To Be (76)

Toad (70), Tomorrow Blue (71), Dreams (75)

Guitar-based heavy prog.

Tollhouse (78)

Summer Games (73), Tolonen (74), The Hook (75), Hysterica (75), Crossection (76), Impressions (77), After Three Days (77), A Passenger To Paramaribo (78), Montreux Boogie (79), Vanspel (79), Mountain Stream (80), Dums Have More Fun (81), Touch Wood (81-w/Coste Apetrea), High Flying (??), Just Those Boys (??).

Tolonen was the guitarist in the early 70's finnish progressive band Tasavallan Presidentti. His solo stuff is primarily in the jazz-rock vein, and inspired variation thereof. Some albums are better than others, but all are worthwhile.

[See Tasavallan Presidentti]

Tomorrow (68)

[See Pink Fairies | Twink]

Tomorrow's Gift (70), Goodbye Future (73)

I heard their contribution to the Hamburg 70 festival album. A very long track, about ten minutes at least. Joining the omnipresent grinding Hammond organ were prominent flute, good guitar work and a female vocalist. Their first album is supposed to be in this style. Goodbye Future features only the keyboardist and bassist from the original lineup, and is apparently much different. Keyboardist Manfred Ruerup later formed the fusion ensemble Release Music Orchestra, guitarist Carlo Karges turned up in Novalis. -- Mike Ohman

[See Novalis | Release Music Orchestra]

Warum geht es mir so dreckig? (71), Keine Macht fur niemand (72), Wenn die Nacht am Tiefsten (75)

Political rock ala Floh De Cologne.

Tonton Macoute (71)

If you like a mix of progressive rock and blues, this is a good place to start. I don't know much about the band. These guys move from rock to blues cleanly and effortlessly, and usually in the middle of a song. They have a Zeppelinesque feel as well that keeps things lively. There's enough instrumental proficiency to keep me tuned in, but this is something I tend to take more as a whole. If I had to compare then to another prog band it would have to be Steve Hillage and Dave Stewart's Khan. Not the same style but a very similar feel. Tonton Macoute employs more acoustic piano and walking bass lines, and the vocals and lyrics have a moving quality in them, though they say nothing profound. If you can find this, check it out.

Too Much (7?)

Loud blues/rock, reminiscent of Flower Travellin' Band.

Suite MÌstica (8?)

A rather interesting one-shot band from the late 80's, Topos Uranos made one album, Suite MÌstica, and nothing since. It's mainly instrumental, much like Iconoclasta, with some powerful themes and blistering guitar. The weak link in the chain is the keyboard player, who is not bad technically, but is not very creative, too often relying on obvious presets. -- Mike Ohman

At Last (77)

Prog.

Nur ein 3/4 Stundchen (74)

Underground jazz-rock. Flute and electric piano appear throughout. There's lots of jazzy soloing, and a laid-back "stoned" feel, but it never really sounds self-indulgent. They like taking solos, but know when to reel it in before the listener gets bored. A very jazzy record, it sounds like the perfect accompaniment for beat poetry. The sound is quite raw, but the great performances shine through. -- Mike Ohman

Tortoise (94), Millions Now Living Will Never Die (96)

Tortoise is a band from Chicago, Illinois. Many music critics have branded them as "Post Rock". This label branded onto them is somewhat true (we just call it "Progressive Rock"), because Tortoise are creating some of the most interesting Krautrock/Prog. Rock/Ambient/Organic Trance music since Germany's Can. Tortoise are a hybrid mixture of Steve Reich's 20th Century compositions along with Future Days-era Can. The instruments used are Farfisa organs, Melodica, drums, vibes, djembe, bass, samples, and programming. No guitar or vocals (except for one song called "Night Air" on Tortoise; however, the vocals are barely audible. The highly recommended starter is Tortoise. The instrumentals float about like a tortoise's bodily movements, but they never bore. It's also great music to listen to while staring at a lava lamp (in complete darkness) when you're in a "certain" mood. On the second CD Millions Now Living Will Never Die, guitar is added. A Highly recommended band! -- Julian Belanger

Touch (68), This Is (69)

Very early prog, and perhaps the first American prog?

Toy Matinee (90)

Toy Matinee is a splinter group from a group called Giraffe. They definitely fall under the classification of progressive pop. They only have one self-titled album out. Their music is highly polished studio work comprised mostly of studio musicians and associates. The core of the band is only two people a guitar player/singer and a keyboardist. If you liked Flat Earth by Thomas Dolby you will like this CD too. The bass player on the album is the most "in the pocket" player I've heard since Flat Earth (is that a bass or a machine?). You can usually find the album in the discount bins for $5-$6.

Kevin Gilbert (Giraffe) and Pat Leonard (who has worked with Madonna and Roger Waters) released one album under this name. Slightly danceable pop-prog, but a little mellower due to the influence of Pat Leonard, who is more of a Pink Floyd fan than a Madonna fan. Reminds me a little of the first album by the Fixx, of all bands. You'd probably find the Toy Matinee CD in a bargain bin. Oh yeah, Julian Lennon and Guy Pratt (bass player for Pink Floyd on their '88 world tour) appear on the album.

[See Giraffe]

Trace (74), Birds (74), White Ladies (76)

Trace is sort of a poor man's version of Focus, in my opinion. Birds, the only album I have, features Rick van der Linden on keyboards, Ian Mosley (of Marillion fame) on drums, and Jaap van Eik on guitar and vocals. Guest Darryl Way (Curved Air) contributes violins. Like Ekseption and Focus, Trace play a very classically influenced style of progressive rock. In fact, Birds contains interpretations of two different Bach works, a two minute bouree and nearly eight minutes from a concerto for four pianos. Birds also contains the 22 minute title track that consists of 19 parts! The music on this album is all well executed and contains lots of organ, synth, piano and mellotron but is also pretty derivative of everything Focus had already done. Darryl Way does turn in some excellent violin solos on the concerto interpretation. If you're heavily into Focus's style, check out Birds - but you won't find anything really new.

Dutch band that evolved from Ekseption. I haven't bothered getting any Ekseption because no one has had anything really exciting to say about them. Trace on the other hand, are a band to enthuse yourself over. Their album Birds features an untitled sidelong suite (only the subsections have titles) that combines the best of Focus and ELP. Rick van der Linden is a simply amazing keyboardist. The second you hear the pipe-organ blast at the beginning of this album, you know you're on one really fun ride. The B-side reads like a typical Ekseption album: 70% covers, 30% originals. Still, one of those covers-- "Opus 1065", a Bach adaptation-- features some stellar violin playing by Curved Air leader Darryl Way. The White Ladies looks like an Ekseption reunion. -- Mike Ohman

[See Brainbox | Ekseption | Focus | Marillion | Way, Darryl]

Tractor (72), Worst Enemies (??) (unreleased tracks)

Weird duo who were one of the early seventies British prog bands a la Gracious!, Cressida, Beggars Opera, and the bunch. Often quoted as classic, I am yet to be impressed. Released one album Tractor and purportedly are still around!

Heavy UK rock/prog. At one time, there's searing guitar that will remind you of the German underground, while the next moment is an acoustic ballad, followed by definite British blues rock. As it is so varied, you may want to try and audition it first, but fans of early UK rock and the German underground may enjoy it.

[See Way We Live, The]

Morning Way (70)

Folk/rock with future Them (Van Morrison group) members.

Mr. Fantasy (67), Traffic (68), Last Exit (69), Best Of (69), John Barleycorn Must Die (70), Welcome To The Canteen (71), The Low Spark of High Heeled Boys (71), Shoot Out At the Fantasy Factory (73), On the Road (73), When The Eagle Flies (74), Smiling Phases (91)

Steve Winwood's band before he became an adult contemporary star and after his R&B stint with the Spencer Davis group. Early Traffic is experimental and inventive psychedelic pop. Evolves to incorporate folk and jazz influences with progressive elements. Originally featured Steve Winwood (keyboards, guitar, bass and vocals), Jim Capaldi (drums and vocals), Dave Mason (guitar and vocals) and Chris Wood (sax and flute). Live, Winwood played bass parts with his feet. Debuted on the soundtrack "Here We go Round the Mulberry Bush," which included three Traffic songs. While two of the songs are included on later albums and compilations, completists will be compelled to find this one for the short "Am I What I Was or Was I What I Am." Debut album Mr. Fantasy is a definitive example of eccentric British psychedalia in the vein of early Pink Floyd, Tomorrow, Procal Harum and Family. Whimsical and inspired. "Dear Mr Fantasy" deserves its classic status. The follow-up Traffic follows in the same path and is possibly their finest album. Compositions become more involved. Traffic breaks up and Steve Winwood goes on to join Blind Faith. Last Exit, featuring a side of great singles and left-overs from their early period and a side of poorly recorded live covers, is released. Worthwhile for the studio material. The Best Of collection is made redundant by the more comprehensive 2-disc Smiling Phases - either one essential if only for the inclusion of early Traffic hit singles "Paper Sun," "Hole in My Shoe" and the worthy B-side "Smiling Phases." Smiling Phases compilation also has the early single "Here We go Round the Mulberry Bush." John Barleycorn Must Die started as a Steve Winwood solo project. Chris Wood and Jim Capaldi joined him towards the end. A big departure from their previous work: folk and jazz-inspired and longer compositions. A classic. Put together a touring band with Jim Gordon (drums), Ric Grech (bass), Reebob Kwaku-Baah (percussion) and joined once again by Dave Mason on the live Welcome to the Canteen. Good album, though dragged down by an overly long "Gimme Some Lovin." Mason leaves again. The Low Spark of High Heeled Boys, their most popular work, follows. Features the extended, laid-back funk and blues inspired title track and the folky "Hidden Treasure" and "Rainmaker." Marred only by the lame Grech/Gordon-penned "Rock Tn Roll Stew" and sub-par Capaldi-penned "Light up or Leave Me Alone." The rest is amazing. Grech and Gordon leave, replaced by session men Dave Hood (bass) and Roger Hawkins (drums). Shootout At the Fantasy Factory is less inspired and less focused than its predecessor. Muddy mix and some themes are labored for too long. The extended funk/blues jams have taken over, but here with less satisfying results. Standouts include Wood's instrumental "Tragic Magic" and the title track. This line-up records the double live album On the Road, featuring excellent versions of "Shootout at the Fantasy Factory" and "Tragic Magic." Standouts are "Glad" and "Freedom Rider." "Light Up or Leave Me Alone" is an over-long drag, however. Traffic reverts to a four piece and records When the Eagle Flies with new bassist Rosko Gee. Returns to sparser arrangements and a more intimate feel. Features Steve Winwood's most progressive songwriting; experimental, with lots of mellotron. The haunting 11 minute "Dream Gerrard" combines strong bass and mellotron, lyrics by Vivian Stanshall, and is a progressive masterpiece. Marred only by the forgettable "Memories of a Rock n Roller." Recommended: Mr Fantasy, Traffic, John Barleycorn Must Die, The Low Spark of High-heeled Boys, When the Eagle Flies.

Tragically underrated by progheads, their Phase One albums are some of the most durable, least-dated music of the '60s. Phase Two (1970-73) was their most fruitful period, particularly the classic album John Barleycorn Must Die. Fans of the early, folky-jamming Caravan ought to check this out. Phase Three (When The Eagle Flies) finds them moving into more direct fusion territory. Two members of this lineup (Rosko Gee and Rebop Kwaku Baah) turned up in Can. -- Mike Ohman

[See Can | Yamashta, Stomu (and Go)]

A Bailar Go Go (6?), Virgin (68)

Both of these are on one CD, the better is the second; First is fuzzed covers of Hendrick, Cream, etc, second is West Coast psych to Mersey beat with latin tinge.

Group formed by R.J. Stipps sometime after leaving Supersister. Said to be completely lame.

[See Supersister | Sweet'd Buster]

Priglactic (75), Opus Progressif (76), Couleurs Naturelles (77)

Rather average French fusion band that put out a few albums in the mid seventies. Try Priglacit which is their best, albeit nothing that special.

From the East (78), Sym-Phoenix (92)

[See Phoenix (Romania)]

Trapeze (70), Medusa (70), You Are the Music, We're Just the Band (72), Hot Wire (74), Final Swing (74), Hold On/Running (78)

Rocking 3 piece band originally produced by John Lodge of Moody Blues fame and release on Threshold records. Several albums released only two of any consequence. With Glenn Hughes of Deep Purple.

Alianca Dos Tempos: Ato 1:Tawan (90)

Here's an example of where vocals can be quite innovative and then subsequently make you wince. The album is obviously a concept album and in the vein of Ange, the vocals are theatric often being the voice of many different characters. Aron Shade at time portrays what seems to be either an old or very sick man, and while creative, it can be difficult to listen to (especially with friends) when he gets excited and sings out of tune. The opening of the second side (of the LP) ("Ilusao Inacabada II") has some very nice more traditional Brazilian vocals, and there are other times where the vocals are more conventional. The music of this quintet is definitely in the Pink Floyd (or Camel) vein of relaxed and powerful symphonic rock. Enlisting Fabio Ribeiro on keyboards (very digital) gives the music a touch of the Emerson/Wakeman type of sound (with a couple more annoying fanfare type of synth runs). The music is often excellent, and III Milenio has come up with a lot of good ideas, but sometimes the vocals ruin the occasion (especially the horrible female vocals at the end of side two (of the LP)). Overall, its far better than most of what I've heard of the new Brazilian scene (ie Tisaris, Dogma, Loch Ness, etc.) and is definitely worth a listen.

Alianca dos Tempos is a reissue of the 1990 debut release by this marvelous Brazilian band. True to progressive rock, Alianca dos Tempos is a concept album telling the story, in Portuguese of course, about a young man Tawan who discovers freedom. The original release only covered the first act of this remarkable story. What makes this reissue so special is that III Milenio and Musea included, as a bonus, the 30 minutes of the recently recorded second act. III Milenio's music is a highly original symphonic rock that alternates between gentle and violent passages. If I understood Portuguese I might have a better grasp of why their vocalist sometimes sings with a guttural hoarse voice. Alianca dos Tempos is a joy to experience! The keyboards and guitars are sometimes grandiose in the manner of Rick Wakeman's Journey to the Center of the Earth but they do not detract from the elaborate melodic and harmonic content of this disk. In addition to Musea's normal extensive band history they introduced a new feature, a mini poster collage of band photos and English lyrics. Just like the Beatles White Album! This CD is a "must have" and is an outstanding example of contemporary Latin American progressive rock.

On The Shore (70), The Garden of Jane Delawney (70), Live In Concert 1970 (??)

Folk-prog.

The Final Act (90)

Five-piece theatrical early Genesis wannabees. Musically they are on well treaded ground, with a sound that comes right out of the early seventies, but not that interesting. Unlike Kyrie Eleison's Fountain Beyond The Sunrise which *did* capture the essence of the early Genesis spirit, this one is mere shallow imitation, and I doubt that many readers would enjoy this stuff. In addition, the recording is very poor. Save your money.

Trettioåriga Kriget (74), Krigssang (75), Hej pa er! (78), Mot alla odds (79), Kriget (80), War Memories 1972-81 (92)

An old fav. of mine. Put out three albums (I think) in the seventies. The first, self-titled from 1974, is in many ways like Rush circa 1980! Characteristics are: very intricate song structures with lots of riffs in odd meters, pretentious lyrics, and a singer with an overly strained voice. Somewhat metal like at times, guitar-oriented sound. Later they changed name to just "Kriget" (The War) and calmed down.

Originally Trettioåriga Kriget ("The 30-year War"). I don't know if I would consider them "progressive," but rather a good rock band with fairly intelligent lyrics (not common on the Swedish scene!). Ok, the first two albums contains longer songs and could qualify. On the other hand, these albums are only for the completist, the later albums are considerably better.

Of Kriggsang: I find this to be more average sounding hard rock than progressive, with plenty of extended gratuitous guitar jams. Overrated.

I really dig this Swedish band, or more properly Krigssang which is all I've heard). They're a guitar oriented quartet (a fifth "member" is credited with lyrics) with a fair dosage fo mellotron played by the drummer. Vocals are in Swedish, of course. In several ways, Trettioåriga Kriget can be compare to Änglagård without keyboards. There are similarities in some of the guitar work (particularly the acoustic guitar), the strong bass presence (comparisons to Johan Hogberg are valid) and the vocal stylings, though Robert Zima's voice is deeper than Tord Lindman's voice. Clearly, Änglagård drew from Trettioåriga Kriget as one of their influences. The 17+ minute "Krigssang II" is a standout track which includes a little synth work in addition to the mellotron. There are several changes and good development. But all the songs are good, as far as I'm concerned. The overall lack of keyboards tends to make Krigssang sound "rockier" but this album is a good guitar orienteed progressive rock. Recommended.

Sehnsucht und Einklang (??), Ka-Jakee Music (??), Belong to the Sun (89)

Jens Fischer was the lead guitarist/synth player from Tri Atma. His solo work features ethnic influences co-mingling with modern day synth technology.

Triana (75, aka El Patio), Hijos Del Agobio (77), Sombra Y Luz (79), Un Encuentro (80), Llego El Dia (80), Triana (81), Concierto Basico 1980 (94?)

A symphonic prog band that defined Flamenco progressive and were the foremost Spanish progressive band. These guys, at times, remind me a lot of King Crimson in their early days, yet were a genre in themselves. With poetically styled songs, gorgeous flamenco guitar, and a very Spanish sound, Triana are a must to try, being a very important progressive band. Any of their first four El Patio, Hijos Del Agobio, Sombra Y Luz and Un Encuentro are all worth the find.

Their first may possibly be best described as symphonic Flamenco. Lots of flamenco guitar stylings surrounded by a lush synth and mellotron backdrop. Electric guitar is also well represented, though usually limited to solos and the occasional fill. Triana have created a very original version of symphonic progressive and is well worth hearing. The vocals are in Spanish, very lovely, and are fairly abundant. Later albums follow in the same vein. Start with the first and work your way forward. Good stuff though they ran out of good ideas on the last couple of albums.

I admit it, I was a bit disappointed by El Patio. It just seemed a tad too low-key and mainstream for my taste. Perhaps I'm spoiled, as I'd heard bands like Mezquita, Guadalquivir and the like previously. Not to say it's a bad album, if you're looking for an introduction to the Flamenco-rock genre, this is a perfect one to ease you in: it's easily digestible for someone just starting out, yet it's not too commercial (like Alameda). -- Mike Ohman

Triangle (70), Triangle (72), Homonymie (73)

One of the very early French progressive bands, and highly influenced by the Canterbury scene. In fact, their debut, Triangle sounds very much like Traffic or Caravan, and is a classic example of early progressive rock.

[See Edition Speciale | Lorenzini]

Triangulus And Bjørn J:son Lindh (85), Reliques (87)

One of Peter Bryngelsson's bands. Similar in style with an emphasis on long atmospheric compositions as opposed to melody.

The guitarist Peter Bryngelsson (Ragnarok), the drummer Hans Bruniusson (Samla Mammas Manna, Ensemble Nimbus), the guitarist Roine Stolt (Kaipa) and the excellent flutist Bjorn J:son Lindh are some of the musicians that can be heard on these two records. -- Gunnar Creutz

[See Bryngelsson, Peter | Ensemble Nimbus | Ragnarok | Samla Mammas Manna | Stolt, Roine]

Dr. Hee (87), Spears (88), Nomad (89), Tribal Tech (90), Illicit (92), Face First (93)

Since the other fusion bands, such as Mahavishnu Orchestra and Return to Forever, were included in this survey, I thought I should include this band. In my mind, Scott Henderson is one of the best fusion guitarists today. He displays an energy that most of today's fusion bands (read Spyro Gyra, Yellow Jackets, other fuzak bands) completely lack. He has chops, he has tone, he has emotion, he has talent. Along with bassist Gary Willis, Tribal Tech explodes with intensity and excitement. Check out Nomad, Dr. Hee, and Illicit. They really illustrate how today's commercial fuzak is sad, weak, and vastly overrated. In other words, all fusion fans should give these guys a good listen.

New Views (84), Breaking Barriers (86), Live! The Melody-The Beat-The Heart (87), Terra Incognita (90)

Vaguely commercial Swedish symphonic band who put out a few albums in the eighties. New Views, supposedly their best, is a lot like the new symphonic bands ala Iskander, Isildur's Bane, although not quite as good.

Progressive rock on the edge of fusion, similar to Pierre Moerlen's Gong, with many passages that are reminiscent of Camel.

A very symphonic Swedish band, mostly instrumental, with a strong percussive presence, using guitar, keys, drums, tympani, vibraphone, glockenspiel, etc. Their sound falls somewhere between the percussive power of Pierre Moerlen's Gong and the symphonic aspects of The Enid, with some additional comparisons to bands like Maneige, Isildur's Bane, etc. very melodic and rhythmic. Each of the studio albums contains one sidelong opus, plus several shorter tracks. The live album contains a couple cuts from the first, but otherwise is all new material, and features Pierre Moerlen in addition to the regular six piece lineup. All three albums are outstanding. Start w/New Views.

Tribute is a Swedish band that featured French percussionist Pierre Moerlen. New Views is all instrumental with an emphasis on keyboards though there is both electric and acoustic guitars. But what is Moerlen doing? Compared to the excellent percussion work he's done with Gong, his playing on New Views is trite, bland and boring. The first couple of tunes ("Icebreaker," "Too Much at One Time") are fairly commercial sounding. There is, to the albums credit, some very nice, very spacy keyboard work, probably closest in style to Eloy though this is a bit more engaging. However, that's not really enough because much of this album simply lacks any kind of excitement. I recommend a "try before you buy" approach, if you can.

[See Gong | Gong, Pierre Moerlin's]

A Triggering Myth (90), Twice Bitten (93), Between Cages (96)

Maryland-based A Triggering Myth consists of two multi-instrumentalists, Rick Eddy and Tim Drumheller, but keyboards are the dominant instrument. On their first album, two guest musicians contribute some guitar, bass and additional keyboards on a few tracks. There is strong emphasis on counterpoint and sublime interplay between the two musicians. Using digital keyboards and MIDI technology, the music has a very contemporary feel (though not Adult Contemporary radio schlock) broken by occasional passages of searing guitar (e.g., "The Delicate Balance of Coincidence") or other instrument. Overall, much of the music has a feel that combines Happy the Man style with an Italian sense of composition in a technically modern mixture. Digital percussion is handled through MIDI. While often very tasteful, a real (and quality) drummer would have brought the music to a higher plane. A good first effort, the instrumental album is very strong in the first two thirds but falls off for the last 14 minutes. Songs like "The Biology of Doubt" and "Swimming With Sharks" offer depth of sound and texture, and some fine playing. Some of the later songs (e.g, "The Eye in the Looking") show promise but somehow don't seem fully realized. Overall, their eponymous release is very satisfying.
Twice Bitten carries on in the same style as A Triggering Myth, emphasizing the interaction of the two sets of keyboards with occasional guitar mixed into the musical melee. While the style is the same, the music itself is much improved over their debut, reflecting a maturity both in playing and composition. On their first release, titles like "Biology of Doubt" and "Swimming with Sharks" hint at a certain predilection toward the darker recesses of the human psyche. This trend continues with "The Perils of Passion" and "Falling Over Fear." But, not only is this mysterious and somewhat dark quality reflected in the song titles (and the cover art by David Freed), it is quite evident in their music. Rarely, if ever, are we treated to upbeat or uplifting rhythms. Even when the guys kick into high gear, the atmosphere is suspenseful and tension-filled, not light- hearted. Take the 21 minute "Myths (Parts I-VII)," for example. Making excellent use of dynamics, counterpoint, a wide variety of digital sounds and judicious doses of dissonance, A Triggering Myth paint a picture akin to an old, isolated cemetery at midnight under a full moon on All Hallows Eve. Theirs is not a sinister music, however. While Devil Doll might make you run screaming from the cemetery with your britches wet, A Triggering Myth has you looking constantly back over your shoulder into the shadows made darker by the slivers of pale moonlight. "English Lesson" is divided into two parts, beginning with the British-sounding contrapuntal passages of "The Noun," with it's harpsichord and English Horn timbres. This soon turns into the contrasting RIOish dissonance of "The Verb." This creative experiment seques into the seven minute "Suddenly South," a strong tune of searing guitar and intricate keyboard work. One song is called "Holding Up Half the Sky" so, for fun, I compared it to Henry Cow's "1/2 the Sky." "Holding Up Half the Sky" is one of the lightest moments on the album, with two acoustic guitars and keyboard flute, and may indeed hold up the ozone-depleting sonic assault of Henry Cow! As before, the band uses a variety of digital instruments, to create both realistic and other-wordly timbres. The programmed drum work is outstanding. I'm amazed at how well artists like Fonya and A Triggering Myth are able to utilize drum machines effectively. Still, they sound like machines. I think A Triggering Myth's music would be so much more incredible with a live drummer to join in the fray. The use of guest musicians on various songs (particularly, Steve Williams' electric guitar work) adds depth to the band's sound and is, I think, part of the strength of Twice Bitten over their debut. A drummer would make this strong album even stronger. Still, that's a minor quibble from my way of thinking. Strong writing, inventive compositions and solid musicianship: these are the characterstics of A Triggering Myth.
No significant style changes are heard on the six songs of Between Cages; their strength continues to be the interplay between Drumheller and Eddy's keyboards. One significant improvement is drummer Moe Vfushateel. Though not an official member of the band -- Ken Golden tells me the pair would love to have a full-time drummer -- real drums played by a live drummer add a new dimension that a drum machine can't provide: feel. Vfushateel's jazzy snare work compliments the often jazzy comping of the keyboards. The opening "Habile" is a jazzy but perfunctory tune showcasing the band's style but it doesn't stand out from their better efforts. Two songs that do stand are "Deftly Dodging" and the ten minute "Squdge." An Arabesque figure leads off "Deftly Dodging," upon which Drummheller and Eddy build up contrapuntal layers of synths and guitars. Vfushateel's brush work really helps set the mood of the quiet middle section. "Squdge" once again brings out the dark, brooding side of ATM, beginning with clanking percussion sounds and other dissonance, then a somber section, then a jazzy solo that reminds me of Gilgamesh or the like, and still more follows. Opening and closing with a paraphrase of "L'elefante bianco," "Il Voce" is a "live in the studio" recorded tribute to Demetrio Stratos, the extraordinary vocalist of Area. Not the band's best effort but their intention is admirable. "Midiots, Vidiots and the Digitally Delayed" could have come from Djam Karet's Reflections From the Firepool and introduces the 21 minute "Between Cages" suite which is the album's highlight. Moody, jazzy, dark, classical, playful...all the hallmarks of A Triggering Myth can be heard in this suite. Because Between Cages is quite similar to Twice Bitten, the band is in danger of stagnation creeping in on future releases. I hope ATM find a new challenge to stimulate their compositional creativity, but Between Cages is still an excellent effort from this duo. -- Mike Taylor

A Triggering Myth is an American duo where mostly keyboards are shared but also guitars, percussions, flute and trumpet. On Twice Bitten, guests contribute on bass, drums, guitars, keyboards and percussions. The composition show an unpredictable style that cleverly blends symphonism, jazz and rock. Most tracks are keyboards based (excellent piano) but the arrangements integrate the contributions of the other instruments with much pertinence. Modern and unconventional music with influences that include more than one style. Between Cages is a curious fusion of jazz, rock and classical music. The keyboards (excellent piano) remain an essential base to the compositions but the duo uses a variety of other instruments as well as guests on drums and percussions. The style, modern and experimental, is still unpredictable. Symphonic keyboard arrangements often accompany themes which progressive developments also include improvisations (keyboards or guitar) with jazzier rhythms. A rich production of music that often diverges from the usual rock formulas. -- Paul Charbonneau

Here It Is (80)

Trilogy were so enamoured with ELP's third studio release that they named themselves after the album. As you would suspect, there are definite ELP overtones to the music but we can't dismiss Trilogy as an ELP clone. Trilogy is fronted by the dual keyboards (organs, clavinet, synths) of Jochen Kirsten and Guido Harding. Detlef Deeken plays electric and acoustic guitars while Ludger Samson (bass) and Martin Breuer (drums) comprise the rhythm section. There are an abundance of Emerson's trademark licks to be heard throughout Here It Is but Kirsten and Harding also show influences from Rick Wakeman, Tony Banks and even Gerd Führs (of Schicke Führs Fröhling). The band takes full advantage of the dual keyboard setup, creating rich and complex arrangements of classically-styled Prog. Guitarist Deeken is generally not an important part of the mix, except in a few instances. He turns in some nice acoustic guitar on the opening "Venice" (I would have liked more keyboard and acoustic guitar arrangements throughout; it worked nicely) and has a strong electric presence in beginning and ending sections of "Crowded." As the longest tune (at nearly 13 minutes), "Crowded" contains many different passages of intricate keyboard work, in addition to the guitar sections. The length of the other six tunes varies from 4-9 minutes. Nothing in particular struck my ears regarding bass and drums; they were competent but did nothing to stand out. On the CD reissue, Musea have included one bonus track, "Treibsand," Trilogy's first full composition. It was recorded at the time of the other songs but was not included because it would have made the LP too long. A bit different from the other tunes, "Treibsand" shows strong SFF tendencies though without the mellotron. While Trilogy won't shatter you with originality, the dual keyboard front is quite appealing. A nice release. -- Mike Taylor

The Trip (70), Caronte (71), Atlantide (72), Time Of Change (73)

The noted drummer Furio Chirico (see Arti E Mestieri) hails from The Trip who's fourth album Time Of Change is graced by his presence. The Trip are another three man classical rock band in the realm of the Nice and Le Orme are maybe not as good as the latter but are worthy of note. Although Chirico is not on the first two, their middle two are their best although are not personally my favorite type of progressive music. Caronte and Atlantide are recommended to ELP or Le Orme fans.

[See Arti E Mestieri | Gray, Billy]

A Place Inside (95?)

Tritonus (75), Between the Universes (76)

A German trio led by keyboard-virtuoso Peter K. Seiler. Most everyone associates the trio format with ELP, and here it's viable, although only the track "The Day Works" is explicitly Emerson-esque. The rest of the album is rather more Germanic sounding with lots of synthesizer, used to best effect on the pulsating instrumental "Mars Detection." Other than that, it's not overly impressive. This album would probably have been better served as an all-instrumental one, two tracks (the aforementioned "The Day Works" and the title song) are ruined by horrible choir-arrangements.

Mediterranean Tales (72), Illusions On A Double Dimple (73), Spartacus (75), Old Loves Die Hard (76), Pompeii (77), Ala Carte (79), Russian Roullette (80)

If I had to rate them on the whole as a progressive band, I'd give them about a 6.0. If I had to rate them on the whole just as a music band, I'd give them an 8.5. That's basically to say that those who know very much about music won't think very much of Triumvirat. This is another example of how a band goes from good to bad. Many people talk about Spartacus as being their "anthem album." This may be so, for some reason, perhaps because it has the most keyboard work of all of their albums (and keyboard player Jurgen Fritz is the "ring leader," so to speak). But if you listen closely to the music on that album, you can see that the music isn't really all that complex, but rather simple. The vocals on the album are not really impressive at all. The drumwork seems a bit relaxed except on a few high points on the album. It's really not too much more than an ELP clone. And that's at what people consider to be the "best" of their career. I feel quite the opposite. The album Spartacus is rather a pain for me to listen to the whole way through. This one and all that followed, are difficult to sit through, if you admire symphonic progressive. Illusions on a Double Dimple is a better example of Moog work that is not unbearably "rip-off music". Rather, focus your attention on the undiscovered treasure of Mediterranean Tales (Across The Waters) from 1972. It's their first album and quite an interesting one at that. There's no Moog work on the album at all, but lots of Hammond abuse instead. Also, that is the one album where, in the process of finding out what their "main style" is, they've been the most original. I can hear elements of Blues, Jazz, Classical, Swing, and even Hardcore/Punk (a little) on it!! This is my number one recommendation for all Triumvirat would-be-fans. (I say "would-be" because they *would be* fans if Triumvirat played more challenging music more often). So, if you don't think that Triumvirat has done anything interesting with their music, go back to their roots, and listen to the first album. If you can, STAY AWAY from A la Carte. Thank goodness it's pretty much a lost work. It's gone way beyond the limit of good taste. Here's what we have on it: "A Bavarian In New York" this is the number one song on it. It is reminiscient of the better Billy Joel songs like "Angry Young Man" and "Scenes From an Italian Restaurant", which I can certainly withstand. (I like it when talented pop musicians make an attempt at art-rock) But then we have "Official Soundtrack to the Motion Picture O.C.S.I.D. (Which was never made)" Yes, that's the entire name of the track! Actually, I think it's pretty hilarious...everyone should just start making official soundtracks to movies that "are never made". In any case, we also have "Darlin' ", which is a Beach Boys cover, of all things, and done with no more "progressiveness" than the original "artists" themselves! All the other songs have a very PLAIN art-rock feel to them, nothing challenging at all. Actually, it might even be good to seek out this album (on vinyl) maybe to hear it a few times and make sure you know you're not missing out on anything. After all, "A Bavarian in New York" is a fairly decent art-rock song. In summation, each album after 1976 has their song(s) that are the high points among the rest of the drab. Old Loves Die Hard has "Panic on 5th Avenue". Pompeii has "Vesuvius 73 A.D.". -- David Barro

German trio that were most obviously influenced by ELP. Nowhere is this more obvious than on their 1975 album Spartacus, which became a sizable hit in the U.S., definitely because there was no concurrent ELP release that year. But Triumvirat did produce the superb Illusions on a Double Dimple album, which is good from beginning to end, something you can rarely say about an ELP album (which are almost universally interrupted by some idiotic song like "Are You Ready Eddy?"), with the possible exception of Brain Salad Surgery. On Mediterranean Tales, the ELP influence isn't quite as evident as on the later ones, but Hans Juergen Fritz' Emerson-styled keyboard work is definitely up-front, but some tracks (like the confusingly titled "E Minor 5/9 Minor 5") are more decidedly Germanic sounding. Later albums went downhill, slowly at first, then really plummeting with A La Carte. I've even heard Russian Roulette (which was recorded with several members of Toto) called "the worst album of all-time, progressive or otherwise." -- Mike Ohman

A German ELP clone. Spartacus and Illusions on a Double Dimple are both great; they sound like they could be ELP albums (if you ignore the German accent on the vocals).

Originally, a German ELP clone. The sound of Illusions on a Double Dimple and Spartacus is pure ELP, down to song titles (e.g. "Lucky Girl") and pirated riffs. They moved to more of a pop sound later, and got progressively less interesting.

Illusions On A Double Dimple and Mediterranean Tales are prime examples of ELP-influenced progressive rock from the seventies. The keyboardist could well be Keith Emerson's Dutch twin brother!

Generally dismissed as an ELP clone, but I think Illusion on a Double Dimple stands quite well on its own. Two songs, each featuring some great moog work. Spartacus is also very good though I don't think it's on a par with Illusion. I've not heard Mediterranean Tales but later albums pale. Start with Illusion or Spartacus.

[See Jail]

Troc (72)

Jannik Top's first band. Jazzrock. Their LP consists of lenghty pieces with strong characteristic vocals (in english, I think the singer is from the UK, judging from his name). Could be compared to Khan (the singer is quite similar) or Tempest including longer guitar improvisations (no Zeuhl!). After this recording Top joined Magma. This one is a bit hard to find, and if you find it it will be expensive. But its very good. Recommended! -- Achim Breiling

[See Magma; Musea's "La Discographie du Rock Français" indicates that this band released the album under the name of Alex Ligertwood & Co. with a title of Old Man River. Yet, all this information is under the band name Troc.]

Il Trono Dei Ricordi (94)

On Il Trono Dei Ricordi, ITDR is a five-piece band of Alessandro Lamuraglia (keyboards), Erik Landley (bass, sax), Stefano Cupertino (electronics, effects), Paolo Lamuraglia (guitars) and Alberto "the Wizard" Mugnaini (vocals). Notice that this line-up doesn't include a drummer. For some "mysterious" reason, Cupertino, the band's drummer, could not record for this release. Thus, Fabrizio Morganti was hired to fill the slot. Guest Francesco Bocciardi contributes bouzuoky on the opening cut, "The King of Memories." After a few ominous rumblings, the band herald this 20 minute track with a synthesized brass fanfare, before moving through a variety of episodic sections.
Vocals are an important component of the band's music. Rather than writing original lyrics, ITDR use the poetry of author William Blake, with just a few embelishments from the Wizard in two of the four songs. As such, the lyrics are imbued with a certain quality not often found in music lyrics. Because Blake's writings are in English, the Wizard sings in same, with nary a trace of accent. Mugnaini's delivery is in the same dramatic style as Peter Gabriel and he often, but not always, sounds quite like Genesis' former singer. The Wizard was responsible for forging the melodies and writings into a cohesive whole. With a wonderful sense of timing and pace, I'd have to say he succeeded admirably. Keyboardist Lamuraglia is the other key musician. He is apparently responsible for the skeleton of each song, which was then fleshed out by the band. Alessandro brings a sense of classic Italian technique to the compositions. It is his keyboard abilities that truly stand out in this music, whether playing a classically derived piano passage or a driving synth solo. Impeccable is his sense of dynamics, which keep the music flowing through the many different instrumental sections, none of which seem too short or too long. Guitarist Lamuraglia's contemporary guitar style is only sometimes employed as a lead instrument. He more often is responsible for driving the groove (along with the bass and drums) while Allessandro plays on top. The rhythm section is the weak link. The drumming is usually regular and on the beat, although some sections find him riffing steadily along on the snare. Bassist Landley plays down to this level. Unfortunately, I have no idea how Cupertino is as a drummer, but it is this instrument where the band can use some improvement.
Musically, the band comes together quite well. Despite the drumming, I often found my head bobbing to the rhythm. ITDR made many of the right moves to overcome their weak spot. During some of the synth jams, ITDR grooves with the best. One fine example is the first synth solo in "King of Memories" which gives way to classical structures of "strings" and organ or piano. Later in this song, the Wizard speaks several lines of Blake's poetry, the band shifts into a spacey, resting section, then slowly build the pace into another synth solo. Similar is "Visions of the Daughters of Albion," in which a cranking guitar solo shifts into a laid back electric piano line, marking the beginning of the spacey middle section. The guitar comes back with a spacey, bluesy solo, then SLAM! comes heavy riffing, vocals and another sinuous synth jam. The strong classical nature of these cuts speaks of the Italian influence, while some of the rhythms recalls Genesis. For example, the 3-3-2 rhythm that begins "A Memorable Fancy" is similar to the 9/8 rhythm of Genesis' "Apocalypse in 9/8", while one of the vocal passages near the beginning of "Visions of the Daughers of Albion" recalls "Watcher of the Skies."
With regards to classification, I predict there will be two different schools of thought. Again, the classical structures reveal the '70s Italian pedigree. The vocal similarities to Gabriel, scattered Genesis-patented rhythms, modern guitar tones and basic drumming will make you think, "neo-prog." Depending on my mood and what passages I'm hearing, I can fall into either category. On some listenings, I think of ITDR's music as very good modern progressive rock, that could be superb with better drumming. Others times, I hear a band that sets new standards for the concept of excellent neo-progressive rock. In reality, ITDR takes a major step in closing the gap between what I consider quality progressive rock and quality neo-prog. I suspect the greater majority of you will be very enthusiastic about this band once you give them a much deserved listen. This album was a real grower for me. On a final note, the multiple foldout booklet is lavishly produced, with complete lyrics and color photos of the band in action. -- Mike Taylor

On Il Trono dei Ricordi, this band plays in a style commonly associated with British bands. The long tracks are an excellent format for this intense but melodic symphonic rock where captivating instrumental breaks alternate with quieter but no less dramatic passages. An excellent production makes the arrangements of vocals (in English), guitar, keyboards, effects, bass and drums even richer. The variety of influences, with a potential to reach many listeners, are nevertheless fused in a familiar style that first appeals to a taste for the usual British productions. -- Paul Charbonneau

Trúbrot (69), Undir Ahrifum (70), ....Lifun (70)

Trúbrot is an Icelandic band who released a few albums in the early '70s. ....Lifun is their third work and is pretty typical of early '70s UK bands like Salamander, The Moody Blues, etc, though sometimes a bit heavier. The album tells the story with English lyrics of a man from his birth to his death. The music is dominated heavily by guitar and organ giving it a quaint (read: dated) sound. The album is very short, timing in at just over 33 minutes. The songs are all short but all flow together for two 15 minute "suites." Nothing special unless you're into that early '70s organ-dominated UK sound or a collector of Scandanavian prog. Trúbrot is said to have lots of organ and flute with a woman singing in her native Icelandic tongue. Undir Ahrifum is said to be heavier and more psychedelic with a couple of longer tracks. They also dropped the female singer. ....Lifun is said to be the most progressive of the bunch. -- Mike Taylor

Tudor Lodge (70)

Folk prog in vein of Trees, Fairport Convention, Saint Just, etc. Said to be one of the best in this genre.

Tully (70)

Prog.

Turms (??)

Keyboard prog.

First Tape Album (80), Early Material (Second Tape Album) (80), Live at the Target (81), Smiling at Grief (81), Fact and Fiction (82), Live and Let Live (84), Art and Illusion (84), Twelfth Night (86), Collector's Item (91)

Along with the stream of eighties progressive bands that came out of UK, such as Marillion and IQ, there were a host of groups that did not achieve the mass popularity (so to speak) of these two. Any reasons for this are certainly *not* apparent in their music, which is prime progressive rock, melding the spirit of the seventies with the technology of the eighties. Chief among these were the bands Pendragon and Twelfth Night. Live At The Target is their best live recording, and is all-instrumental keyboard/guitar-dominant progressive rock. Their best studio work is Fact And Fiction falling into the neo-progressive realm, but with more quirky lyrics and compositions. Collector's Item is a compilation of tracks by Twelfth Night and is a fine introduction to one of the best progressive bands of the eighties. The sound is oriented around keyboards and guitar, including an abundance of instrumental leads. The cassette tape version contains 92+ minutes of music, and includes a 19 minute unreleased track called "The Collector." Also present are a couple of standout tracks from their best work, Fact And Fiction. The package is rounded off with a biography of the band, lyrics, and detailed liner notes. The tape has about 20 minutes of material that is NOT on the CD, contained in the two tracks, "The Ceiling Speaks," from Live And Let Live, and a previously unreleased version of "Creepshow" from Fact and Fiction. However, it does not contain the track "Blondon Fair," a B-side, that appeared on the CD.

I have two early Twelfth Night album, Live at the Target and Fact and Fiction. While far from the best prog I've ever heard, both of these albums rank up there as some of the best *neo-prog* I've ever heard. (It's better by far than the likes of Pallas or Chandelier, and, for my money, better than IQ or Pendragon.) Live at the Target consists of four instrumental songs that are full of time changes. Instrumentation is the basic four: guitar, bass, keyboards and drums. Live at the Target has catchy melodies ala Genesis with Steve Hackett-influenced guitar setting the mood. The first couple of songs could use more thematic development. They sound like music written for verse but there is none. The last two songs, especially the 20 minute "Sequences," are much better but not perfect. The drumming is rather basic and uninvolving (the bane of all neo-prog, it seems) which prevents me from really enjoying the music. Not bad but not the best of the two. Fact and Fiction features the vocal talents of Geoff Mann, which is both good and bad, depending on your point of view. With lyrical depth rivaling Peter Hammill, Fish and Peter Gabriel, Geoff Mann becomes the focal point of the album. He's not as wild as Hammill, not as depressing as Fish, nor as enigmatic as Gabriel. The music supports well Geoff Mann's lyrics but I'm afraid it isn't strong enough to stand on its own but there is, overall, better thematic development. Stylistically, the music is closest to Marillion and Genesis. The soaring guitars recall Steve Hackett while the keyboards recall Mark Kelly from Marillion. If you prefer strong lyrical content, check out Fact and Fiction. To hear their instrumental style, go for Live at the Target. To hear prime prog, look somewhere else entirely. -- Mike Taylor

Long, complex songs with great vocals. Definitely part of the neo-prog genre that includes bands like Marillion and Pendragon. Some of their earlier albums were all instrumental; then they had a couple or three different singers.

Incredible neo-prog band that featured basically two different lead vocalists yet throughout their career kept the same backing musicians. They ranged from incredible anthematic songs such as "Take a Look" (on Twelfth Night) to what must be regarded as their true classics "Sequences" (both instrumental and vocal version), "We Are Sane" and of course the beautiful "Love Song." Recommended starting point would probably be their best of Collectors Item. Other great places to start would be the instrumental Live at the Target and Fact and Fiction.

Maybe the earliest neo-prog band, Twelfth night put out a truly excellent instrumental album Live At The Target before going in the same direction as Marillion and IQ. IMHO, they should have stuck to the instrumental stuff.

Twelfth Night did seem to be breaking out of the smaller venues, having headlined several times at the Marquee in London. Before I came out here, they had done nothing for several years. The last album I am aware of is a mini LP called Art and Illusion which has Geoff Mann songs (a great lyricist and ex-singer) sung by Andy Sears. They have a couple of other albums, the names of which escape me. Their original material was Floyd-ish/Genesis (so, mainly keyboards, but with some great bass and guitar work) but they gradually became "harder." I think they are worth a listen, though there is relatively little stuff.

[See Catley, Marc and Geoff Mann | Eh! | Mann, Geoff]

Reflections Of The Future (72)

German prog/rock, said to be a classic. Two keyboardists.

[See Cherubin | Emergency | I Drive | Karthago | Kin Ping Meh | Nine Days Wonder]

Immortal Coil (96)

Influences including Rush, King Crimson, Yes, Dream Theater, and Peter Gabriel, with shades of Living Colour and Tool.

Early-80's acoustic guitar oriented duo featuring Rog Patterson. The sound was roughly comparable to Anthony Phillips of the same period. Cassette releases.

Month of the Year (96)

This band features the usual five piece formation. The tracks on Month of the Year are text-based (in English) but all involve important instrumental work. The style is a melodic/symphonic rock that evokes the late 70's. The sumptuous and delicate arrangements of guitars (arpeggios) and keyboards (symphonism) are very Genesis-like ('76 to '78). The precise and energetic rhythms, as swell as the instrumental development of themes (guitar or keyboard solos) also show a similar inspiration. A high quality production that remains safely in familiar territories. -- Paul Charbonneau

Think Pink (70)

A real masterpiece of psych/prog. John Alder (former drummer of Tomorrow) recorded this one before he joined the Pink Fairies for their Never Neverland LP. I don't know if their are some Fairies on this record because there are no credits, but I would guess so because the style is quite similar. If you like Never Neverland get this one, its even better! Highly recommended!! -- Achim Breiling

[See Pink Fairies | Tomorrow]

Sonnenlicht (80), Traumland (81), Reflexionen (82), Durch die Zeiten (84)

Synth duo.