Greatest Hits (??)

First two albums recorded in New Zealand are progressive rock. Scented Gardens... is based around a full organ sound with occasional Mellotron, along with the nice voice of Mark Hunter. The style is not unlike early British prog bands such as Fantasy, Cressida, Beggars Opera and the like. Universal Radio is said to be similar. Subsequent albums were made in Australia and are pop-orientated. Not really of interest to prog fans, except perhaps Powerplay, which seems to be an attempt to imitate Roxy Music. -- Mike Ohman

Dragonfly (81)

Swiss five-piece that released one self titled album in 1981 on the highfly label. Although the sound is somewhat ELP influenced, the emphasis is more on piano, which creates a flowing musical tapestry with the guitars and rhythm section fairly unique in style. The songs alternate between rock and more melodic progressives culminating in the sidelong title track. Vocals are good, reminiscent of Island's Pictures. One stinky pop love song on side 1 tho...

Almost Abandoned (74)

Melodic, laid-back prog. Not to be confused with Swiss band or the US acid psych band from 1968.

What Day Is It? (93)

[See 5uu's | Thinking Plague]

Drama (95)

The music offered on Drama is completely instrumental and involves five musicians on guitars, basses, keyboards, drums and percussions. The compositions are mostly those of the guitarist who, despite a solid performance, barely conceals his lack of inspiration (numerous cliches). With modest implication from the keyboards, it's the dynamic energy of the rhythm section that certainly brings life to the tracks. In absence of originality, the bands relies on precise execution of a familiar symphonic rock, except for the occasionally exotic (African, Latin) flavour of it's rhythms. An quality production, easily accessible, that barely distances itself from the usual standards. -- Paul Charbonneau

Get Dreamy (68)

Psych.

When Dream And Day Unite (87), Images and Words (92), Live At The Marquee (93), Awake (94), A Change of Season (95)

The best heavy progressive band out now. Imagine Yes/Dregs style played faster. They have all the earmarks of a great band...the talent, the timechanges and the songwriting ability are superb.

Awake offers complex heavy rock where the technique of the musicians make it even more dramatic. The style is inspired by the usual pop rock but also by a more "metal" and more acrobatic style. Compositions are based on the energetic riffs of the electric guitar, bass and drums. The vocals are solid and the keyboards often take on a support role. A dynamic sounding production that can hit hard at times and aggressive performances that are quite spectacular. Deserves the attention of fans of the style but also a warning for the others. -- Paul Charbonneau

Straddles the line between progressive and metal. Considering song structures, ideas and energy, they are definitely progressive, but the playing style, look and feel of the music, as well as the vocals are more in the metal camp, occupying an area of music shared by Rush in their better years. The second album Images and Words is destined to be a classic of that subgenre, much as Moving Pictures is. Their first album Where Dream And Day Unite is even more headbanger, but still worthwhile if you can find it.

Images and Words, albeit very commercially-produced sounding and cliche at times, is an amazing album. I believe these guys went to Berkely music college and their compositional and instrumental virtuosity is incredible. Music is very upbeat (not depressing like Fates Warning or Marillion) and complex, they try a lot of different musical ideas. Metropolis is the highlight of the album and contains a middle instrumental section which is probably the best moment in heavy metal I've ever heard. Haven't heard When Dream and Day Unite.

Images and Words is the best thing to come out of 1992. They boldly carry mainstream progressive rock into the next phase of its evolution. Throw together bits of Yes, Rush, Queensryche and Metallica and you have it, sort of. Exquisite musicianship and great lyrics. Powerful stuff.

Images and Words is an interesting expedition into metal with an accent on musicianship. The vocals sound a little too much like your average metal vocals (high wailing), but they do have recognizable talent.

The debut release by this band has been sought after since the original US CD issue went out-of-print in short order. Musically, I would classify this as AOR with a progressive bent, along with bands such as Magellan and Echolyn.

A "progressive heavy metal" band from New York. Great for fans of Rush and Queensryche. 2 albums so far: When Dream and Day Unite and Images and Words, each with a different vocalist. Both are very good, but IaW has a few sappy ballads meant to get them more radio air-play.

Eh, I have Images and Words and I thought the first couple of tracks on this album sucked. The rest are ok with a couple in the middle standing out a bit more. I found this to be a few notches above pop-metal.

Like many others, I waited impatiently for three years to hear Images and Words. Unfortunately, it wasn't worth it. While Images and Words contains some impressive moments, it just doesn't stack up to my expectations. The Good News: New vocalist James Labrie is excellent. His range is good and his voice is pleasing to listen to. No match for mid-eighties Geoff Tate, but he's considerably better than 99% of the classic prog vocalists. Guitarist John Petrucci has gotten much better (he was pretty good to begin with). Not only is his style cleaner, but his writing has matured as well. He handles multiple time changes and long solos proficiently. Drummer Mike Portnoy puts in an excellent performance as well. He falls back on snare-bass rhythms too often but his fills and more complicated playing keeps my interest. The Bad News: The production isn't that good. The guitar is too loud and often drowns out the bass and keys. I would criticize bassist John Myung for following Petrucci but I can't hear the basslines clearly enough to be sure. Kevin Moore's keyboards are often faintly working in the background instead of challenging the guitar for dominance like they should be. Moore's style intrigues me. He's competent enough to deliver a blistering solo or fly through a dual lead with Petrucci, but his acoustic chording on the slower pieces is unimaginitive and bland. My overall impression is that Images and Words is good, but with a little effort it could have been much better. First of all, the ballads don't belong on the album. "Another Day" and "Surrounded" just don't fit in with the style of "Metropolis Part 1" and "Learning to Live." The latter songs contain the frequent time changes and technical proficiency I've come to expect from this band while "Another Day" seems all too much like a try for MTV airplay. Of the album's 60 minutes, I like about 40 of them (noncontiguously). While Labrie's vocals are well done, I find the instrumental parts of the songs far more interesting. It makes me think they might have done better to stay a four piece instrumental band like they were considering before they found Labrie. "Metropolis Part 1" and "Learning to Live" are my stand out favorites on this offering, but even they lack the technique to break away from mediocrity. Petrucci's dominating riffs drown out Moore and Myung. Between the three of them there is potential for some intertwined melody but the guitar/keyboard harmony solos only hint at this. All they need to do is change about every fourth note during these dual leads and they'd have a beautiful counterpoint. I can't recommend this to all progressive listeners. If you have a taste for metal, or if you're looking for something a little different than the Marillion/Genesis clone sound, go for it. Otherwise I'd say it's too straight forward to be worthwhile. When comparing them to other 90's progressive acts, they remind me of Djam Karet the most (not in style or sound though) because they have incredible potential but lukewarm delivery. Bands like Nuova Era, Episode, and Ozric Tentacles have an edge up on these guys and I feel that Dream Theater is never going to live up to their potential until they scrap the desire to be successful.

What all the other people have been saying, namely that this is probably the BEST heavy progressive/metal progressive band there is today. Their drummer is definitely Peart's equal, and the keyboardist, Kevin Moore, is one of the best I've heard. Their first album is fairly heavy, but good, and their latest (Images and Words) is incredible! The second half of IaW is the best part. Take bits of Metallica, Queensryche, Rush, and you kind of thave the picture. Incredibly done solos and instrumental parts. Buy this album: it'll help open the way for other progressive bands! Be forewarned: this is hard-rock/ heavy-metal with a LOT of progressive tendencies. However, it iswell worth listening to.

Dream Theater are a very talented band who "progressiveness" is, I think vastly overrated. These guys are technicians above all and the music, to me lacks in emotional quality, one of the earmarks of quality Prog. First and foremost, they are a metal band and the songs are a way to show off their chops. And they have no shortage of chops. There is no denying these guys can play. However, despite their use of shifting time signatures and many key changes, I just can't bring myself to call these guys progressive rock. To me it is more than just odd time sigs with many key changes. There is a spirit invoked as well and these guys just don't invoke it. Not for me, anyway. Just because they were influenced by some Prog bands (which is noticable in their music, I admit) I don't think it automatically makes them a Progressive band. I have their first two releases. The first, When Day and Dream Unite, is the better of the two and shows more of their Prog influences. Images and Words is more commercially produced and includes a couple of love ballads, one of which includes a syrupy sax solo by the King of Fuzak, Jay Beckenstein. If you like prog *and* metal, you'll go crazy over these guys. More traditional proggers are warned to stay away.

First album is fantastic. Almost a direct cross between Rush and Watchtower. I eagerly awaited Images and Words ... even managed to get a copy in the UK before the UK release. I was *very* disappointed. There are some really terrible MTV tracks and I threw my CD away in disgust (honestly). They have, if only partially for now, sold out big time. This is ironic given how the first album was dedicated to a warning about selling out!

On Flight to the Light (80)

[See Yatha Sidhra]

Toward The Sun (75), Fluid Druid (76)

Semi-progressives from England who remind me a bit of the band England although not that good

Mid-70's british 4 piece that sounded a bit like a folky Yes (mostly for the very mid-period Yes-like vocal harmonies), not as sophisticated in structure and song development, but still very nice, with longish tracks and cool album covers.

I heard some of Toward The Sun. Pretty symphonic prog, lush with synths and mellotrons and the like. Good trebly vocal harmonies. Made me think of Fruupp, but more keyboard orientated. Pleasant. -- Mike Ohman

Magical Elements (78), Whale City (79)

Late 70's Jazz rock outfit led by keyboardist Chuck Lamb, they recorded a couple albums on the inner city label. Of Whale City, the sound is your standard 70's fusion with tight playing and inspired compositions. Tracks like "Hammerhead," "Wimpy Thing" and "Butch and Bruce Go Under The Sea" really shine bright.

Dschinn (72)

Les Temps des Bombes (84)

French-Canadian guitarist/vocalist who, with guitarist Rene Lussier, co-led an influential Canadian progressive group called Conventum. Les Temps... is his first solo effort, and features all of Conventum, plus other musicians. It sounds a bit like a heavier version of Art Bears, or perhaps Henry Cow circa In Praise of Learning, only with male vocals sung in French. Pretty grating and noisy, but potentially very appealing to fans of the RIO sub-genre. Duschene later joined Lussier, and ex-Henry Cow drummer Chris Cutler in the all-instrumental "Les Four Guitaristes de'l Apocalypso Bar". -- David Wayne

[See Conventum]

Duello Madre (??)

When the band dissolved Dede Lo Previte (drums) went to play with Nova, Bob Callero (bass) to Il Volo. Sort of an English jazz sound. An instrumental album.

[See Nova | Osage Tribe | Volo, Il]

Boomerang (82), See (84), Mosaiques (89)

Dugrenot was the bassist with Zao. He's released two solo albums I know of, Mosaiques and Boomerang. Both feature excellent Jazz-rock in a style close to later Zao, sometimes a little quieter and reflective, yet energetic and brilliantly executed. Both albums feature David Rose on violin. In addition, Mosaiques features guest appearances by Pierre Moerlen, Fred Frith, David Cross and others. Both are excellent, start with both !

With song titles like "Water Light," "Pastel Space," and "Pegasus Dream," you might draw a few conclusions about Dugrenot's Mosaiques. It follows in the zeuhl realm of Zao (of which bassist Dugrenot was a member; you may also recognize his name from Cyrille Verdeaux's Clearlight) but is much more pastoral and dreamy with shimmering violins, floating flutes and spacey synthesizers. Quite a gorgeous work that will carry you gently along in celestial harmony. Boomerang is more in line with the fusion stylings of Zao's Kawana but not quite as driving and still with several hints of the pastoral nature of Mosaiques. But Boomerang as a whole is a more energetic work than Mosaique. This is good because neither album is redundant so you'll want to get both. Both of these albums are a violin lover's dream as they both feature some beautiful violin work. These two albums are very worthy of your collection if you can find them. I've seen them offered no where but Wayside and then only as limited quantity. Search them out--it'll be worth your while. There is also a cassette put out by Eurock called See.

See is a compilation of leftover work and was cassette only.

[See Clearlight | Delired Cameleon Family | Zao]

Nova (91)

Their album Nova is synth based contemporary cosmic music (ie. New Age) but it can't simply be dismissed as such, it is definitely a cut above most of the others in the genre, there are some very powerful and interesting moments. On a couple tracks operatic female voice is used to expand the basic sound. I'm sure those into this type of music would enjoy it more than I.

Of interest: Faces in Reflection (74), George Duke & Feel (74), The Aura Will Prevail (75), I Love the Blues, She Heard My Cry (75), Liberated Fantasies (76), The Dream (aka The Solo Keyboard Album) (7?), From Me to You (77), Reach For It (78)

Those of you who know of George Duke's music from the late '70s on will probably think of him as a funk/disco keyboardist and vocalist. However, Duke is classically-trained, has composed operas and symphonic music, and spent quite a bit of time playing keyboards and singing in Frank Zappa's band in the early '70s. Duke's solo records on the MPS label contain some scintillating progressive fusion sounds. Duke's first record, Faces in Reflection, is a very jazzy keyboards + bass + drums trio with only one vocal track. Although primarily a jazz player, there is a strong gospel/funk undercurrent to his playing, and he is not afraid to take chances during his solos. George Duke & Feel continues in much the same vein, and features Zappa (under the pseudonym Obdewl'l X) on guitar on two tracks. Some distinctly progressive rock elements are also introduced here, particularly in the two cuts Zappa solos on, and in a brief all- keyboard piece, "Theme From the Opera Tzina". The Aura Will Prevail contains two Duke/Zappa compositions ("Echidna's Arf" and "Uncle Remus") and lots of spirited jazz-fusion. Vocals are more prominent on Aura..., but it is still a great album. About half the tunes on Duke's first decidedly commercial record, I Love the Blues... are in a creative rock-funk vein, and the rest is more adventurous Zappa-esque fusion. Unlike the preceding records which were basically keyboards + bass + drums, I Love the Blues... features a large supporting cast, including guitarists Lee Ritenour, George Johnson, Daryl (Genesis) Stuermer, and Johnny Guitar Watson, bassists Byron Miller and Tom Fowler, violinist John Wittenburg, trombonist Bruce Fowler, percussionist Emil Richards, and others. Any of you who doubt Duke's fusion and prog credibility should find this album and listen to "Giantchild Within Us - Ego"!! I Love the Blues... was followed by a very similar (and very good) album called Liberated Fantasies. After Duke left MPS for CBS in the late '70s, MPS released The Dream, a decidedly non-commercial solo record featuring some nice jazzy solo acoustic piano as well as multiple layers of electronic keyboards, and even some decent drumming mixed with some charming now-antique electronic percussion. The Dream was released in Europe only, but was reissued in the US a few years later with a very ugly cover as The Solo Keyboard Album. Duke's recordings for CBS were largely very commercial, but the first three contain at least one excellent balls-to-the- wall progressive fusion tune (e.g., "Up On It" on From Me To You). If you enjoy the upbeat melodic jazz-fusion music of groups like Return to Forever, you should check out George Duke's solo albums on MPS (...which I actually prefer to anything Return to Forever ever recorded, except "Hymn to the Seventh Galazy"). His most recent (mid-to-late '90s) recordings are very diverse and include at least one full length symphonic work for keyboards, bass, drums and orchestra. -- Dave Wayne

[See Zappa, Frank]

And I Turned (??), Room For Thought (??)

Electric Indian (71)

Prog.

Eros (81)

Some of the best French progressive rock groups only lasted an album especially in the early eighties, and although the plans for this reissue will be at least a year and a half old by the time Musea finally get to release this, it will be certainly worth the wait. This is dazzlingly complex music with flutes and tuned percussion in the style of bands like Maneige and Carpe Diem. A jazzy base is the background for many escapades in a pleasantly dissonant and chromatic style. The dynamics are incredible, contrasting intensely dark rhythmic parts with atmospheric and dreamy percussion sequences. The Dun is pronounced "Dune" obviously betraying another album with Frank Herbert references with the track "Arrakis." Superb and essential.

Sul Monte e' il Tuono (93), Il Chiarore Sorge Due Volte (95)

An Italian trio (Katya Sanna: Vocal Melodies; Claudio Nigris: Keyboards; Alessandro Vitanza: Drums), helped by a lot of session men. The music is a mix on New Age, Folk and Prog and their lyrics (in Italian) are based on myths and legends of the entire world. -- Riccardo Deidda

La Düsseldorf (76), Viva (78), Individuellos (81)

Composed of ex-NEU! guitarist/bassist/singer/drummer Klaus Dinger, his brother Thomas on drums and vocals, and Konrad Plank associate Hans Lampe on percussion and electronics. The music carries on in the style of NEU! 75, but with a more pronounced new-wave feel, so probably not as interesting to prog-heads. Each of the first two albums has a nice instrumental ("Silver Cloud" on the first, "Rheinita" in Viva), but overall not as imaginative as its predecessor, and somewhat repetitious. Especially on the long tracks, the 20-minute "Cha Cha 2000" (on Viva) can be positively excruciating. As I haven't been too impressed by either of these, I haven't bothered getting Individuellos. -- Mike Ohman

[See Kraftwerk | Neu!]

Nero (76)

Prog

Evolution (??), Aquarelle (??)

A Wavestar alumnus, his Evolution is a release of fine electronics that should certainly bring to mind the Berlin sound, with the touch of Floydian spaciness that was the trademark of Wavestar. The sound is a bit more "digital," and the compositions more complex, but the overall effect is undeniably positive. This should certainly appeal to those who enjoy the music of Tangerine Dream, and, of course, Wavestar. Aquarelle is the second solo release and carries on in the style of his previous efforts, with electronic music that strongly echoes Tangerine Dream of the early eighties. The tracks on this CD have a more symphonic content, achieved with a MIDI-fied keyboard stack. In the quieter moments, the melodies are delicate and flow over distant chords, placing this CD quite well in a Tangerine-Dream-meets-Kitaro kinda slot. However, the pace and mood vary quite a bit over the length of this release, lending credence to Dyson's skills as a composer, and further establishing him as a principal player in the UK electronics scene.

[See Wavestar]

Dzyan (72), Time Machine (73), Electric Silence (75)

First LP, very hard to find, is right in the German Kraut-Rock vein (I only listened to that one once and don't really remember it, but it was nothing special). After that the band broke up and was refounded as a trio (Eddy Marron on guitar, Reinhard Krawatky on bass and Peter Giger on drums). This trio recorded the two excellent albums Time Machine and Electric Silence. Here you find great fusion/jazzrock with strong and fast guitars (guitarist Eddy Marrons style could be compared to J. McLaughlin in the Mahavishnu Orchestra era). There are also slower pieces, with a more Asiatic touch (some sitar here and there) and a lot of electronic effects (also on the drums). Best comparison would be Return to Forever or Mahavishnu Orchestra. Highly Recommended! -- Achim Breiling

I have heard Electric Silence. Pleasing East Indian-inflected space progressive. Guitars, synths and mellotron mix with sitars, sarods and tambouri. The amazing thing is that this stuff never sounds self-indulgent or excessive. Much of the guitar playing is not unlike John McLaughlin in his Shakti period, but electric. Fans of Embryo, Amon Düül II and the like should investigate. -- Mike Ohman

Extraordinary and nearly unclassifiable German space jazz trio whose two albums from the early '70s are certainly on par with, if not superior to, anything recorded by other "kraut-rockers" such as Amon Duul II, Guru Guru, and Kraan. Both records feature guitarist Eddy Marron, bassist/keyboardist Reinhard Karawatky and percussionist Peter Giger, and cut an insanely wide stylistic swath from contemplative and spacey free improvisations, to high-energy Mahavishnu Orchestra-like fusion workouts. There is also a "world music" element to Dyzan's art. Besides electric and acoustic guitars, Marron also plays several ethnic stringed instruments (i.e., sitar, zaz, etc.), and at times there is a distinct gypsy/flamenco feel to his playing. Peter Giger's percussion arsenal includes a vast array of gongs, hand drums, and other toys. Of Dzyan's two records, Time Machine is more compositionally focused and the music has a strong jazz-fusion component. Comparisons to the first two Mahavishnu Orchestra albums would not be too far off base, although Dzyan are certainly not clones and maintain their unique identity throughout. Electric Silence de-emphasizes the hard-edged fusion and jazz sounds in favor of a looser, more freely-improvised jamming feel. Marron plays more acoustic guitar, sitar and zaz, and Giger's percussion emphasizes color and shading, rather than playing a pure timekeeping role. The result: acid-drenched hippie psychedelic nirvana! Both records are classics and pretty hard to obtain. I don't think Dzyan released any albums after Electric Silence. Peter Giger later turned up on Eberhard Weber's first solo album for ECM, The Colors of Chloe. -- Dave Wayne