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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 | 843 ratings
RUBYCON
Tangerine Dream
4.28 | 261 ratings
MIRAGE
Schulze, Klaus
4.22 | 253 ratings
TIMEWIND
Schulze, Klaus
4.16 | 723 ratings
PHAEDRA
Tangerine Dream
4.18 | 135 ratings
EPSILON IN MALAYSIAN PALE
Froese, Edgar
4.24 | 55 ratings
AN ELECTRIC STORM
White Noise
4.36 | 31 ratings
IN COURSE OF TIME
Zanov
4.11 | 226 ratings
X
Schulze, Klaus
4.24 | 47 ratings
GREEN RAY
Zanov
4.29 | 33 ratings
CATCH WAVE
Kosugi, Takehisa
4.53 | 16 ratings
ARCHITEXTURE OF SILENCE
Alpha Wave Movement
4.56 | 15 ratings
LONG LOST RELATIVES
Syrinx
4.22 | 35 ratings
LUCIFER RISING (OST)
Beausoleil, Bobby
4.19 | 40 ratings
ALIO DIE & LORENZO MONTANA: HOLOGRAPHIC CODEX
Alio Die
4.01 | 427 ratings
FORCE MAJEURE
Tangerine Dream
4.81 | 9 ratings
DECONSECRATED AND PURE
Alio Die
4.14 | 49 ratings
INTEGRATI... DISINTEGRATI
Leprino, Franco
4.03 | 171 ratings
AMBIENT 4 - ON LAND
Eno, Brian
4.01 | 171 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

TIME REPLICATED
Bownik, Adam Certamen
WUNDERBAR
Riechmann, Wolfgang
HARMONIC ASCENDANT
Schroeder, Robert
SYNTHESIST
Grosskopf, Harald

Latest Progressive Electronic Music Reviews


 Rhizosphère by PINHAS, RICHARD album cover Studio Album, 1977
3.04 | 20 ratings

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Rhizosphère
Richard Pinhas Progressive Electronic

Review by WFV

3 stars As the first Richard Pinhas solo work, Rhizosphere works as a natural bridge between the music Pinhas created with Heldon and the music he would make in the future. A transition album.

We're still treated to treated electronics, but without a guitar, the aggression is scaled back on Rhizosphere. The first side flows nicely with shorter pieces, for me the highlight is the languid Trapeze/Interference.

Side B is a sidelong electrosuite that is quite repetitive and not all that engaging.

Somewhat mediocre but mildly pleasing for electrofans. The CD release includes a seperate unreleased Live album from 1982, which bumps the mediocrity level to respectably competent.

 Vol. 1 by DR. SPACE'S ALIEN PLANET TRIP album cover Studio Album, 2017
3.97 | 3 ratings

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Vol. 1
Dr. Space's Alien Planet Trip Progressive Electronic

Review by raigor

4 stars "Dr. Space's Alien Planet Trip - Vol.1" is the first solo-album by Scott Heller, the master-mind and synth-guru behind Øresund Space Collective, as well as the owner of Space Rock Productions label that released this album on vinyl LP only. It presents all instrumental synthesizer music at the intersection of psycho-acoustic Experimental, textured Ambient, sci-fi soundtrack Cinematic, futuristic Post-Industrial and Space-Age, etc. Aside of Dr. Space synth-manipulations and occasional rhythm-programming, the album features guest appearance of two prominent guitarists - Nicklas Sørensen (of PAPIR) and Richard Orlando (of ALIEN PLANETSCAPES). Their heavy distorted contribution into the creation of the swirling-bubbling-rumbling, droning, groaning, spiraling and constantly shifting space-atmospheric soundscape is quite remarkable. As a whole, the album resembles a soundtrack to the low-budget SciFi pulp-horror movie, though not without the references to Karlheinz Stockhausen's academic researches in the fields of "serialism", "spatialization", "polyvalent forms", "process composition", etc. In other words, if you're searching for inventive, exquisite, and motivated experimental music, this work would be just your "cup of tea".
 Tussilago Fanfara by ANNA SJALV TREDJE album cover Studio Album, 1977
4.21 | 25 ratings

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Tussilago Fanfara
Anna Sjalv Tredje Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. Man that has to be one of my all time favourite album covers, even the picture on the back cover. A black and white picture done by Swedish photographer Tom Benson who in his day had his displays in art galleries across Sweden, a very influential artist. While you may not think of Sweden when you think of Electronic music, this is one of my favourites from that sub-genre. A duo who named themselves after a Leonardo Da Vinci painting from 1510. Both Ljungstrom and Bojen play keyboards and synths while the latter adds some guitar. This was love at first listen. A mid-paced, melancholic album released in 1977 that can also turn quite dark at times. Two tracks per side.

"Mossen" is possibly my favourite as sounds swell until it slowly pulses. It's dark and mysterious with haunting wind. Music for the mind as the organ arrives a minute in then electronics around 2 1/2 minutes as the darkness and experimental sounds fade. Very much a Krautrock/ Electronic vibe here. The synths start to swirl 5 1/2 minutes over top to the end. A great start!

"Inkomster Utanfor Tiden" features these haunting whispers that seem to be on a loop and they continue throughout the 11 1/2 minutes. It sounds like wind or waves as the organ arrives a minute in. Electronics join in at around 1 1/2 minutes. So much going on after 2 minutes as another sound is added. Man this is so "out there". It settles back 5 1/2 minutes in until it's like the start of this song with the whispering and waves. Percussion joins in at 6 minutes along with some high pitched abrasive guitar that I'm not that into. The guitar stops before 10 1/2 minutes as the final minute ends like it all began.

Side two starts with the longest track at over 14 minutes called "Den Barbariska". Spacey synths along with organ I believe to start. Such a beautiful drifting sound here that builds. A darker more bass sound before 6 minutes then electronics pulse and twitter over top. Clashing sounds follow then it settles back around 10 1/2 minutes with organ, synths and more and this continues pretty much to the end.

"Tusen Ar & Sju" has an ethnic sound to it with that percussion and picked guitar I believe. A strong Krautrock vibe here as in POPOL VUH. This is very repetitive until a new sound arrives 6 minutes in then it turns spacey late.

I may bump this up to 5 stars down the road as my buddy Guldbamsen has rated it as such and he knows this album better than I do. A must for Electronic fans out there.

 Through A Glass Darkly by HOWELL & THE RADIOPHONIC WORKSHOP, PETER album cover Studio Album, 1978
4.91 | 2 ratings

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Through A Glass Darkly
Peter Howell & The Radiophonic Workshop Progressive Electronic

Review by Gwylock1

5 stars This is an often-overlooked instrumental masterpiece in my opinion. The title track and The Astronauts are the main attractions here (and a feast for the ears they are, too!) but the other tracks are great too, very charming and catchy and considerably lighter in tone than the long, spacey, grandiose opening suite and the driving, adventurous closing track. There are definitely some distinct pre-echoes of Peter Howell's later Doctor Who music here, but on a much grander scale, un-fettered from the slightly cheesy but oddly compelling sci-fi drama. Highly recommended for those who like anything from symphonic prog to ambient to synthpop to folk rock to techno (sometimes within the same song).
 Hyperborea by TANGERINE DREAM album cover Studio Album, 1983
3.49 | 208 ratings

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Hyperborea
Tangerine Dream Progressive Electronic

Review by Elioglossia

3 stars Having owned only an infinitesimal amount of TD's discography comparatively speaking, I'm not really sure where to place this among its predecessors and contemporaries. However, Hyperborea stands out in the band's 80s oeuvre primarily because of the Eastern flavor of opening track No Man's Land. A slow-burning, stuttering composition lasting around 9 minutes, it is a disjointed jaunt through the land of everlasting sunshine, as the album's mythological title suggests. Compared to proximal albums like White Eagle and Exit, there is a more fleshed-out sonic template being utilized here, but frankly the compositions are not as intrepid overall as the ones on the aforementioned albums. Chalk it up to personal taste, but there's not as much of a pulse to Hyperborea. It just lumbers along, but I can appreciate the range of moods here. Within the space of four tracks, it runs the gamut from quirky to menacing, while oddly maintaining a sense of homogeneity.
 The Far Canal  by VOLT album cover Studio Album, 2003
3.00 | 1 ratings

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The Far Canal
Volt Progressive Electronic

Review by TenYearsAfter

— First review of this album —
3 stars VoLt is the UK duo Michael Shipway (who released four solo albums between 1992 and 2011) and Steve Smith (Steve Smith And The Tylas Cyndrome and a duo with Robin Banks). A long time ago they met for the first time and decided to write songs together and record them. So a pop/rock band called Hi-Fi was born. Along with all of this came a desire to explore the world of sampling and synthesized sound. These instruments were introduced into the band and also spawned the classic sampling duo A.I. or Artificial Intelligence (that still exists to this day). Michael then sent a demo of some songs he had done in the electronic music genre to a record label called Surreal to real. Lo and behold they liked it and three albums were produced. It was during a period after this, when Michael was striving to write his fourth album and Steve Smith was away doing other band projects. It occurred to Michael that they had never actually tried to play music live and spontaneous with no prior arranging. Everything had always been carefully prepared and recorded in computers and edited to achieve the required result. So both Mike and Steve agreed it would be a good idea to try some sessions playing live in the studio with no pre-planned ideas, except for some programmed sequencers. So what was to become their debut album entitled The Far Canal was recorded in three sessions, and VoLt came into being. The 3 tracks contained here were performed live by VoLt in concert and in the studio, the only preparation being the programming of sounds and sequences.

1. Part One (14:36)

The intro delivers sound effects, followed by soaring synthesizer strings and majestic Mellotron choir drops. Then catchy sequencers and layers of synthesizers in a mid-tempo, culminating in a long and wonderful part featuring an awesome Mellotron violin sound. The final section is dreamy with soaring synthesizers and the sound of the Mellotron female choir section.

2. Part Two (21:13) The atmosphere in this part refers the most to the 'outer space' title The Far Canal: after a very long intro with a typical EM spacey climate, halfway a slow beat and synthesizers with a phasing sound, this is wonderful ambient music.

3. Part Three (24:31)

This is the realm of cosmic music with lots of beautiful sound effects. Then hypnotizing synthesizers join, halfway a slow beat and soft synthesizer flights, Japanese EM musician Kitaro comes to my mind. Gradually the atmosphere becomes more lush, topped with propulsive sequencers and pitchbend driven synthesizer runs, simply wonderful. In the end a mellow atmosphere with again interesting sound effects and soaring synthesizers.

A very pleasant debut CD, meanwhile VoLt have released a serie of albums between 2003 and 2013 (the lastest is entitled Particles).

Thanks to EManiac Paul Rijkens.

 synthetik 1 by SEESSELBERG album cover Studio Album, 1973
3.51 | 15 ratings

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synthetik 1
seesselberg Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars Some artists like Cluster, Tangerine Dream and Klaus Schulze have become quite popular and synonymous with the progressive electronic music that rode the wave alongside the Krautrock explosion, but also nestled within the explosion of creative electronic music emerging from Germany in the early 70s, others have been left in the vaults of obscurity and discovered only by those jumping into their time capsules and searching high and low for some of the less heard acts. And obscure does not mean for one tiny second that any particular artist wasn't worthy of the same heaping praise, it simply means that for one reason or other they didn't catch the attention of the public at large despite displaying totally unique and creative displays of hitherto unprecedented sonicscapes. Dusseldorf based SEESSELBERG was one of those clever crafty electronic progenitors of wizardry that spent nearly a decade fine-tuning the electronic passions and then released one album only to disappear into a sea of unheard sound. Part of this obscurity surely was the result of only 600 copies released from the first pressing in 1973 but a small but dedicated cult audience has kept this one alive over the decades.

SYNTHETIK 1 is the one and only album to surface from brothers Eckhart and Wolf SEESSELBERG but in its mere three quarters of an hour running time delivers a career's worth of frenetically shifting ambitious sonic ideas that resulted in what i deem a long last classic of the genre. While it may seem that these brothers were riding the wave of contemporaries like Conrad Schnitzler and Cluster, with whom they are for the most part compared, their interest in the sonic potentials of electronic discoveries dates all the way back to 1965 when Eckart was tinkering with his first electronic toys at the time when Wolf was occupied as a stage assistant at the local opera house. Inspired by the fertile nascent electronic sounds gestating from early avant-garde gurus such Raymond Scott, Edgard Varése and Karlheinz Stockhausen amongst many others, Eckhart spent the next several years exploring the emerging field of electronic music in a psychedelic context which all began with his initial interest with simple Walkie-Talkies that developed into fully freaked out symphonies of synthesizers embarking on the most tripped out journeys to planet Lysergia.

The album itself was recorded between 1971 and 1973 and begins as if an electronic simulation of firecrackers had been set off and then quickly goes through wild and raucous episodic outbursts, subdued drifting and various mood changing passages. Unlike many drone oriented contemporaries that milked certain electronic sounds to infinity, SEESSELBERG created a quite busy ever-changing procession of electronic sounds that include much more percussive and rhythmic segments that sound like some sort of proto-industrial grooves that would eventually emerge as the motorik style implemented by more popular German electronic acts such as Kraftwerk and Neu! While the music generates multi-faceted rhythmic clusters of percussion as one of the main features, these segments come and go and are augmented by atonal organ runs, atmospheric surrealism and other avant-garde psychedelic developments. This is free form electronica in full action taking advantage of every technique of the era and utilizing it on steroids.

This is some of the coolest experimental electronic music to blossom from this fertile era of creativity and one of the best finds which takes a completely different approach from the more popular contemporaries. SYNTHETIK 1 is point blank a truly bizarre electronic journey into the unknown where progressive electronic compositional delirium intersects with electroacoustic improvisation and irregularities of sonic waves shooting to the stars and beyond. Supposedly this album has some sort of theme behind the madness but suffice it to say that it works better as a collection of bizarre electronic manipulations that are set to schizoid mode that simmer down to chill and then are coaxed back into full freakery. This one is not to be missed by those who crave some of the most bizarre and texture-rich progressive electronica ever laid down to tape.

 Iceland by PINHAS, RICHARD album cover Studio Album, 1980
4.01 | 35 ratings

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Iceland
Richard Pinhas Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars "Cold" is an adjective which could often be ascribed to Richard Pinhas' music, whether you're talking about his solo electronic works or his band work with the likes of Heldon. A master of creating alienating, chilling atmospheres already, on Iceland he really takes that to the next level, producing a frosty masterpiece which will convince listeners that the dread fimbulwinter that precedes Ragnarok is upon them. CD rereleases tack on the 25 minute bonus track "Wintermusic", a rather dispensable Fripp & Eno-esque drone piece which fails to capture the raw intensity of the original album and can safely be skipped; it's the core Arctic blast of the original tracks which really stands out.
 Out Of The City by JAZZCOMPUTER.ORG album cover Studio Album, 2009
4.13 | 4 ratings

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Out Of The City
Jazzcomputer.org Progressive Electronic

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars French jazz guitarist Yves Potin has contributed another sophisticated and thought-provoking contribution to Prog World in this decidedly cooler, more unsettling collection of soundscapes. While Yves instrumental and computer prowess is undeniable, the music here is quite dystopian and bleak. I shouldn't be saying that as if it's a bad thing, it's not--it's just the reality of the way things are progressing--especially on the human-disrupted surface of our planet. In that respect, the music presented here is quite powerful in its representation and reflection of the harm and chaos we have wielded upon our Mother. Ridley Scott and Vangelis would be quite appreciative of this music.

1. "Stress" (5:12) Though the power as a support of some tense, deep-in-the-night scene is undeniable, this one is a little too soundtrack-like and less the kind of music that you'd want to play without something theatric or visual to go with it. (Are there videos to any of your songs, Yves?) Virtuosic modern jazz-rock fusion guitar play (in a JERRY DE VILLIERS, JR. kind of way). (8.5/10)

2. "Anguish" (4:22) is like standing in a big city train or bus station and trying to fathom the surrounding chaos. Amazingly affective. (9/10)

3. "Stoned and Blurred" (5:26) unfortunately uses the same guitar sound and arpeggiated chord from the previous song to introduce the theme over the stark industrial soundscapes established by the computer synths. (9/10)

4. "Inverted Twilight" (8:06) Disc Two of Gone to Earth! Awesome job of replicating the ambient soundscapes that David Sylvian created on that awesome album! (8.5/10)

5. "Those I Left Behind" (9:17) More from Disc Two of Gone to Earth! This time with similar guitar parts to the ones that David Sylvian, Robert Fripp, or Bill Nelson added to those ambient landscapes. Add the fretless bass, water drums, and Steve Jansen-like percussive rhythms to the final section and it's a perfect Sylvian replica! (8.5/10)

6. "Cold Bright and Quiet" (9:09) reminds me of the music from Vangelis' 1995 album, Voices. Spacious, deeply engaging and magically hypnotic. Though the lead instruments are nothing but hand percussives and a kalimba-like or kalimba-MIDIed vibraphone, it is eminently effective. The bass and synth washes could be higher up in the mix. (9/10)

An aural masterpiece in its representation of mankind's self-created troubled times, this is music that you don't want to listen to if you're already depressed. I commend and laud Yves' efforts and skills, but this is one of his discs that I'll probably not return to very often. (But then, you never know!)

4.5 stars; a near-masterpiece of progressive rock music though this is probably a true masterpiece of progressive electronic music.

 Elsewhere by JAZZCOMPUTER.ORG album cover Studio Album, 2007
4.52 | 4 ratings

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Elsewhere
Jazzcomputer.org Progressive Electronic

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars The second album released by guitar-based prog electronic/jazz/fusion artist Yves Potin under the JazzComputer.Org name. The music here is very difficult to categorize. It is a fusion of many eclectic styles, all very nicely engaging the listener on some wild and otherworldly yet relaxing and thoroughly enjoyable journeys through some very exotic aural topographies that might be better described as coming from "ancient futures."

1. "Indian Mood on Thethys" (9:38) opens like a jazz guitarist's solo sound experimentation. I'm reminded of both Pat Metheny's totally solo album from 1979, New Chautauqua, as well as some of Jan Akkerman's late 1970s solo experimentation (Eli). Gorgeous stuff. The first half goes with very little rhythmic structure (the occasional background synth wash chord), but in the second half the guitar and newly-present bass and talking drum and rim shot percussives become support for the soloing of a koto. Cool sounds and cool stuff. I'd like to have seen a little more melodic development to engage me a little more deeply. (8.5/10)

2. "Dawn in the Snow" (11:34) opens as if it came straight from outtakes from Vangelis' Blade Runner soundtrack, this song contains some absolutely magical moments (like the sparsely used operatic voice notes) but lacks from full development in many overly-spacious places. (8.25/10)

3. "Elsewhere" (24.55) other than the opening atonal space synthesizer section (which is very cool but a little too long), this song stands up as one of the prettiest, most deeply engaging and evocative electronica pieces I know of from the Naughties. The section from the beginning of minute seven to ten is absolute prog perfection. The percussives in the next section are really cool, as are the space sounds and unsettling synth worms in the thirteenth minute and the guitar "punches" in the fourteenth and fifteenth minutes. The next section that establishes itself around 17:30, driven by the "lunge jazz" beat, is really cool for the scurrilous flights of the synth "bats." If the opening four minutes were as peaceful and engaging as the final four this would be a perfect prog epic. (9.5/10)

A five star minor masterpiece of ambient electronic jazz fusion (or something like that) and a gorgeous example of the possibilities of 21st Century technological potential.

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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
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CRAWL UNIT United States
CREMATOR United Kingdom
CROP CIRCLES France
CROWS LABYRINTH Netherlands
CULTURAL NOISE Austria
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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
HEINRICH DRESSEL Italy
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EARTHSTAR Multi-National
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ELICOIDE Italy
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EXPO 70 United States
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FRANCO FALSINI Italy
FANGER & SCHÖNWÄLDER Germany
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FASER Germany
FATHER MOO & THE BLACK SHEEP Japan
FFWD United Kingdom
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FIVE THOUSAND SPIRITS Italy
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FORMA United States
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FREE SYSTEM PROJEKT Netherlands
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MATHIAS GRASSOW Germany
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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
PETER HOWELL & THE RADIOPHONIC WORKSHOP United Kingdom
EPPIE E. HULSHOF Netherlands
HYDRAVION France
HYDRUS Italy
GIUSEPPE IELASI Italy
INVOLVED United States
IVERSEN Norway
JAZZCOMPUTER.ORG France
JESDAT Spain
JIHEL France
GUSTAVO JOBIM Brazil
EDDIE JOBSON United Kingdom
JONATHAN Germany
ARIEL KALMA Australia
JÜRGEN KARG Germany
KASHMIR Switzerland
KHA - YM France
BERND KISTENMACHER Germany
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KL(AÜS) Australia
KNITTING BY TWILIGHT United States
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ESA KOTILAINEN Finland
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LOGIC GATE United States
LONG DISTANCE POISON United States
LOOM Germany
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LULL United Kingdom
LUNAR MIASMA Greece
TOR LUNDVALL United States
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EMERSON MEYERS United States
MICKIE D'S UNICORN Germany
CLAUDIO MILANO Italy
DIETER MOEBIUS Germany
MOKSHA United Kingdom
MOLNIJA AURA Italy
CLARA MONDSHINE Germany
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GEN KEN MONTGOMERY United States
MOORE / MYERS United States
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STEVE MOORE United States
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SCOTT MOSHER United States
MOTHER MALLARD'S PORTABLE MASTERPIECE CO. United States
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THE ALMAN MULO BAND United Kingdom
JONAS MUNK Denmark
MUSHY Italy
IAN NAGOSKI United States
PETE NAMLOOK Germany
NAUTILUS Germany
NAZI UFO COMMANDER Italy
NEMESIS Finland
NEPTUNE TOWERS Norway
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NEVER KNOWN Italy
NEWCLEAR WAVES Italy
NIMH Italy
NIMH + M.B Italy
NISUS Belgium
NODE United Kingdom
NUMINA United States
OMIT (CLINTON WILLIAMS) New Zealand
ONEOHTRIX POINT NEVER United States
OÖPHOI Italy
OSCILLOTRON Sweden
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
PULSE EMITTER United States
PYTHAGORON United States
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QUARKS Chile
RADIATION Russia
RADIO MASSACRE INTERNATIONAL United Kingdom
LUTZ RAHN Germany
NIK RAICEVIC United States
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RAINBOW SERPENT Germany
RAISON D'ETRE Sweden
RAPOON United Kingdom
REALTIME Germany
TOM RECCHION United States
REDSHIFT United Kingdom
JONAS REINHARDT United States
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ROBERT RICH United States
RICHARD WAHNFRIED Germany
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STEVE ROACH United Kingdom
HANS-JOACHIM ROEDELIUS Germany
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THOMAS RONKIN United States
SAB Japan
SAFIYYA United States
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SANKT OTTEN Germany
SATAN ALFA BEEL ATEM Japan
SAYER United States
GÜNTER SCHICKERT Germany
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CONRAD SCHNITZLER Germany
EBERHARD SCHOENER Germany
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
SIL MUIR Italy
THE SILVERMAN United Kingdom
SINIAALTO Finland
SINOIA CAVES Canada
JAKOB SKØTT Denmark
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SOFTWARE Germany
SONISK BLODBAD Multi-National
SOUNDS OF NEW SOMA Germany
SPACE ALLIANCE Italy
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SPERM Finland
STARDRIVE United States
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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