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PROGRESSIVE ELECTRONIC

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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

4.25 | 827 ratings
RUBYCON
Tangerine Dream
4.26 | 249 ratings
MIRAGE
Schulze, Klaus
4.54 | 28 ratings
CATCH WAVE
Kosugi, Takehisa
4.21 | 240 ratings
TIMEWIND
Schulze, Klaus
4.14 | 705 ratings
PHAEDRA
Tangerine Dream
4.19 | 128 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.11 | 218 ratings
X
Schulze, Klaus
4.36 | 27 ratings
IN COURSE OF TIME
Zanov
4.24 | 44 ratings
GREEN RAY
Zanov
4.22 | 45 ratings
AN ELECTRIC STORM
White Noise
4.55 | 14 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.23 | 33 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.19 | 38 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.04 | 161 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.14 | 48 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.58 | 12 ratings
LONG LOST RELATIVES
Syrinx
4.01 | 169 ratings
NEW AGE OF EARTH
Ashra
3.98 | 419 ratings
FORCE MAJEURE
Tangerine Dream
3.98 | 289 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.08 | 56 ratings
FILAMENTS
Rich, Robert

Progressive Electronic overlooked and obscure gems albums new


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

HELDON IV: AGNETA NILSSON
Heldon
ALBERGO INTERGALATTICO SPAZIALE
Albergo Intergalattico Spaziale
DEN GÅTFULLA MÄNNISKAN
Malmberg, Eric
D'AI PRIMITIVI ALL'ELETTRONICA
Futuro Antico

Latest Progressive Electronic Music Reviews


 Meio-Dia by JOBIM, GUSTAVO album cover Studio Album, 2017
4.00 | 1 ratings

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Meio-Dia
Gustavo Jobim Progressive Electronic

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

— First review of this album —
4 stars Young synth player and electronic manipulator Gustavo Jobim hails from Brazil and has been releasing a stream of fascinating and experimental prog-electronic discs for many years now, and like much of his back catalogue, 2017's `Meio-Dia' takes little traces of vintage Berlin School elements and twists them with all sorts of unpredictable style and direction changes in both modern and retro ways. It's an experimental work that is constantly full of colour, movement and liveliness, and one that likes to move between buoyant energy and eerier danger, as well as allowing a Krautrock-like scuzzy wildness to seep in.

Twenty-two minute opener `Meio-Dia' (Noon) offers a blistering array of runaway electric piano, reflective organ solace, imposing Mellotron confrontations and hypnotic prog-electronic drifts all given a relentless push forwards by constantly up- tempo peppy beats, bouncing programming and fuzzy melting soloing.

There's a lightly unhinged psychedelic danger and driving Kraftwerk/`Autobahn'-like momentum permeating `Piramide' (Pyramid) with its undulating sequencing popping in and out of swirling and hazy ambient washes, grumbling electric guitar samples and unceasing pattering beats before it splinters into distorted breakdowns and feverish computer glitching soloing.

Despite opening and closing with eerie reflective reaches, the shorter album closer `Eterno Retorno' (Eternal Return) bristles with lurking darker jangling sequencing, with just a touch of Klaus Schulze infiltrating the droning heaviness and lush panoramic ambient synth expanses rising and falling throughout.

With a diverse and eclectic body of work behind him, `Meio-Dia' is a good middle ground for newcomers - light retro touches that call to mind the vintage prog-electronic masters but given a unique sampling of Gustavo's own personality. It also runs a welcome vinyl length (someone PLEASE release this on vinyl!) and best of all, there's a real sense of fun through parts of the album that never become lightweight or silly! If you're a listener that likes their prog-electronic sprinkled with a Krautrock seasoning, `Meio-Dia' might be just for you, and it easily makes a case for being one of the most striking electronic releases of 2017.

Four stars.

 Detrimental Dialogue (With Fausto Balbo) by MARUTTI, ANDREA album cover Studio Album, 2010
4.40 | 3 ratings

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Detrimental Dialogue (With Fausto Balbo)
Andrea Marutti Progressive Electronic

Review by ProgAlia

4 stars After fifteen years of making music apart from each other, Andrea Marutti and Fausto Balbo's paths crossed in 2005, and since then they have been working every now and then on this release. The album "Detrimental Dialogue" is their first collaboration, and it contains explorations of various types of analogue and digital synthesis. If you are not yet introduced to that part of experimentalism, yes, there is more then 'just' analog or digital. To quote from the press sheet: additive, subtractive, physical modeling, FM, phase distortion, granular, etc. The 48 minutes of this release are divided into four tracks, entitled "Winter", "Indulge me", "Set-Back" and "Troubled Elephant", and with the best will in the world I couldn't explain these titles to you. But rest assured that while listening to these tracks I have tried to figure it out. The drones and ambient parts slowly fade you in and out (of an uncertain state) of consciousness, while the intrusive experiments in minimal noise, glitch and pure waveforms rip you out of there and force you to feel the here, the now and reality; this latter in all its beautiful and confrontational aspects. Through the use of effects, the sounds that are used on this album ? and then mainly those noisy escapades ? are put into a really nice perspective. The stereo image as well as the depth have an exceptional extra dimension, which makes the album as a whole interesting for a) modular sound nerds (you know who you are) and b) people who want to hear proof that there is more than your mind can handle. It's going straight into my collection, next to Robert Piotrowicz' "Lasting Clinamen", and the additional mini-poster with the music-making aliens and insect-shaped speakers by Stefano 'Sicksoul' Rossetti is getting an honorary place on my studio wall. For inspirational purposes? Or just to space out!
 Penumbra by BREIDABLIK album cover Studio Album, 2017
4.69 | 4 ratings

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Penumbra
Breidablik Progressive Electronic

Review by Progfan97402

5 stars Penumbra is a new release from Breidablik, an EM project headed by Morten Birkeland Nielsen from Bergen, Norway. Here this album got released on vinyl on Pancromatic Records, this was the same label that issued the double vinyl set from Jordsjø, a wonderful prog rock band not unlike Wobbler or Änglagård. Speaking of Jordsjø, they released a split cassette with Breidablik called Songs from the Northern Wasteland. Breidablik then went and released Vinter, which is 100% Breidablik, on limited edition cassette (you can download it on Bandcamp). Penumbra simply takes what was done on Vinter one step further. Once again, lots of nice use of analog and analog modelling synths, as well as an Omenie Mellotron M3000. What's that? A Mellotron iPad app, that's what it is! From judging on the gear he uses, like the MicroKorg, Arturia Microbrute, Korg Monotribe, the Korg ARP Odyssey (yes, Korg resurrected the old ARP classic) and others, he uses lot of small, portable lightweight gear and puts them to great use. What took huge bulky gear for Tangerine Dream to accomplish what they did in the mid '70s, one can do something similar on small gear like what Morten does here. I own a MicroKorg and it's a wonderful, small, lightweight machine, about the size and weight of a 1980s toy Casio for children, but it's a wonderful synth capable of classic analog synth sounds, as well as an arpeggiator and vocoder, and I can see how Morten included one. The Monotribe is a sequencer that he uses here, but don't expect in-your-face Ricochet-sequencer overdrive as the sequencer use here is mid-paced. The music has an often eerie feeling like you're in the cold, barren areas of northern Norway. The music has a frequently ambient feel, particularly when the sequencers aren't being used. What I'm getting at is the music here is Berlin School style electronic music, although I've seen Breidablik's Bandcamp page call it the "Bergen School of electronic music", mainly because Morten Birkeland Nielsen hails from Bergen. Other than that, it's very much as you expect out of Berlin School electronic music. While Tangerine Dream, Schulze and the likes are to be felt, this isn't a clone. I can see Breidablik making a big impression in the world of electronic music, and Penumbra only proves that and very much worth hearing!
 Implosion by CYBOTRON album cover Studio Album, 1980
3.08 | 11 ratings

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Implosion
Cybotron Progressive Electronic

Review by ElNapalmo

4 stars Third album, and final album, by Australia's Cybotron, released in 1980. Six amazing songs with a fusion of Progressive Rock and Krautrock. I'm listening the 2006 reissue by Aztec Music, remastered, with 20 pages full of information, interviews, photographs, accompanied by 6 extra songs from the incomplete and never released 1981 album, "Abbey Moor", as well as a curious version of Henry Mancini's "Peter Gunn Theme." These unreleased songs were deliberately composed with a more commercial approach to Cybotron music. I do not like the final result as much as the main album, but the guitar version of "Eureka" is interesting. "Implosion" is a fabulous album that I recommend to all lovers of names such as Pink Floyd, Tangerine Dream, Can, Neu, Faust, Kraftwerk, Amon D''l II, Goblin and Zombie.
 They Grow Layers of Life Within by ALIO DIE album cover Studio Album, 2017
4.96 | 4 ratings

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They Grow Layers of Life Within
Alio Die Progressive Electronic

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars It's almost unfair to be rating this beautiful music against the complicated, demanding efforts of rock band formatted sweathogs but when all is said and done, what you choose to listen at the end of the day, whether it be 'nglag'rd, Gentle Giant, "In-A-Gadda-Da-Vida" or Brian Eno's ambient music, it shouldn't matter, should it? Stefano Musso and his zithers, computers, and collaborators have made another beautiful, engaging album. So let's celebrate!

1. The Atom of Existence" (26:20) droning synth wash with chimes/bells over the first five minutes. The bells disappear leaving only the multi-layered drone--a kind of chord within which certain notes strengthen and cresecendo and decay in turn with the others. Quite beautiful and mathematical. At 7:25 another "nighttime bug" sound enters and remains while the lowest notes of the "chord" enter and play a slow moving melody. At 8:20 horn-like riffs join in and a new broad-spectrum chord is constructed over, with, and supplanting the original. What started as intriguing and exciting became a little over drawn-out (despite the bird sounds in the last minutes.) (9/10)

2. "They Grow Layers of Life Within" (32:02) opens with Middle Eastern (Peter Gabriel's Last Temptation of Christ soundtrack) sounding ambient street sounds. Quite beautiful, dreamy, and reminiscent of walking the serpentine streets of a pre-industrial revolution North African or Middle Eastern town. New sounds and layers in the fourth minute make it sound as if the town (or organism) is coming to life, awakening. The marketplace setup and opening. At the ten minute mark one gets the sense that the ambulator is leaving the busy thrum of the market area and regressing into the spidery quiet alleys and occasional busy streets. He's in a daze, in a fog, walking as if searching for something without knowing what, only knowing that he needs to keep walking. At 14:30 begins another shift. The man is approaching a mosque. He enters the mosque. It is nearly empty as it is between prayer times. The bells at the 18 minute mark might designate an active pocket of prayer or group activity. The dreamer stops to observe, watching the men in discussion or the women sewing together. The dreamer's eyes are drawn upwards, into the shafts of light streaming in from the clerestory windows or gable supports. Beautiful. In the 23rd minute, the somnambulant is drawn back outside by the noise of sales carts selling handmade jewelry and scarves, cutlery and silverware, fabric and rugs. The beautiful small courtyard outside the mosque is teeming with light, heat, and tired vendors. The ambulator is suddenly fatigued, the heaviness of the summer heat bearing down. Time to sit down, lie down, die? And the market square business continues, business, life, as usual, as consciousness fades. Beautiful. (9.5/10)

3. "Real-Life Mystery" (6:09) gorgeous and frolicky with the nymph-like water play of bells and fairies, crickets and heavenly choir. (9/10)

A five star masterpiece of progressive electronic, ambient folk, or whatever kind of music this is. Wonderful stuff!

 Lento (with Lingua Fungi) by ALIO DIE album cover Studio Album, 2017
5.00 | 1 ratings

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Lento (with Lingua Fungi)
Alio Die Progressive Electronic

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

— First review of this album —
5 stars Stefano Musso and Jaakko Padatsu, collaborating for the second time (that I know of), have produced a gem of an album with no less than 78 minutes of fine ambient electronic music. The title song and "Stato di Grazia" are my favorites, but each of the other two songs are equally mesmerizing, equally engaging, and equally meditative.

1. "Lento" (18:34) Water. Waves lapping at the side of a boat. Zither/kantele and heavily treated sustained arpeggi from a synth? a zither? Whatever it is, the way it floats and soars in and out, down and up, in the sonicscape is wonderfully hypnotic; I find myself trapped in its waves feeling as if I am among the flock of birds--or the soul ensouling the flock. The other instruments and sound samples ebb and flow making it seem as if the landscapes beneath the flock are changing with the movement of the flock in the sky over the Earth. (9.5/10)

2. "Karhunpäivä" (17:27) sounds like it's a couple of guys playing with random percussives and simple horns while floating in an open boat in the middle of a harbor. In the fourth minute a low drone makes it sound like a squadron of Allied bombers are flying overhead. By the middle of the fifth minute they've passed and some zithers and other droning musical instruments can be heard--as if the doors to a warfside dance hall just opened up and let their internal music be heard. Great for the accompaniment of a Scandinavian folk story. Finger pianos and small clay drums sneak into the mix in the ninth minute. (8/10)

3. "Giardinaggio interiore" (31:50) Stefano and Jaakko Padatsu with their zithers with some kind of bendable saw-like single note playing "synthesizer" and occasional tuned percussives playing over babeling brook noises in the background. Steady and highly engaging and, of course, hypnotic. (9.5/10)

4. "Stato di Grazia" (11:00) music befitting its title, to be sure! Again water seems to be the "nature sound" provided in the background. The zither play in the foreground is much busier, much more active and interactive, giving the sonic palette a very much monastic feel--as if I were walking through the great halls and rooms of the Great Mosque in Córdoba, Spain. Very etheric and spiritually inspiring. (10/10)

Five stars; another masterpiece of progressive electronic music from the prolific maestro, Stefano Musso, and his collaborators.

 Quantum Gate by TANGERINE DREAM album cover Studio Album, 2017
3.91 | 15 ratings

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Quantum Gate
Tangerine Dream Progressive Electronic

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

4 stars Plenty of listeners and fans have no shortage of opinions about when the pioneering German electronic group Tangerine Dream apparently stopped being `the REAL Tangerine Dream', be it their first moves into more streamlined musical territory in the late Seventies, the more obviously melodic direction of the Eighties, or even when particular musicians arrived and/or left at various points throughout the fifty active years of the project. The recent continuation of the TD brand in the wake of the passing of founder and mainstay member Edgar Froese has been the latest controversy, a move that some pockets of fans have considered something of a gross insult and a kind of `blasphemy' to Mr Froese's memory and the institution that is Tangerine Dream.

It is now known that Edgar gave his blessing to the musicians that he'd been creating music with in the years just before his passing to carry on the group name, which included keyboardists Thorsten Quaeschning (something of a veteran by now at thirteen years and multiple albums under the TD banner) and Ulrich Schnauss, and violinist Hoshiko Yamane. This quartet had been preparing what was to be considered the next evolution of Tangerine Dream, dubbed by Froese as the `Quantum' era, with some early glimpses of this new beginning found on the promising `Mala Kunia' EP in late 2014, but his death soon into the new year following it initially halted the progress. After several months of uncertainty, the remaining trio commenced realising Edgar's vision of seeing this new stage of Tangerine Dream become a reality, and their first full-length disc `Quantum Gate' was released on September 29th 2017, to coincide with the fiftieth anniversary of the group.

The good news is that `Quantum Gate' is a superb album, one of the best to bear the Tangerine Dream name in quite some time in fact, with the current trio utilizing initial sketches, demos and fragments recorded by Edgar as a grounding and crafting a series of nine tracks around them that find a strong balance between atmospheric longer reaches, electronic explorations and more melodious compact pieces - plus a touch of dance music, so oldies and prog-snobs best approach with caution! There's a constant distinctly current sound with endless respectful nods to the vintage exploratory heritage of the group through every bit of the album, and with fairly little prominence given to electric guitar, it makes for a superb slice of intelligent modern electronica, and even the more straight-forward spots (which are actually fairly few and far between) are far weightier and more subtle than many of the tracks that have shown up on numerous TD discs since the late Eighties.

The near-fourteen minute opener `Sensing Elements' holds a series of experimental and ambient fragments a world away from commercial appeal or easier melodicism. It's essentially a multi-part suite that coasts between freeform serene electronic drifts, stronger themes driven by those classic TD chiming notes and more urgent churning programmed beats, making for a confident statement from this current trio. Each re-listen reveals a secret exciting layer and a very understated flow, and the piece will at least raise a curious eyebrow from some hold-outs of this new era of Tangerine Dream! `Roll The Seven Twice' offers nicely clacking percussive momentum and a catchy reprising searing theme whilst dipping into slinking dance beats, and `Granular Blankets' holds a more reflective soundtrack-like elegance to Hoshiko's classy violin and fleeting darker traces to its haunting piano.

Sure to be one of the more controversial moments, `It Is Time To Leave When Everyone Is Dancing' is perhaps the closest Tangerine Dream have ever come to delivering an energetic `summer dance anthem' (at least outside of their `Dream Mixes' volumes!), mind you an intelligent and tightly arranged summer dance anthem at least! It's a bouncing and joyous dance piece, revelling in the versatility that we can expect from this current T.Dream incarnation. Hoshiko's sweeping violins then emerge between `Identity Proven Matrix's strident and sparkling synth themes, and some sparse use of grumbling electric guitar briefly reminds of Pink Floyd.

Quaeschning, Schnauss and Yamane then spoil the older fans with a series of beautiful and deeply immersive epics to close out the disc. The ten-minute constantly unfolding `Non-Locality Destination' is loaded with big dramatic synth washes and bristling sequencer ripples flitting in and out, and once it hits a spot right in the middle with rumbling guitar reaches you'll almost swear Pink Floyd's `One of These Days' is hiding in there somewhere! The dreamy space-music of `Proton Bonfire' is all crystalline ringing expanses, dancing sequencers and fizzing implosions before more prominent beats propel the piece forwards with excitement, and it ultimately culminates in an uplifting refrain. `Tear Down The Grey Skies' is pure a Seventies sci-fi-flavoured soundscape with monolithic alien expanses, and nine-minute closer `Genesis Of Precious Thoughts' will likely be the favourite piece for many here. Overloaded with feverish sequencer-breaking runs and little skittering up-tempo bursts, Hoshiko's violin taking centre stage constantly soaring majestically over darker electronic pulsing, fancier ambient washes and dramatic imposing beats, meaning all three members get a final chance to leave their mark.

Whether or not you consider the disc `Tangerine Dream' is up to you (and there's sure to be some who will instantly dismiss it without hearing a second of the music), but this is evocative and smart electronica from a talented trio that constantly calls to mind moments from many eras of the group from over the last several decades, and not in the lazy derivative way that so many of the endless TD clones do. The accompanying `The Sessions 1' EP and some of the recent `Particles' set suggest the current trio are going to keep looking even deeper back into the classic vintage Dream years for fresh inspiration in the future, but for now, `Quantum Gate' is a bold and successful new start to the legacy of Tangerine Dream, and Edgar would be immensely proud of what his protégés have delivered here.

Four and a half stars.

 Trance-Formation (with The Secret Society) by SCHOENER, EBERHARD album cover Studio Album, 1977
3.60 | 13 ratings

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Trance-Formation (with The Secret Society)
Eberhard Schoener Progressive Electronic

Review by Vinyl Connection

4 stars Fourteen years before Enigma, ever curious musician/composer Eberhard Schoener was exploring the possibilities of melding electronic beats with liturgically (and ethnically) derived vocal themes. But Schoener, never willing to sit with one idea when he can throw in a handful, also covers ambient electronica and analogue space drift in this cohesive 1977 album. The composer plays moog, organ, piano and mellotron while the tasty guitar cutting through the keys is courtesy of Andy Summers (Police). It may seem an unlikely collaboration, but Summers is a skilled and versatile guitarist whose presence here adds much to the music. A transporting and satisfying album.
 Encore (Live 1977) by TANGERINE DREAM album cover Live, 1977
3.85 | 213 ratings

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Encore (Live 1977)
Tangerine Dream Progressive Electronic

Review by Vinyl Connection

4 stars Although there are but four side-long tracks, each comprises several discrete parts. Live, the classic Froese/Franke/Baumann line-up of Tangerine Dream passed the initiative deftly between their multitude of keyboards as they spontaneously created unfolding musical landscapes and then explored them. Having said that, there are some sections referencing album pieces while others joyously bring together their combined creativity into a shifting, swirling whole. Some piano softens 'Monolight' while Froese's psychedelic guitar provides adds a welcome charge to 'Coldwater canyon'. Perhaps falling slightly short of greatness, this excellent recording?made during the US tour of 1977?nevertheless offers a fine introduction to the Virgin era of a seminal electronic outfit.
 New Age Of Earth by ASHRA album cover Studio Album, 1976
4.01 | 169 ratings

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New Age Of Earth
Ashra Progressive Electronic

Review by Vinyl Connection

4 stars Whenever I see this first Ashra album (or final Ash Ra Temple album, if you prefer) listed in New Age discographies, I get a bit irritated. Perhaps because I've been following Manual Göttsching's musical career since the mid-70s, I saw him as progressive/electronic or even Krautrock psychedelia. The New Age label?so eighties, I sniffed?seemed somehow demeaning in its implication of featureless massage muzak. Then, years later, I realised there was a defensible reason for this appropriation of Ashra's delicate electronica: the title of the record. And also, the music. It's drifty and more gently rhythmic than most of Göttsching's work; kind of new age-ey in fact. Ah well.
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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
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UDDER MILK DECAY United Kingdom
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JOEL VANDROOGENBROECK Switzerland
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WO0 Serbia
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X-TG United Kingdom
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YELLOW MAGIC ORCHESTRA Japan
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