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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 | 821 ratings
RUBYCON
Tangerine Dream
4.26 | 247 ratings
MIRAGE
Schulze, Klaus
4.54 | 28 ratings
CATCH WAVE
Kosugi, Takehisa
4.21 | 239 ratings
TIMEWIND
Schulze, Klaus
4.13 | 700 ratings
PHAEDRA
Tangerine Dream
4.19 | 126 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.12 | 216 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
4.04 | 159 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.14 | 47 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.19 | 36 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.01 | 167 ratings
NEW AGE OF EARTH
Ashra
3.98 | 412 ratings
FORCE MAJEURE
Tangerine Dream
4.09 | 53 ratings
FILAMENTS
Rich, Robert
3.98 | 288 ratings
ANOTHER GREEN WORLD
Eno, Brian
4.57 | 11 ratings
LONG LOST RELATIVES
Syrinx

Progressive Electronic overlooked and obscure gems albums new


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

HATHOR
Wakhevitch, Igor
TIME REPLICATED
Bownik, Adam Certamen
MUSIK AUS DEM SCHATTENREICH
Frohmader, Peter
HELDON IV: AGNETA NILSSON
Heldon

Latest Progressive Electronic Music Reviews


 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 | 210 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 | 167 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.
 Crystal Machine by BLAKE, TIM album cover Studio Album, 1977
3.45 | 32 ratings

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Crystal Machine
Tim Blake Progressive Electronic

Review by Vinyl Connection

3 stars The first post-Gong solo album from keyboard player Tim Blake, this is a fascinating--if uneven--LP. From spacey electronic music ('Midnight') via keyboard-driven grooves ('Metro logic') to the spare jauntiness of 'Last ride of the boogie child' (complete with unconvincing vocals), this combination of studio and live recordings has a charm that will beguile fans of analogue synth music but might be an acquired taste for newcomers. Perhaps if one experienced the psychedelic light shows Blake was noted for, the music might sound even better! Meanwhile, centrepiece 'Synthese intemporel' is pure Klaus Schulze (in a very good way). Soon after this release, Blake joined Hawkwind, with whom he played on and off for years. Vinyl Connection - www.vinylconnection.com.au
 Echoes in the Vacuum by ALPHA WAVE MOVEMENT album cover Studio Album, 2017
4.00 | 1 ratings

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Echoes in the Vacuum
Alpha Wave Movement Progressive Electronic

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

— First review of this album —
4 stars Alpha Wave Movement is the project alias for American artist Gregory Kyryluk, and the composer has been offering a wide range of discs in Progressive-Electronic and related styles for over two decades now, some of which can even be regarded as classics of the modern era. The deeply atmospheric and highly immersive `Cerulean Skies' from earlier this year could also be included in the list, and now Gregory takes a different approach for `Echoes in the Vacuum', a fully instrumental vibrant and eclectic collection of mostly shorter and somewhat lighter pieces, that still show great colour and variety, with a balance of anchored rhythmic and pure-ambient drifts, whilst also achieving a near-perfect unison of melodic approachability and entrancing atmospheres.

Opener ` Herzchlag des Universums' could very well be an outtake from Alpha Wave Movement's 2016 album `Kinetic' with its upbeat mood, infectious repeating themes and slinking dance beats. `Other Worlds' is a mysterious and gurgling deep- space ambient rumination, and then, quite unexpectedly, `Luna Lamentabilis' takes on a loved-up whimsy much closer to the swooning romance of something like Vangelis' `Ballad' off his much-loved 1977 LP `Spiral', or even the kitsch playfulness of the Yellow Magic Orchestra, and the piece frequently radiates sweet love and embracing positivity.

The opening moments of `Akasha' hint at one of those grooving pop-rockers that the Alan Parsons Project used to deliver, but instead it quickly turns into a sitar-laced groaning drift backed by a relentless lurching percussive beat, managing to nail that grounded earthiness and those floating cosmic reaches that often twist together on Alpha Wave Movement discs. `Solina Spaceways', sometimes reminding of French band Air in little moments, is mellow and laid-back without lacking momentum, softly jazzy electric piano soloing weaving in and out of confident lead synth themes, and comforting lovely closer `Safe Journey' brings restrained organ and approaching/retreating whirring washes teeming with the most precious of life lapping at spacey shivers and weeping electronic tendrils.

But especially memorable is the fifth track `Garden of Memories', where the most subtle of low-key reprising themes are repeated on fragile piano and shimmering harp (or a best synth impression of one!) piercing through lightly cinematic washing caresses of synths, slithering background bass and the gentlest of chill-out beats flitting in and out. It shows impeccable subtlety and restraint, is achingly beautiful and full of dreamy mystery and deep serenity.

`Echoes...' is melodic and accessible without lacking intelligence, offers countless cleverly memorable themes that inch their way into your brain after several spins, and can be enjoyed as a background listen without the deeper immersion required to appreciate the more complex and subtle AWM discs. It holds a strong crossover quality of related electronic styles that showcases Gregory's distinctive musical personality, one that's a world away from the endless Tangerine Dream, Jean-Michel Jarre and Klaus Schulze clones, and it would make for a perfect introduction to the music of Alpha Wave Movement for newcomers. You know you have a special artist when even the (so-called) `less essential' releases are of such a high standard, and it means that `Echoes in the Vacuum' comes highly recommended.

Four stars.

 Adonia  by OSE album cover Studio Album, 1978
4.00 | 21 ratings

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Adonia
Ose Progressive Electronic

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars Another French electronika I've stumbled upon a while before is one of excellent gems created by our electronic heroes - two Herdoners (Richard PINHAS and François AUGER) and Hervé PICART. The three talented electro-vanguards would have tried to represent another spacey world through the one-off project named OSE and a musical phenotype titled "Adonia". What a quiet, sedative, and addictive resonance the first long trip "Approche Sur A" is, melodically leaning towards "Crazy Diamonds" or "Echoes" by Pink Floyd, and seasoned with spacey, dreamy, but dry-fruity electronic spice. And repetitive, convoluted sound development should be in the similar vein of Heldon, Patrick Vian, Tangerine Dream (not in the debut days) or Yellow Magic Orchestra. Anyway they cannot exert weirdness upon their sound identity ... also as for the second shot "Orgasmachine", sounds like they would have pursued sorta musical narcissism in a good sense. Surrealistic and comfortable, immersive, impressive. Dedicated to spacey Pink Floyd, gorgeous gracious surrealism should have been their goal. We must be immersed in such a fantastic adonic dream. Recommended for every Space Rock / Electronic fan.
 Cascata by CADIMA, SAMUEL album cover Studio Album, 2017
4.00 | 1 ratings

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Cascata
Samuel Cadima Progressive Electronic

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

— First review of this album —
4 stars An emerging young artist from Portugal, Samuel Cadima has immersed himself in an enviably wide and varied collection of psychedelic, Krautrock, progressive-electronic/Berlin School, ambient and experimental music over the years, and his own work on his 2017 debut `Cascada' reflects a devouring of all those sounds and styles! Sam offers lengthy instrumental compositions frequently in the manner of Manuel Göttsching/Ashra, Agitation Free and the Berlin School vintage masters, all peppered with unpredictable direction changes and an eclectic diversity, as well as an emerging voice all his own.

The near-twenty three minute multi-sectioned title-track suite `Cascata' is a confident way to start the set, but Samuel already displays great understanding and appreciation of many of the above mentioned styles that weave in and out of this lengthy piece. It opens with hypnotic Berlin School spacey sounds of bubbling ambience, panning drones, gurgling electronics, intangible effects and cavernous voices that suggest the man has been soaking up the recent Cosmic Ground works and Klaus Schulze's `Blackdance', before continuing into darker mystery with spectral Mellotron choirs that turn oddly uplifting and comforting. Breathless machine clanging and bouncing sequencer pattering hold the whipping snap of classic period Tangerine Dream, crystalline guitar trills weep and siren-like wails cry from the dark, and ultimately deep-drone chasms of stark Steve Roach-like ambient serenity and gentle placid acoustic meanderings close this journey.

The raga-rock eastern acoustic guitar flavours and sitar-like groans of `Caiado' call to mind everything from Magic Carpet, Italian collective Aktuala and even modern groups like Saddar Bazaar once it diverts into dusty bluesy bursts. It heads into Agitation Free territory as it starts introducing whirring electronics, and some deep space vacuum-like ripples wouldn't sound out of place on an Řresund Space Collective LP. Manuel Göttsching-like guitar chimes loop, echo and ring into infinity around Jean-Michel Jarre-esque soothing prog-electronic drifts in `Voo Noturno', but the piece quickly lunges into hallucinogenic distortion collages and dirtier psychedelic guitar soloing before culminating in a eerily reflective and softly melancholic piano solo. The album then wraps on `Meia-Luz's crudely pulsing electronics over faraway shimmering electric guitar wisps and Ashra-like mellow soloing that even brings the most fleeting reminders of Pink Floyd.

Despite a few little expected rough edges here and there, `Cascada' holds a good balance of influences and emerging personal artistic flair, and Samuel's pieces show an understanding of unhurried space, supreme atmosphere and colourful variety well beyond his young years. This is a superb vinyl length debut that Samuel should be immensely proud of, and it will be exciting to discover what (multiple!) directions he moves in from here.

Four stars - and bonus points for David Guldbrandsen's vivid cover art.

 Trees of Olivandá by BRÜCKNER, MICHAEL album cover Studio Album, 2017
4.00 | 1 ratings

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Trees of Olivandá
Michael Brückner Progressive Electronic

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

— First review of this album —
4 stars Fresh off his eclectic multi-collaborative work `All the Pieces Fit Forever' and his dark Berlin School stunner `The Dark Path' with Syn-Gate label-mate Wolfgang Barkowski (aka Alien Nature), the final quarter of 2017 sees German prog-electronic/ambient composer Michael Brückner return with another superior effort all his own, `Trees of Olivandá', and darned if it isn't his best one yet for the year. With its suitably fantastical cover art from exceptional modern artist Andreas Schwietzke and hosting seven pieces with similarly surreal titles, `Trees...' is meant to resemble a concept album, but ISN'T a concept album, which is kind of a crafty concept in its own way anyway! What it is, however, is a seventy-six minute mostly continuous selection of deeply immersive Berlin School space music, that achieves a perfect unison of respect for the vintage prog-electronic masters and cool contemporary sound of modern influences, formless ambience and rhythmic-driven momentum, and there's not a poor moment to be found in its entirety.

Fans of the classic defining Berlin School/prog-electronic acts will instantly love the way the disc starts - the near-ten minute `Queen of the Southern Cross' opens with a Vangelis-like synth fanfare, the effervescent soloing is pure early Seventies Klaus Schulze, and the unceasing repeating loops call to mind Tangerine Dream of the same era, and together they're all coated in soothing electronic pools of bliss. The shuffling and gurgling electronic bleeds of `Into the Birdlands' are gently disorientating yet enveloping, but `The Fountain, the Child and the Sun' proves to be quite schizophrenic, darting through everything from circling synth chimes, thick ruminative bass notes and gentle beats slinking in and out of a range of tempos. `Outcast' holds clanging alien sequencer beats, meditative chimes, the eeriest of ringing crystalline slivers hovering in their ear and Michael's contemplative electric piano touches meandering around the atmosphere.

The mellow twenty-one minute `Under the Trees of Olivandá' is mostly a collection of relaxed deep spacey themes and chilled programmed beats, where monolithic synth passages rise in grandeur around unceasing sequencer ripples that spiral into infinity, and the loveliest of electronic caresses weave around the listener, but the final minutes of zippy soloing are urgent and vibrant. `Sunflower Girl' is warm and shimmering pure ambience that slowly comes to life with quickening sequencer patterns and rapidly skittering dance beats, and the disc wraps on another nineteen-minute behemoth, `Escape to the Outer Moons, where moments of reflection and contemplative themes weave seamlessly together with endless serene oceans of sparkling electronics, strident sequencer patterns and constant colourful soloing.

Brückner releases a steady stream of worthwhile albums, so what makes `Trees of Olivandá' so distinctive? Despite much of it being based around lengthy deep-space exploratory soundtracks, it remains particularly accessible by offering plenty of colourful movement and constantly melodic qualities without ever being too lightweight or insubstantial, nor sacrificing atmosphere and intelligence. It's respectful of its influences but approached in fresh and interesting ways that don't merely suggest lazy idol-worship, and the frequent beats and rhythmic additions reign in even the most aimless diversions (we're not talking the vague panoramas of many modern Steve Roach discs here!). Followers of this underrated modern prog-electronic composer will likely return to this one constantly, and it even makes for a perfect introduction for newcomers to the superb space music of Michael Brückner.

Four and a half stars, and one of the best prog-electronic releases of 2017.

 Aqua by FROESE, EDGAR album cover Studio Album, 1974
3.68 | 90 ratings

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Aqua
Edgar Froese Progressive Electronic

Review by Progfan97402

5 stars There are three versions of this album, the Brain version, the Virgin version, and the Eastgate version. The latter is an abomination, Edgar Froese should never have partially rerecorded that adding on digital synths and drum machines. What was he on? This stuff is bound to haunt him beyond the grave. We can be thankful he didn't try and butcher the 1970s Tangerine Dream catalog the same way.

Aqua is his first solo album, but it certainly didn't harm Tangerine Dream in the least, as their best stuff was just around the corner. This one actually sounds more like a transition between the early "Pink Years" (Ohr label) Tangerine Dream and the Virgin Years. Many of the sounds effects are familiar as they were used on Phaedra, basically on the title track and "Upland", meaning you know it was Froese himself responsible for those sound effects. On this album he uses mainly VCS-3 and organ, but strangely he uses the Mellotron on only one cut. On "NGC 891" he gets his TD bandmate Christophe Franke on Moog to provided the sequencer. The title track features strange water sounds and very eerie droning organ, before ending like it came off Alpha Centauri or Zeit with those same eerie wind sounds. "Panorphelia" features pulsing VCS-3 synth sounds and Mellotron, but the Brain version starts off with strange whooshing sound effects not found on the Virgin version. "NGC 891" features an experiment using Günther Brunschen's artificial head system, basically microphones stuck in each ear of a dummy head (or mannequin head) to create this surround sound effect, as heard on the sounds of jets heard on this cut. The effect is best heard using headphones hearing them come from the left to right, although I can feel that effect on my regular stereo system without the headphones. You just have to sit between the speakers. "Upland" also starts off with strange sound effects on the Brain version that's different from the Virgin, before it goes on the more familiar bubbling VCS-3 synths sound effect. That strange reversed tinkling piano that ends the Virgin version is absent on the Brain version. It's only "Upland" and "Panorphelia" that differ from the Brain and Virgin versions as the title track and "NGC 891" are the same on both versions. I own both the Virgin and Brain versions so I can attest to this, and it's nice to own both versions because of that. I just acquired the Brain version after years of hearing how two of its cuts were of different mix. The other minor different was side one and two were switched. Regardless, this is a great and important album in Edgar Froese's career. Not only did it launch his solo career, but is a nice bridge between the old and new Tangerine Dream sound of that time, even though Aqua did come about four months after Phaedra. Very much an essential album.

 Vinter by BREIDABLIK album cover Studio Album, 2017
5.00 | 1 ratings

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Vinter
Breidablik Progressive Electronic

Review by Progfan97402

— First review of this album —
5 stars It was only since September 2017 that I discovered Jordsjř, which is perhaps the finest prog act I have ever heard in a long time. As a bonus, I found out about Breidablik exactly the same time as Jordsjř released a split cassette with Breidablik called Songs from the Northern Wasteland. It shouldn't take much to figure out where they got that title from. In case you didn't, it's Michael Hoenig's Departure from the Northern Wasteland. That cassette even used the same Tangerine Dream typefont used on some of their album like Atem and Rubycon. Anyways Breidablik is quite different from Jordsjř, instead of '70s style symphonic prog, you get full-on Berlin School-influenced electronic music. Admittedly that Breidablik influence occasionally has itself felt on Jordsjř, like "Under Aurora B", "Fuglřkallen" and "Postludium", but generally the music sticks with symphonic prog. Breidblik is a one-man project lead by Morten Birkeland Nielsen. He uses different types of analog and analog modelling synths. Vinter is the first release that's entirely by Breidablik, released on limited edition cassette and download. While the influence of Tangerine Dream and Schulze are felt, it has a sound all its own. Sequencers tend to be more midpaced, they don't go into Ricochet-style overdrive. There are plenty of more ambient moments that get me thinking of the vast rocky terrain of northern Norway. Morten certainly done it right the first time, and I can see him/Birkeland to be a force to be reckoned with in the electronic music world. This is a great cassette really worth your time!
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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
PETER BAUMANN Germany
BAUMANN/KOEK Germany
BEAR BONES LAY LOW Venezuela
BOBBY BEAUSOLEIL United States
CARLOS BELTRÁN Mexico
LÁSZLÓ BENKő Hungary
PHILIPPE BESOMBES France
BETWEEN INTERVAL Sweden
MAURIZIO BIANCHI Italy
BIG ROBOT Norway
BIOSPHERE Norway
BLACK UNICORN United States
TIM BLAKE France
BLUE MOTION Switzerland
BLUE SAUSAGE INFANT United States
WOLFGANG BOCK Germany
DIDIER BOCQUET France
IAN BODDY United Kingdom
GASTON BORREANI Italy
ADAM CERTAMEN BOWNIK Poland
BREIDABLIK Norway
OLIVIER BRIAND France
MICHAEL BRÜCKNER Germany
FRANCESCO BUCCHERI Italy
HAROLD BUDD United States
MICHAEL BUNDT Germany
FRANCESCO CABIATI Italy
ROBERTO CACCIAPAGLIA Italy
SAMUEL CADIMA Portugal
CALDERA United States
TOM CAMERON United States
DALLAS CAMPBELL United States
CELLULOID United States
CELLUTRON & THE INVISIBLE United States
ANDREW CHALK United Kingdom
JOHN CHRISTIAN United Kingdom
CHRISTINE 23 ONNA Japan
CHURCH OF HED United States
THE CIRCULAR RUINS United Kingdom
CLOUDLAND BALLROOM Ireland
CLOUDLAND CANYON United States
CLOUDLAND CANYON/LICHENS United States
COIL United Kingdom
COMA VIRUS Germany
PASCAL COMELADE France
COMPUTERCHEMIST United Kingdom
CON HERTZ Germany
CONTRASTATE United Kingdom
COSMIC DEBRIS United States
COSMIC GROUND Germany
COSMIC HOFFMANN Germany
CRAWL UNIT United States
CREMATOR United Kingdom
CROP CIRCLES France
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
FRANCESCO CURRŔ Italy
CYBOTRON Australia
DEAD VOICES ON AIR United Kingdom
DEUTSCHE WERTARBEIT Germany
NICOLAS DICK France
DIN A TESTBILD Germany
DIONNE - BRÉGENT Canada
DOLULUS Switzerland
DR. SPACE'S ALIEN PLANET TRIP Denmark
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ELICOIDE Italy
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EXPO 70 United States
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FRANCO FALSINI Italy
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FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
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FIVE THOUSAND SPIRITS Italy
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FREE SYSTEM PROJEKT Netherlands
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MORT GARSON Canada
GRAHAM GETTY United Kingdom
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MATHIAS GRASSOW Germany
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RANDY GREIF United States
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SVEN GRÜNBERG Estonia
GEORGES GRÜNBLATT France
JEAN GUÉRIN France
CARLOS GUIRAO Spain
BRUCE HAACK Canada
HALL OF MIRRORS Italy
PETER MICHAEL HAMEL Germany
HARMONIA Germany
STEVE HAUSCHILDT United States
HEADSHOCK United Kingdom
TIM HECKER Canada
HELDON France
HEMMELIG TEMPO Norway
ROBERT HENKE Germany
JACK HERTZ United States
MICHAEL HOENIG Germany
HOLLAN HOLMES United States
HORSE PALACE Canada
HARUOMI HOSONO Japan
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EPPIE E. HULSHOF Netherlands
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GIUSEPPE IELASI Italy
INVOLVED United States
IVERSEN Norway
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EDDIE JOBSON United Kingdom
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ARIEL KALMA Australia
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KNITTING BY TWILIGHT United States
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MOTHER MALLARD'S PORTABLE MASTERPIECE CO. United States
MOUNTAIN OCEAN SUN Japan
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THE ALMAN MULO BAND United Kingdom
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IAN NAGOSKI United States
PETE NAMLOOK Germany
NAUTILUS Germany
NAZI UFO COMMANDER Italy
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NEVER KNOWN Italy
NEWCLEAR WAVES Italy
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NIMH + M.B Italy
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NODE United Kingdom
NUMINA United States
OMIT (CLINTON WILLIAMS) New Zealand
OÖPHOI Italy
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OSE France
P'COCK Germany
PALADIN United Kingdom
STEPHEN PARSICK Germany
PEAK Australia
PETER M. Italy
PHROZENLIGHT Netherlands
RICHARD PINHAS France
CHRISTOPHE POISSON France
POLE France
BRENDAN POLLARD United Kingdom
TJ PORTER Canada
COLIN POTTER United Kingdom
NIC POTTER United Kingdom
ROGER POWELL United States
DAVID PRESCOTT United States
THE PRESENT MOMENT United States
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PROPELLER ISLAND Germany
PRZEMYSLAW RUDZ Poland
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RADIO MASSACRE INTERNATIONAL United Kingdom
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REALTIME Germany
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SAB Japan
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SANKT OTTEN Germany
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CONRAD SCHNITZLER Germany
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ROBERT SCHROEDER Germany
KLAUS SCHULZE Germany
SEESSELBERG Germany
SEQUENTIA LEGENDA France
SERGE RAMSES France
SHOGUN KUNITOKI Finland
MARK SHREEVE United Kingdom
FREDERICH SHULLER Romania
SIJ Ukraine
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SINIAALTO Finland
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SOFTWARE Germany
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SPACE ALLIANCE Italy
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MICHAEL STEARNS United States
STELLARDRONE Lithuania
SUBINTERIOR Italy
SURYA KRIS PETERS Germany
SYRINX Canada
JUTA TAKAHASHI Japan
TANGERINE DREAM Germany
TANGRAM Hungary
TELAIO MAGNETICO Italy
DR. FIORELLA TERENZI Italy
THOUGHT GUILD United States
THREE SUNS Austria
THROBBING GRISTLE United Kingdom
ASMUS TIETCHENS Germany
TIPU SABZAWAAR Multi-National
TOMUTONTTU Finland
TÖNEN United States
TONTO'S EXPANDING HEAD BAND United Kingdom
TORTURE GNOSIS Multi-National
TOTAL STATION Russia
TRANCE United States
TRANQUILLITY Germany
TRANSPARENT ILLUSION United Kingdom
ROLF TROSTEL Germany
UDDER MILK DECAY United Kingdom
MATTEO UGGERI Italy
UNATTA United States
URNA Italy
VAKO Spain
VANDERSON Poland
JOEL VANDROOGENBROECK Switzerland
PATRICK VIAN France
VIDNA OBMANA Belgium
VIETGROVE United Kingdom
VLUBÄ Argentina
VOICE OF EYE United States
VOLT Netherlands
ADELBERT VON DEYEN Germany
VON HAULSHOVEN Netherlands
ADRIAN WAGNER United Kingdom
IGOR WAKHEVITCH France
WAVEMAKER United Kingdom
WAVESTAR United Kingdom
PHILLIP WERREN Canada
WHITE NOISE United Kingdom
PATRICK WIKLACZ France
TERJE WINTHER Norway
WINTHERSTORMER Norway
WO0 Serbia
BERNHARD WÖSTHEINRICH Germany
RENÉ VAN DER WOUDEN Netherlands
X-TG United Kingdom
XIU Italy
BERNARD XOLOTL France
YELLOW MAGIC ORCHESTRA Japan
YEN POX United States
YETI RAIN United States
YOU Germany
ZA SIÓDMA GÓRA Poland
EDWARD M. ZAJDA United States
ZALYS France
ZANOV France
ZED France
ZOLTAN United Kingdom
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ZYGOAT United States

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