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PROGRESSIVE ELECTRONIC

A Progressive Rock Sub-genre


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Progressive Electronic definition

Born in the late 60's after the expansion of avant-gardist, modern, post-modern and minimalist experimentation, the progressive electronic movement immediately guides us into a musical adventure around technologies and new possibilities for composition. As an author or a searcher, the musician often creates his own modules and electronic combinations, deciding his own artistic and musical action. The visionary works of Stockhausen, Subotnick, John Cage ("concrete" music, electro-acoustic experimentation), La Monte Young, Steve Reich, Terry Riley (minimal, micro-tonal music) express a vision of total reconstruction in the current musical world. Luminous works such as "A Rainbow in Curved Air" (1967) and "Silver Apples of the Moon" (1967) bring an inflexion on opened forms and new ways to explore the essence and the physical aspects of sounds (through time and space). "Static" textures, collages & long running sounds, the power of technology previously exposed in ambitious classical works will have a major impact in "popular" electronic music.

After the artisan & innovative uses of magnetic tapes, feedback, microphones, etc., the instrumental synthesis, the elaboration of global sound forms and the psycho-acoustic interactions will be sublimated thanks to the launch of the analog synth. A great improvement happened in 1964 with the appearance of the first modular synthesiser (Moog). This material (or "invention") brings the answer to the technological aspirations of many musicians, mainly after the release of the popular "Switched on Bach" (Walter Carlos) and Mother Mallard's portable masterpiece (pieces composed between 1970-73).

At the beginning of popular essays in electronica, the pioneering technologies (in term of recording and sound transmission) will not be abandoned. For instance, "Tone Float" (1969) by Organisation (pre-Kraftwerk), "Zwei Osterei" & "Klopzeichen" (1969-70) by Kluster and "Irrlicht" (1972) by Klaus Schulze will carry on the domestication of the electric energy and the use of refined harmoniums, organs and echo machines. During the 70's decade, European groups & musicians such as Eno, Kraftwerk and Tangerine Dream will make their name in the music industry thanks to an abundant use of analog synthesisers and original electronic combinations. After weird, mysterious experimentation on conventional acoustic & electric instruments, Kraftwerk enjoyed huge success in popular music thanks to "mechanical electronic pop music". "Trans Europe Express" (1977) and "The Man Machine" (1978) figure as two commercial classics. The German spacey electronic scene launched by Tangerine Dream with their outstanding "Alpha Centauri" (1971) and Cluster "I" & "II" (1971-72) will have echoes everywhere, starting from the Berlin underground electronic scene (the Berlin School) with Klaus Schulze ("Timewind" 1974), Michael Hoenig ("Departure from the Northern Wasteland" 1978), Ashra ("New Age of Earth" 1976), Conrad Schnitzler's buzz-drones and repetitive electronics ("Zug", "Blau", Gold" 1972-74) . After several innovations always from Germany we notice the dark, doomy atmospheric manifests of Nekropolis (Peter Frohmader) in "Le culte des Goules" (1981), Asmus Tietchens in his colourful and engaged "Biotop" (1981) and the semi-ambient "Hermeneutic Music" (1988) by Lars Troschen (sound sculptor and synthesist).

In France, the "hypnotic" and "propulsive" electronic essays of Heldon ("Electronic Guerrilla" 1974) and Lard Free ("Spiral Malax"1977) introduce an inclination for industrial, urban and post-modern sound projections. The French "avant gardist" Philippe Besombes takes back the inspiration of " concrete music" (Pierre Henry.) and mixes it to a hybrid rocking universe (published in 1973, "Libra" figures as a true classic). Bernard Xolotl in "Prophecy" (1981), "Procession" / "Last Wave" (1983), Zanov (Green Ray, 1976) and Didier Bocquet (Voyage cerebral, 1978) will follow the musical path anticipated by Klaus Schulze in his kosmische electronic symphonies.

At the end of the 70's until the debut of the 80's Albums as "ambient 1: Music for Airports" (Brian Eno), "Cluster & Eno", "Deluxe" (Hans Joachim Roedelius side project called Harmonia) will announce the emergence of the famous ambient movement, musically characterised by gorgeous shimmering atmospheric textures.

During the 80's, Maurizio Bianchi will be in search of the absolute industrial "post-nuclear" sound tapestry. His visionary musical experience is based on cyclical loops, abrasive concrete noises and vertiginous piano dreamscapes. ("Symphony for a Genocide" 1981 and recently the mesmerising "A.M.B Iehn Tale" 2005). Before M.B and the industrial-bruitist wave, the 70's Italian specialists of electronic experiments had been (among others) Francesco Cabiati (Mirage, 1979), Francesco Bucherri (Journey, 1979), and Francesco Messina for representative, lyrical and spacey orchestrations and also Futuro Antica (D'ai primitivi all'elettronica, 1980) or Telaio Magnetico (Live' 75) for tripped out minimalism.

In the early 1980s and after following the kosmische path of classic Klaus Schulze, The Bay Area / Los Angeles school of electronic created the so called "alchemical" / "Sacred" space music. The music offers a dynamic combination between ancient-traditional music of the West and synthesised sonic soundscapes. The most representative artists of this movement are Michael Stream (Lyra Sound Constellation, 1983) Robert Rich (Numena, 1987) and Steve Roach (Dreamtime Return, 1988).

In the early 80s Ian Boddy (Spirits, 1984 / Phoenix, 1986) and Mark Shreeve (Assassin, 1983 / Legion, 1984) unique spacedout synthesised sagas represented the british answer to the challenging Berlin kosmische school. Their music embodies timbral drone sequences, systematic arpeggiations and synth-pop textures.

Young contemporary bands and artists in electronic experimentation took their inspiration from the 70's "kosmische" analog synth psychedelica of Klaus Schulze, Conrad Schnitzler, Tangerine Dream, etc. In the spaced out synthesisers spectrum, modern Japanese artists as Yamazaki Maso (noisy avant garde experimentor who contributes to the Kawabata's projects named Andromelos, Christina 23 onna and Father Moo & the Black sheeps) or Takushi Yamazaki (Space Machine) are key figures. The minimal, moody / lysergic epic soundscapes of Omit (Clinton Williams), Cloudland Canyon, Astral social club or Zombi also contribute to the renewal of the "cosmic" synth genre. Many modern electronic artists have taken an original musical direction, surfing on post-krautrock ambient waves (Aethenor), on spherical "abstract" ambient minimalism (Pete Namlook, Biosphere, Robert Henke) or on trancey, (post) industrial drone hypnosis (Alio Die / Amon / Nimh for the italian side and Andrew Chalk with his respective projects Mirror, Monos and Ora).

To sum up things, the progressive electronic subgenre is dedicated to intricate, moving, cerebral, intrusive electronic experiences that get involved in "kosmische", dark ambient, (post) industrial, droning, surreal or impressionist soundscapes territories.

Philippe BLACHE


The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of
- Sheavy
- Meltdowner
- siLLy puPPy
- Rivertree


Progressive Electronic Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Progressive Electronic | More Top Prog lists and filters

4.26 | 848 ratings
RUBYCON
Tangerine Dream
4.27 | 263 ratings
MIRAGE
Schulze, Klaus
4.22 | 255 ratings
TIMEWIND
Schulze, Klaus
4.17 | 728 ratings
PHAEDRA
Tangerine Dream
4.42 | 32 ratings
IN COURSE OF TIME
Zanov
4.18 | 137 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.25 | 55 ratings
AN ELECTRIC STORM
White Noise
4.11 | 229 ratings
X
Schulze, Klaus
4.24 | 50 ratings
GREEN RAY
Zanov
4.57 | 16 ratings
LONG LOST RELATIVES
Syrinx
4.30 | 34 ratings
CATCH WAVE
Kosugi, Takehisa
4.51 | 17 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.81 | 10 ratings
DECONSECRATED AND PURE
Alio Die
4.22 | 35 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.19 | 40 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.14 | 50 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
3.99 | 435 ratings
FORCE MAJEURE
Tangerine Dream
4.02 | 172 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.01 | 174 ratings
NEW AGE OF EARTH
Ashra
4.28 | 23 ratings
HORSE ROTORVATOR
Coil

Progressive Electronic overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Progressive Electronic experts team

TUSSILAGO FANFARA
Anna Sjalv Tredje
SYNTHETIK 1
seesselberg
HARMONIC ASCENDANT
Schroeder, Robert
SYNTHESIST
Grosskopf, Harald

Latest Progressive Electronic Music Reviews


 Eno & Cale: Wrong Way Up by ENO, BRIAN album cover Studio Album, 1990
2.78 | 43 ratings

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Eno & Cale: Wrong Way Up
Brian Eno Progressive Electronic

Review by TCat
Prog Reviewer

3 stars This is truly an underrated album. It is also very unexpected. When you hear of Brian Eno and John Cale doing an album together, you would expect maybe ambience or at least very experimental music. You would be mistaken. This album has some of the most accessible music either artist has been involved in. But, believe me, it does not make it a bad album. Yes it is lacking somewhat in progressiveness, but the faster songs are so cheery and catchy that you have to sing along. And the harmonies, mostly based on heavy layering, are excellent to the "nth" degree. That is what I love about it most is the harmonies, sort of like a more modern Moody Blues type harmony, but better.

The first track is sung by Eno, but I would imagine it involves auto tune, because I have never heard him sing like this. The violin and keyboards are exiting and catchy. The same feeling melds into the next track "One World", even more upbeat with Eno and Cale both sharing vocals with lots of harmony. "In the Backroom" is a slower tempo and more of what you would expect with the vocals more subdued and no harmonies, just singing by Cale. The rhythm is consistent throughout, but there are some interesting things going on in the instrumentation. "Empty Frame" has a nice mid tempo swing feeling to it. Eno has lead vocals on this and there is some brass involved in the background and there are some harmonies here, but not as choir like as before. The guitar towards the middle is nice, but it's mixed a little deep. Vocals again seem too perfect for Eno, but it still sounds great.

"Cordoba" is a very laid back slow song lead by Cale. This one is more ambient and slightly experimental sounding, but it is not typical enough to be considered pop. It is a lot darker than anything that has come previously, so probably more what you would have expected from these two. Very sparse and the voice is solo with limited harmonics and some distortion in the orchestration towards the end giving it a unsettling feeling. "Spinning Away" is more of a nice, funky feeling with that feeling being provided by a strumming guitar while the keyboards are smooth creating a nice contrast. Eno has lead on this one and the beautifully layered and uplifting harmonics are back. The stings are back on this one too, and give this song great atmosphere. "Footsteps" is a mid-tempo song sung by Cale and is very 80s sounding especially with the synth melodies going on here. This one would have fit well on any Wang Chung album, in other words, I don't care for it as much.

Cale leads again on the next song "Been There, Done That". This one is upbeat and was released as a single and actually had some success. It is decent, but I would have picked one of the other previous upbeat songs for the single. But it has memorable lyrics that are easy to sing along with. "Crime in the Desert" has a nice piano hook that plays though the song, upbeat once again and a return to the layered harmonics that are so appealing. The synths are reminiscent of a more upbeat Vangelis tune. This one is the 3rd in a row lead by Cale. The last track on the original release is "The River" and is lead by Eno. This on has an annoying computerized drum and keyboard loop that changes chords with the vocals. It is more subdued like "Cordoba", but not as experimental. Eno's voice has an echo to it, giving it a slightly mysterious sound. The chorus is nice with the vocals, but it can remind you of sitting around a campfire singing and once you get that visual, it gets a little corny. Since the original had only 10 tracks, by this time it was starting to wear out it's welcome, so it ended at the perfect place.

The remastered version released in 2005 had 2 bonus tracks, but 1 of those tracks was different in the UK and the US. "Grandfather's House" was the UK bonus track. It is a slow ambient song, but the electric piano or vibe is a little annoying and reminds you of the terrible late 70s, early 80s Chicago albums. However, the lyrics are nice. "You Don't Miss Your Water" was the track available in both the UK and US versions. This one is better, but it is still slow with no percussion. It is driven with guitar this time, so it's not tacky like the previous one. It also has the layered harmonics. "Palanquin" was the bonus track in the US that replaced "Grandfather's House". Out of the two different bonus tracks, "Palanquin" is better in that it uses acoustic piano instead of electric, so it's not so dated sounding. It is a beautiful, atmospheric track, all instrumental, and with a new age feel, but still nice.

Overall, I really love this album and I did the first time I heard it. I do admit that it tends to wear itself out towards the end, but the bonus tracks, at least on the US reissue, do breathe life back into the album at the end. I know there isn't much there that is considered progressive, but the harmonics push this far and above any typical pop music out there. I consider it an excellent addition to my collection, but not to my prog music collection. So I have to settle for a "Good" rating, but it's pushing the 4 star rating.

 Caldea Music II by BLAKE, TIM album cover Studio Album, 2002
3.45 | 7 ratings

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Caldea Music II
Tim Blake Progressive Electronic

Review by WFV

4 stars 4.5 stars. This is my kind of modern progressive electronic. Blake definitely celebrates his electronic mastery on this work commissioned for Caldea Thermo-Ludique Center in Andorra. Water and its healing properties in all forms is the inspiration here, and this work contains no filler. Blake and Berlin School fans will find a lot to like on the three extended pieces and new age fans will find more to like on the other shorter tracks that tie the lengthy tracks together. Tim Blake is an electronic artist that deserves more attention worldwide His later seventies albums are classics and his newer work is surprisingly easy to digest
 Sixty Minute Zoom by ZOLTAN album cover Studio Album, 2014
3.56 | 7 ratings

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Sixty Minute Zoom
Zoltan Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

4 stars This is the second full length album from ZOLTAN and like the first we get Matt Thompson founder of GUAPO and a fantastic bass player along with all the electronics and keyboards he adds. His brother Andy formerly of LITMUS and owner of Planet Mellotron adds a variety of anolog synths, mellotron and more while Andy Prestidge plays drums. The debut was absolutely incredible with an abundance of mellotron suiting my tastes perfectly. This was has a lot less of that ghostly instrument and for my tastes it's a full star less but still a solid 4 stars.

"Antonius Block" opens with mid paced sequencers as the mellotron rolls in. High pitched synths after a minute also join in then drums after 2 minutes. For me it sounds much better when the drums arrive. It's mostly drums and synths before 4 minutes as it settles back to the end. "Uzumaki" opens with drums but bass and synths join in quickly. The drums stop around 2 minutes as it turns somewhat haunting then the drums return. Deeper sounds join in after 3 1/2 minutes.

"Table Of Hours" features synths that slowly pulse as other synths come and go. It turns haunting 2 minutes in with sounds that could be from outer space. High pitched synths will also join in. This is melancholic and it will end with those sounds from outer space only. "The Ossuary" opens with keys before outbursts of drums and bass come and go. Soon growly synths also join in along with spacey synths over top. A steady beat 1 1/2 minutes in and I really like that prominent bass. It settles again 2 1/2 minutes in then sequencers kick in with drums and bass changing the sound. Synths are back then mellotron 3 1/2 minutes in.

"The Integral" is the side long closer at almost 21 minutes. Outer space sounds pulse before the synths join in. Deep sounds a minute in then spacey synths and keys take over. More deep sounds follow then sequencers and drums around 2 minutes. It all stops after 5 minutes as a new sound takes over of drums and bass and the bass is really upfront. Synths only before 8 1/2 minutes but the drums and bass return quickly along with mellotron. So good! Another calm after 10 minutes with growly and spacey synths.

This turns haunting then drums and sequencers take over after 13 minutes. Spacey synths too, great sound here. Love these beats then the mellotron returns after 17 minutes and this all sounds amazing with those relentless electronic and drum beats. A minute later the beats stop as it turns haunting once again with synths. The beats are back quickly though along with mellotron. Just a killer ending.

So another Electronic album I highly recommend but please check out their debut if your into mellotron.

 Aphorisms Insane by CULTURAL NOISE album cover Studio Album, 1980
4.54 | 7 ratings

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Aphorisms Insane
Cultural Noise Progressive Electronic

Review by Progfan97402
Prog Reviewer

5 stars I just discovered Cultural Noise. Well, better late than never, but then with music this obscure, I'm not one bit surprised I never knew of these guys before. Cultural Noise is the only Austrian group I know of playing Berlin School electronic music (I know Paul Haslinger was Austrian, but he was a member of Tangerine Dream in the late '80s). Like Tangerine Dream of the mid '70s, these guys used sequencers, Mellotron, and analog synths. But they don't try to copycat the TD sound, even though the influence is a bit obvious. The sequencers tend to be more ominous, and this group has habit of abruptly stopping the sequencers unexpectedly (TD had a habit of fading them out when they want to give them a rest, obvious example being near the end of Rubycon) and going into weirder territory. Somewhere the band does a quote from Bach on the synth. I really love the mood these guys create. This album appeared in 1980 on CBS but the original LP is now very hard to find and expensive. It did go through a second pressing, released by the band themselves in 1981, but can be distinguished by a more generic black and white cover. I can't believe I still keep finding obscure and amazing electronic music. Right there with the likes of Zanov or Anna Själv Tredje (although Zanov has been recently getting much more attention than ever before thanks to his back catalog being reissued and brand new recordings from him) when it comes for great obscure electronic music. This album is truly worthy of your attention and clearly my favorite from 1980.
 Node Live by NODE album cover Live, 2018
4.00 | 3 ratings

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Node Live
Node Progressive Electronic

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars They may have only released two albums in more than ten years of existence, but synth supergroup Node have a very strong reputation indeed, so when they decided to perform a rare concert in London in 2015 why not do it at the Royal College of Music? I'm pretty sure I've not come across another live album from those hallowed halls, and have not even seen a concert advertised, so I doubt if they have ever had so many vintage and modular synthesizers on stage before this! The four members of Node (Flood, Ed Buller, Dave Bessell and Mel Wesson) refuse to use backing tracks, and everything had to be manually tuned and set up, a task that took all those involved (including the crew) a full day to complete.

Then it was just the matter of getting onstage and let the music take them where they wished. The resulting album consists of four edits from the concert, plus a bonus piece from rehearsals. This is very much from the Berlin School style of synthesiser music, heavily influenced indeed by Tangerine Dream, so much so that one could easily believe that this is a recording by that band (particularly if one hasn't really studied their output, such as myself). The music is layered and condensed in such a way that it is hard to hear how many hands are generating the sounds at any particular time, or what is coming from where, it becomes an amorphous mass where the music is a living, breathing being. It is very easy to get lost inside the music, to be take on new journeys and adventures, and I would imagine that many people at the concert sat there with their eyes closed to ensure that nothing disturbed the aural majesty being played in front of their ears. The album has been released in a limited edition run of just 2000 copies, and if this is your style of music then you really do need to grab this quick.

 Silhouettes by SCHULZE, KLAUS album cover Studio Album, 2018
3.10 | 12 ratings

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Silhouettes
Klaus Schulze Progressive Electronic

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars It is hard to really comprehend just how important Schluze has been to Krautrock and electronic music in general, from his early days with Tangerine Dream and Ash Ra Tempel he then moved into solo works, and I am sure that many progheads have at least a couple of his albums in their collection. The four pieces on the album were created between summer and autumn 2017 following an extended period which was, due to health problems, very quiet and for this reason very meditative at times. Schulze: 'The result automatically was a phase of reflection, of retrospection, of pure contemplation. In the wake of your 70th birthday you naturally find yourself looking back at the past ' so the result is a reorientation, a renewed awareness of what is really important.' Schulze describes the music on 'Silhouettes' as a 'reduction to the essential things' and has consciously worked only very sparingly with solos and vocal elements. He explains: 'No great distractions, nothing to force your attention in a certain direction, no major effects or gimmicks, no frills or dominant rhythms. It was important to me to paint the pictures in the depth of the space, the sonic fields of tension and atmosphere.'

My wife found me intently listening to this album and burst out laughing, as I had my eyes closed, and she just wouldn't believe that I wasn't actually asleep. But this is an album that really does work best when all other sensory distractions are removed, and one can just fall into the soundscapes being created. In many ways this reminds me of some of his earlier work, where trance was an influence, and the music becomes layered soundscapes for the mind. It is more direct than many of Jean Michel Jarre's works, but in some ways it does have similar style, yet somehow that little bit more direct. It doesn't fall into the New Age of some of Wakeman's solo works either, but combines many elements that just work. Of all the solo albums I have heard from Schulze, I must admit that this is my favourite so far, although to be fair I have only come across such as small amount of a man with a prestigious output. Fans of both electronic music and prog will certainly enjoy this.

 Kalisz Concert by ALIO DIE album cover Live, 2018
5.00 | 1 ratings

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Kalisz Concert
Alio Die Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
5 stars Alio Die is the alias Italian progressive-electronic/ambient/experimental/take-your-pick artist Steffano Musso has been utilising since the Eighties, and an evocative and varied body of work he has built up for himself (as well as numerous collaborations) over the decades. Each new release is more unpredictable than the last, some being gorgeous instrumental works, others ethereal vocal projects, but 2018's `Kalisz Concert' sees the man stripping things back to a more primal and deeply intimate level. An improvised performance recorded at the Kalisz Ambient Festival in Poland in October 2016, Alio Die and some musical guests craft a heady concoction of sedate droning synths, flute, zither and various percussive shells, rattles and bells, for a seamless fusion of immersive acoustic and electronic atmospheres.

Despite the recording being credited as seven individual tracks on the back of the CD edition cover, it's really one sole extended aural collage that weaves an uninterrupted long-form soundworld of just over an hour in length, with only the most minute of barely perceptible changes. Pensive chimes ring, the lightest of reflective patterns escape subtle looping electronic washes, and drowsy ambient caresses cast a hallucinogenic spell that lethargically wraps around the listener and stretches on for eternity. Light eastern textures permeate the background, groaning and sighing chants seductively purr at the senses and soothing acoustic strums spiral into infinity. Tranquil field recordings of nature and tendrils of running water flitter through, sighing drones gently disorientate and humming sustaining reverberations teem with life.

This performance casts such a mesmerising spell over any listener who can take the patient time to let the piece envelop them, and `Kalisz Concert' completely transcends any sense of time, space or musical fashions with its unhurried grace, sophistication and intelligence. You could spend a lifetime being taken over by this exploratory and sublime work of spontaneous and delicate sighing atmosphere, and it quickly proves to be a deeply moving and haunting hymn-like meditation, a truly beautifully spiritual musical awakening.

Five stars.

 Jonathan  by JONATHAN album cover Studio Album, 1978
3.16 | 8 ratings

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Jonathan
Jonathan Progressive Electronic

Review by Progfan97402
Prog Reviewer

4 stars Jonathan is a new discovery for me. German duo consisting of drummer Peter Garattoni (of Eulenspygel) and keyboardist Helmut Grab along with guests as needed. This was their only album, first released on the very obscure AAR label, then on Bellaphon. It strangely received a Greek release as well. Wonderful cover, totally '70s sci-fi, although if you look carefully, that's no sun, it's an apple. The Gibraltar Encyclopedia of Progressive Rock were rather dismissive of it, like it's not worth your time. Not in the least for me. It has that rather spacy feel, with Mini Moog, Solina String Ensemble, Fender Rhodes Electric Piano and Roland Synth, but I swear up and down I hear an ARP Pro-Soloist (he isn't credited to one, though). Unless the Roland (which they didn't specify which model) was capable of similar sounds. It's a rather underrated album actually worth getting. To my ears these guys seemed to have fun doing it, and it's true there isn't any huge ambition, it's all very enjoyable and that's what matters to me. "Li Song" has a rather Asian-influenced sound, kinda like Kitro but with more guts. "Raising Winds" starts off slow with spacy sound effects and then the drums kick in and they get down to business. "Funky's Visit" has a rather funky feel, with guest Emil Wirth providing funky slap bass. You can't imagine the traditional Berlin School electronic guys doing that! "Moved Earth" is a pretty typical sound for these guys. I don't find a single bad song on this album, although one wishes maybe a little more variety in synth timbre. Not exactly innovative or groundbreaking, but an enjoyable piece of late '70s electronic music and prog.
 Allure by FOVEA HEX album cover Singles/EPs/Fan Club/Promo, 2007
4.00 | 1 ratings

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Allure
Fovea Hex Progressive Electronic

Review by TCat
Prog Reviewer

— First review of this album —
4 stars This EP is the 3rd in a series of 3 EPs in the series "Neither Speak nor Remain Silent" by Fovea Hex, who by this time was all centered around the artist Clodaugh Simonds, who was the lead singer for a progressive folk band in the 70s called "Mellow Candle". They only released one album in the 70s, and then another one in the 90s. They were obviously not a very well known band, and I can't speak of their music since I haven't heard it. The reason why this was brought to my attention is because both Steven Wilson and Robert Fripp are involved in this EP.

The band records on Wilson's record label. Both Wilson and Fripp contribute guitars on this EP, which is very atmospheric and beautiful. Wilson also contributed treated bass. Their influences and styles are very much apparent on here too as the sound approaches the feel of Bass Communion and also some of Fripp's later music. Fovea Hex has also worked with Brian Eno in past projects. The band is listed under Progressive Electronic. The credit listing only shows traditional and contemporary instruments however, no synths, and the sound is very earthy, folkish and even ambient in some sections.

This is a very beautiful and low-key EP all the way through. Clodaugh's vocals are lovely and fit the music perfectly. It has a slightly Celtic vibe to it, but much more experimental and ambient than what you would expect from Celtic music. There are definitely a lot of treated or slightly processed sounds here, but they work to bring about the overall atmosphere of the music. It is somewhat minimalistic, but not boring in the least. Although it has that celtic vibe to it, it follows no traditional song pattern, and at times is free meter. So it is definitely progressive.

It's too bad it's so short, and it definitely does not wear out it's welcome with only 3 songs spanning about 25 minutes. This is a case where a person would want to get all 3 of the EPs to experience more of this music. The music line up changes and adapts to the feeling of each EP. Even as short of a statement as it is, it is still an excellent addition to any collection.

 The Man-Machine [Aka: Die Mensch-Maschine] by KRAFTWERK album cover Studio Album, 1978
3.95 | 349 ratings

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The Man-Machine [Aka: Die Mensch-Maschine]
Kraftwerk Progressive Electronic

Review by WFV

4 stars There's a story by Steve Hillage where he states before one of his concerts in a club setting in '77 there was a disco party for young people, and the DJ had an advance copy of Man-Machine. Hillage watched the young people dance to Spacelab and We are the Robots played by the DJ over and over again. He said to Miquette "If young people are dancing to Kraftwerk, electronic dance music must be the music of the future".

How true. It took me a long time to appreciate this record, and finally it was pow! I can hear Man Machine in pop music from all over the world, especially Europe and even USA acts like Madonna and Prince. These guys were really onto something and knew it. Even their enigmatic appearance and interviews and image were highly influential. I think Kraftwerk can stake a claim as the second most important post Elvis Presley act in popular music behind the Beatles.

Diatribe over, this is an electropop album of the highest order and Kraftwerk at their peak. It's a pop masterpiece, not a prog one. In fact, because of the spin off genres that came from Kraftwerk like New Wave and Synthpop this may be the record that stuck a knife into the golden age of prog.

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Progressive Electronic bands/artists list

Bands/Artists Country
12 FOLLOWERS United States
6LA8 Pakistan
ACI Germany
AEON France
AETHENOR Multi-National
AFTERLIFE United States
ILDEFONSO AGUILAR Spain
PEKKA AIRAKSINEN Finland
AIRSCULPTURE United Kingdom
ALBERGO INTERGALATTICO SPAZIALE Italy
ALIO DIE Italy
ALLEGORY CHAPEL LTD United States
DAEVID ALLEN MICROCOSMIC United Kingdom
ALLUSTE Italy
ALPHA WAVE MOVEMENT United States
ALTO STRATUS United Kingdom
AMBER ROUTE United States
AMON Italy
PETER ANDERSSON Sweden
ANDROMELOS Japan
ANNA SJALV TREDJE Sweden
ARC United Kingdom
ARPANET United States
EDWARD ARTEMIEV Russia
ARZATHON Sweden
ASCOIL SUN Finland
ASHRA Germany
THE ASTROBOY Portugal
ATOMINE ELEKTRINE Sweden
AUBE Japan
AUTOMAT Italy
AWENSON France
MARVIN AYRES United Kingdom
HARVEY BAINBRIDGE United Kingdom
AIDAN BAKER Canada
SIMON BALESTRAZZI Italy
BAFFO BANFI Italy
BASS COMMUNION United Kingdom
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UDDER MILK DECAY United Kingdom
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TERJE WINTHER Norway
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WO0 Serbia
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X-TG United Kingdom
XIU Italy
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YELLOW MAGIC ORCHESTRA Japan
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YOU Germany
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