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PROG FOLK

A Progressive Rock Sub-genre


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Prog Folk definition

In the wake of the 1960s, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. BOB DYLAN, JOAN BAEZ, WOODY GUTHRIE, JOHN DENVER, BUFFY STE-MARIE, but also the FARINA couple Richard and Mimi for the US and SHIRLEY COLLINS and EWAN McCOLL (mentor of BERT JANSCH, JOHN RENBOURN ) for the UK and HUGUES AUFRAY in France. In Quebec, there was the "Chansonniers" phenomenon among which CLAUDE LEVEILLE and FELIX LECLERC were the most popular, waking up the sleepy "Belle Province" and stand up for itself from the English rule. The English part of Canada also brought up JONI MITCHELL, LEONARD COHEN (although he was from Montreal) and NEIL YOUNG.

As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity. As DYLAN soon abandoned to style to create Country Rock with his next album, his British equivalent Scotsman DONOVAN stayed true to Folk Rock. In the US, THE BYRDS were the main promoters of the style by now, culminating with the superb "Eight Miles High" track with a lengthy (for the times) guitar solo of almost one minute. But countless other bands on the west coast, such as LOVE, JEFFERSON AIRPLANE (and later its spin-off HOT TUNA), GRATEFUL DEAD, QUICKSILVER MESSENGER SERVICE, PEARLS BEFORE SWINE, and TIM BUCKLEY all started in the folk rock realm. Even San Fran's SANTANA with its Latino traditional music and, on the east coast, NY's THE LOVING SPOONFUL had folk roots. Notwithstanding the immense popularity of SIMON & GARFUNKEL and their delicious harmonies, Folk Rock was appealing only to the rock public as the older generations turned their backs in folkies.

In the UK, following on their countrymen DONOVAN, many Scotsmen were very influent in exploring new grounds for folk rock: INCREDIBLE STRING BAND (led by Scots Palmer and Williamson) with their two highly influential albums "5000 Layers Or The Spirit Of The Onion" & "The Hangman's Beautiful Daughter" and THE PENTANGLE (led by other Scots Renbourn, Jansch and McShee and their superb bassist Danny Thompson) and its incredible fusion of folk, blues and jazz style were very instrumental in developing the style to the same extent as FAIRPORT CONVENTION and STRAWBS who by that time were still more conventional US "west-coast folk rock". The single artistes in folk rock became known as Folk Troubadours were also numerous and often presented a more progressive side of folk: AL STEWART, NICK DRAKE, ROY HARPER, TYRANOSAURUS REX (actually a duo of Steven Took and Marc Bolan) , JOHN MARTYN etc.

However, the real angular album that will lead to further change of Folk Rock is FAIRPORT CONVENTION's "Liege & Lief" album, that proved to be highly influential for another generation of groups: this album concentrated into electrifying seminal English traditional folk and retained that quaint Englishness taste. It is interesting to see that both leaders of FAIRPORT quit the band after this success to go their respective way: Sandy Denny to a solo folk songwriting career and Ashley Hutchings to a very traditional folk rock. By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Groups like THE THIRD EAR BAND and QUINTESSENCE relied on eastern Indian music influences and, sometimes, medieval tones. Other groups like the weird COMUS, TREES, SPIROGYRA, FOREST, the superb JAN DUKES DE GREY but also TRADER HORNE, TUDOR LODGE, FOTHERINGAY, MAGNA CARTA, and TIR NA NOG were out to break new ground but with less commercial success as their predecessor. By 1972, all of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds. Such as HORSLIPS, DANDO SHAFT, STEELEYE SPAN, AMAZING BLONDEL, ALBION DANCE BAND and SPRIGUNS OF TOLGUS. Although JETHRO TULL had some definitive folk roots right from the start, their only albums that can be regarded as Prog Folk are 1977's Songs From The Woods and 1978's Heavy Horses. Ian Anderson (another Scots) was very keen in acoustical traditional songs. Some Folk Troubadours such as TIM BUCKLEY and JOHN MARTYN started turning records more and more axed towards fusing jazz and folk (a bit in what THE PENTANGLE were doing) , others became more and more electric and they started to be referred to as Singer Songwriters especially those with country rock influences.

In Germany, HOELDERLIN (and their fantastic debut album), EMTIDI, OUGENWEIDE, CAROL OF HARVEST, WITTHUSER & WESTRUPP were exploring German folk while KALACAKRA , SILOAH and EMBRYO were indulging with Indian music. In South America, most notably in Chile, LOS JAIVAS (very bent upon Andean Indian music) and CONGRESO (more Spanish-Latino folklore) were using folk in their rock, so much that some press talked about them referring it with the hateful term Inca Rock. In Quebec, the progressive movement exploded with the cultural identity and the Chansonniers tradition and this was carried out with LES SEGUIN and HARMONIUM and so many more. In France, many groups were out for folk rock such as CATHERINE RIBEIRO AND ALPES, TANGERINE, and ASGARD. In Spain, Flamenco playing a dominant role as well as Basque folk, TRIANA, ITOIZ and HAIZEA were the head of the movement once the Franco regime fell apart after his death.


There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. Among the UK groups are obviously GRYPHON, GENTLE GIANT and THIRD EAR BAND, in France: MALICORNE and RIPAILLE and in Scandinavia: ALGARNAS TRADGARD and FOLQUE.


Hugues Chantraine
with hyperlinks and updates by Ken Levine December 2017

Current Team as of December 2017

Bob Moore aka ClemofNazareth
Ken Levine aka Kenethlevine
Sean Trane

Prog Folk Top Albums


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

4.63 | 3052 ratings
THICK AS A BRICK
Jethro Tull
4.34 | 2398 ratings
AQUALUNG
Jethro Tull
4.18 | 1307 ratings
SONGS FROM THE WOOD
Jethro Tull
4.26 | 186 ratings
ST. RADIGUNDS
Spirogyra
4.21 | 298 ratings
ALTURAS DE MACHU PICCHU
Jaivas, Los
4.38 | 76 ratings
ERWARTUNG
Eden
4.20 | 198 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.14 | 566 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.14 | 508 ratings
FIRST UTTERANCE
Comus
4.16 | 304 ratings
HERO AND HEROINE
Strawbs
4.15 | 308 ratings
GRAVE NEW WORLD
Strawbs
4.44 | 41 ratings
LUCAS
Araújo, Marco Antônio
4.05 | 1138 ratings
STAND UP
Jethro Tull
4.21 | 91 ratings
I A MOON
North Sea Radio Orchestra
4.16 | 113 ratings
BASKET OF LIGHT
Pentangle, The
4.07 | 275 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.14 | 122 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.03 | 1069 ratings
HEAVY HORSES
Jethro Tull
4.03 | 1106 ratings
MINSTREL IN THE GALLERY
Jethro Tull
4.02 | 1344 ratings
A PASSION PLAY
Jethro Tull

Prog Folk overlooked and obscure gems albums new


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

HAUL AR YR EIRA
Pererin
FRESH MAGGOTS
Fresh Maggots
SÓLO FUE UN SUEŃO
Omni
AMETSAREN BIDEA
Errobi

Latest Prog Folk Music Reviews


 Children of the Sun by SALLYANGIE, THE album cover Studio Album, 1968
2.78 | 13 ratings

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Children of the Sun
The Sallyangie Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars While this sole collaboration between older sister and younger brother OLDFIELD under the name of SALLYANGIE is at least of historic value, there is little evidence to suggest that it catapulted their solo careers. In Mike's case, his enthusiasm for "Opus 1" aka "Tubular Bells" motivated him to make the rounds of record company execs a few years later, but, if his participation in "Children of the Sun" had any impact, it appears to have closed more doors than it opened. As for Sally, it was Mike's own success that may have been the single most significant catalyst, though she held off until 1978 before releasing her first record.

With Sally being the elder by 7 years and the principal vocalist, this fledgling disk more closely resembles her later solo work than the more intricate instrumental excursions of Mike. Still, his furiously strummed acoustic guitars portend a virtuoso in the making, while his inevitably child like backing vocals contribute to a naivete of spirit. The flutes of Ray Warleigh and the string arrangements of JETHRO TULL's Dave Palmer play second fiddle to the jangly guitars while further sweetening the mixture. Apart from the female lead vocals, this can stand side by side with other artists of its time like NICK DRAKE, INCREDIBLE STRING BAND and FRESH MAGGOTS. Most tracks are relatively brief and have a not entirely finished air to them,

While none of the pieces have pierced the passage of time to become overlooked classics, the quality is uniformly sound, with "Balloons" and "The Murder of the Children of San Francisco" being favorites. While "Song of the Healer" is the only track to resurface more or less unaltered in Sally's discography (although it does not appear to have been on the original vinyl), "River Song" appears to be cut from the same cloth. Both of these are among the more progressive offerings here.

More recent reissues include bonus tracks, three of which are instrumentals by Mike, little more than expansion of exercises without sister's cooing on top, and 2 songs by Sally, which are more dramatically divergent from the mood of the original release. In fact they are very catchy and slick romantic numbers closer to the works of PETULA CLARK than anything Sally explored at least in the first and best known 5 years of her solo career. I admit I enjoy the contrast after almost an hour of ponderous psychedelia.

As pleasant as this is overall, and as much as I wish I could say that it's worth hearing on its own merits, I must conclude that, considered in the context of its time, this is distinctly average, but it gains a half star for historical credibility rather than sunny precociousness.

 Melita & Veno Dolenc by SEDMINA album cover Studio Album, 1980
3.02 | 11 ratings

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Melita & Veno Dolenc
Sedmina Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars While SEDMINA might be better known in progressive circles for later albums recorded after the breakup of the original matrimonial duo, I'm happy to make the acquaintance of their 1980 debut. Essentially a straightforward collection of mellow Eastern European folk music, the blend of Slovenian vocals, particularly the bell like Melita Dolenc, the creative melodies, and the daunting display of acoustic instrumentation make this a worthwhile listen for most who are not insistent on complexity. Apart from acoustic guitar, colorful piano, flute and violin also grace the arrangements, and the mood is like that of a subdued ITOIZ. Perhaps my favourite is the divine "Jutro", that could have come out of a sophisticated singer songwriter canon, and I suppose it did, while a little more variety in the tempos is welcomed in the form of the clarinet led "Svatba". But since each piece is well crafted, your own preferences may vary. While Melita and Veno divorced sometime after the sophomore album, leaving Veno to carry on the name for a few more releases, it's heartwarming to know they buried the hatchet in 2011 for a series of concerts that returned to this source for a good portion of its setlist. Recommended for fans of non Anglo acoustic folk.
 The Amazing Blondel & A Few Faces by AMAZING BLONDEL album cover Studio Album, 1970
2.96 | 27 ratings

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The Amazing Blondel & A Few Faces
Amazing Blondel Prog Folk

Review by TCat
Prog Reviewer

3 stars This is the debut album from the folk band Amazing Blondel, who was formed from the remnants of the psychedelic band Methuselah. It is pretty much what you would expect from a traditional folk band, but there really isn't a lot of prog on this first album. That doesn't mean it isn't enjoyable, because it is in it's own way. One of the advantages of this album over later albums is that there is more variety apparent, and a lot less pop, which is always a good thing. There are some traditional instruments and some non-traditional, and this all works together quite well and lends to some variety that wasn't present on their more pop oriented albums that would come later. This album also has a lot more than just a couple of guys with acoustic guitars, as you can see from the line-up list above. There is a lot of soul in this album, which is also missing from later albums.

The band ventures away from folk a little bit here and there throughout the album. For example, "Canaan" introduces a bluesy aspect in the vocals, which I was surprised to hear actually work. It definitely sounds like there is a brass section on a few of the songs, but they are not listed in the line-up. There is also plenty of more traditional sounding songs here, including the excellent "Shepard's Song" which is over 6 minutes of acoustics, vocals and a very nice lute melody. I like the variation in the vocals and the harmony present in this song. At this point, on the second half of the album, the songwriting tends to suffer a bit more, but improve a bit on "Minstrel's Song" especially with the longer instrumental break, but still don't quite reach the quality of the first half of the album. The album ends on a low point with the kooky (and, yes, dated) "Bastard Love". This unevenness takes the album from a 4 star to a 3 star rating. But overall, it's still an enjoyable album to listen to on occasion.

Who cares if some of the lyrics are a little corny, because most traditional folk have corny lyrics, at least they sound corny nowadays, but originally they didn't. I am also surprised that this doesn't sound too dated for the most part, but when they revert to trying to produce pop music in later years, they do sound dated. It's nice that this is not so much the case in this collection of tunes.

With the variety of styles here, the band was obviously trying out different sounds to see exactly where their niche was. Of course, as we know, the band would follow the more folk music route then the rock and blues sound, and for the first few albums after this, they do quite well, but at times tend to lack a bit in the variety that is apparent in this album. After the "Blondel" album in 1973, the band would start to venture away from folk and try to introduce pop elements to their sound, and that is where things take a turn downward, seemingly getting worse as time progressed. This is too bad, because they were a decent folk band, even if the sound was not so variable at times and also quite simplistic.

I do like the variety here, and the use of instruments of all kinds, and that the band doesn't just rely on vocals, but have plenty of instrumental passages to keep things interesting. Fun to listen to, but uneven at times. However, it is still mature and interesting enough for a debut album.

 The Broadsword And The Beast by JETHRO TULL album cover Studio Album, 1982
3.28 | 609 ratings

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The Broadsword And The Beast
Jethro Tull Prog Folk

Review by sgtpepper

3 stars Not a bad album at all but it doesn't offer much to the progressive rock fans. The quality within is more for the pop and rock fans as Ian Anderson remains a solid composer and singer. The album starts with a memorable and hard hitting rocker. The Clasp features good singing and changes in the time signatures, has the flute trademarks and good keyboard work so it resembles a progressive rock structure. The third track rocks hard but it is not very memorable and thankfully only 3 minutes long. Flying colours starts off as a ballad and turns after one minute into a fast typical 80's rock with few progressive rock signs. I like the keyboard line though. As the title says, Slow Marching Band is mellower, contemplative track featuring love theme.

The track Broadsword is the highlight on the flip side. Clear melody, progressive rock arrangements. Pussy Willow continues with the slightly experimental mood between a folky mood and rocking second part. Watching me Watching you is a rhythmically complex track featuring flute but not very well developed though. Seal driver ends the album on a positive note with a distinct melody and dramatic spirit. Cheerio is a throwaway track but good to calm down and get ready for another piece of music ;-)

 Fjernsyn I Farver by TUSMŘRKE album cover Studio Album, 2018
4.29 | 7 ratings

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Fjernsyn I Farver
Tusmřrke Prog Folk

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Norwegian band TUSMORKE was formed back in the middle of the 1990's, but didn't actually become recording artists until 2012. Since then the band have grown considerably in status and stature, with half a dozen albums to their name at this point. "Fjernsyn i Farver" is their most recent studio album, and was released by Norwegian label Karisma Records in the spring of 2018.

While "Fjernsyn i Farver" doesn't strike me as the most obvious buy for those with a fascination for the folkier landscapes of the progressive rock universe, this is an album featuring details that crowd would enjoy and to some extent this aspect of the band is one you need to enjoy, just like the striking vocals. But as far as I'm concerned, this is a production that by and large should find most favor among those who find bands such as Atomic Rooster and Black Widow to be compelling. For people with that leaning, that haven't come across Tusmorke yet, this production may well feel like a revelation when uncovered.

 Bydyra by TUSMŘRKE album cover Studio Album, 2017
3.78 | 13 ratings

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Bydyra
Tusmřrke Prog Folk

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Norwegian band TUSMORKE was formed back in the middle of the 1990's, but didn't actually become recording artists until 2012. Since then the band have grown considerably in status and stature, with half a dozen albums to their name at this point. "Bydyra" is their fifth studio album, and was released by Norwegian label Karisma Records towards the end if 2017.

Music made for children are one of those details of life that can give some people headaches merely by mentioning it. Car vacations with the same album of simplistic, limited musical dandruff repeated over and over again a real life nightmare I imagine a few are still familiar with, even if this is mainly an experience from a bygone age by now. Tusmorke proves quite nicely that music of this kind doesn't have to be as limited as certain international corporations wants us to believe, and that music of this kind can be an interesting listen also for adults. Primarily one for the children this one, but also an album that prog loving parents can safely play in their car or at home without being in danger of getting a migraine. As far as style is concerned, this is progressive folk rock blended with a children's musical. A blend that is rather more appealing than what you would expect.

 Thick As A Brick by JETHRO TULL album cover Studio Album, 1972
4.63 | 3052 ratings

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Thick As A Brick
Jethro Tull Prog Folk

Review by sgtpepper

5 stars This together with Passion's play are Jethro Tull's crowning achievements in the progressive rock catalogue. How does this piece of music fare against other progressive rock masterpieces? First of all, the notion of concept is taken into extreme as there are only two suites, which no other major progressive rock act would dare at the time. The compositional skills are fantastic and the suites very intricate with plenty of changes in rhythm patterns and motives. The guitar and Anderson's voice are omnipresent and trademarks and both unique. I never liked Anderson's voice and singing too much though.

There is less space for soloing than on other peers albums, the instruments are here to add to the atmosphere, colour the concept, show the potential of music complexity and not necessarily to show off. Keyboards are less prominent than on Yes, Genesis, Kansas or Pink Floyd records, mostly serving in the background. Synthesizers would only be used from the next album onwards. The bass and the drums is very decent in the mix and hearable.

Out of the two suites, I slightly prefer the second one, since I like the instrumental sections better. After the first couple of minutes, there is even a doom-metal/rock atmosphere characterized by menacing chords - the sequence will be easily recognized by any My Dying Bride fan ;-).

Overall, it is masterpiece of progressive rock, although I have yet need time to fully appreciate this album and understand it in full details.

 Underjordisk Tusmřrke by TUSMŘRKE album cover Studio Album, 2012
3.69 | 46 ratings

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Underjordisk Tusmřrke
Tusmřrke Prog Folk

Review by Mellotron Storm
Prog Reviewer

4 stars This was the debut for this Norwegian band released in 2012. Quite a vocal dominated affair really but with some killer instrumental work throughout. If it wasn't so heavy on the vocals I would be considering a higher rating. Still I went from being kind of amused with what I heard after the first couple of listens to not being able to wait to play this album once again. Very melodic and catchy throughout. This band formed from the ashes of LES FLEURS DU MAL who never released an album but we do get a 17 1/2 minute bonus track by them that is the best song on this recording and it doesn't sound much like the same band as we get Andreas the current vocalist for WOBBLER singing and a much more Swedish sound in my opinion with the mellotron, guitar, upfront bass and melancholic sound. I agree with Andy from Planet Mellotron that this bonus track is almost worth the price of admission alone.

I don't usually even comment on bonus tracks unless they are exceptional and there's another one by TUSMORKE called "Singers & Swallows" that would be second favourite track on here, go figure. The main album features plenty of vintage keyboard work from WOBBLER's own Lars Fredrik Froislie as he brings in mellotron, spinet, chamberlin, clavinet, organ, synths, glockenspiel, musical box and the kitchen sink. He also produced and recorded it. Again the main album has lots of vocals, harmonies and catchy choruses which usually isn't my thing but I was won over fairly quickly. The album's title means "Subterranean Twilight" and this is a mellotron album for sure.

"Fimbul" is catchy with flute over top then the vocals join in. Shades of mellotron and chamberlin too along with synths. I like when it calms down after 2 minutes with mellotron, bass then flute. Reserved vocals join in along with keys. It all kicks back in around 3 1/2 minutes. Another calm with vocal melodies after 4 1/2 minutes which sounds really good.

"Watching The Moon Fall Out Of The East" has this excellent melancholic intro with flute, mellotron and more as these relaxed vocals join in. This is a top four track for me. Reminds me of SINKADUS and ANGLAGARD actually during the more laid back sections. Love when it picks up as well 4 minutes in especially that rickenbacker bass. We get flute, guitar, drums and more. It picks up even more late with vocals and vocal melodies. What a song!

"The Quintessence Of Elements" has melancholic flute to start as bass, drums and more take over with vocals. Catchy and melodic and we get organ on the chorus. A beautiful instrumental section starts after 2 minutes then it picks up before the vocals return. "Young Man & His Woman" is very uptempo and vocal led with plenty of flute and organ. I like when it settles down after a minute without vocals. It kicks back in and we get vocal melodies here and some passion in those vocals too. Themes are repeated.

"A Nightmare's Just A Dream" is laid back to start with flute, prominent bass and a beat as the vocals join in. It turns fuller a minute in, in fact it gets quite intense really. It settles again as contrasts continue. Check out the mellotron before 2 1/2 minutes and that incredible section starting before 6 minutes instrumentally. Love that bass!

"Hostjevndogn" features vocals in their native language and this is a top four song for me as well. It's more relaxed with drums and flute standing out to start then reserved vocals join in. Man that instrumental section sounds so good beginning 3 minutes in and ending around 4 1/2 minutes. This song reminds me of SINKADUS. "Singers & Swallows" one of the three bonus tracks is a top four. A chilled tune really with flute, a beat, upfront bass and more. Such a beautiful track. Some nice vocal melodies along with mellotron too.

"Ode On Dawn" is a classic and as I said in the intro I want more! Hopefully there is more archival material from this early incarnation of the band under the name LES FLEURS DU MAL. The percussion gallops along early on with the sound of wind as the flute arrives. The percussion ends but not the wind or flute. Vocals from Andreas before 1 1/2 minutes along with mellotron, bass, guitar and some brief spoken words. Flute, a beat and mellotron kick in too and what a great sound as it builds with that in your face bass. Vocals are back 5 minutes in as it settles with lots of mellotron and bass. A calm with wind before 7 1/2 minutes as the drums and bass build. Guitar joins in along with flute. So good! Vocals are back before 13 minutes but again like the first two times they don't last long as the guitar, bass and drums lead. So Swedish sounding with that mellotron. The percussion gallops away to end this stone cold classic.

So not counting the bonus tracks a solid 4 stars and an enjoyable release.

 LAShTAL by CURRENT 93 album cover Singles/EPs/Fan Club/Promo, 1984
3.42 | 5 ratings

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LAShTAL
Current 93 Prog Folk

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

3 stars Technically the second release by David Tibet's CURRENT 93 as the first one was a split called "Mi-Mort" with Nurse With Wound, although Tibet only carried one of the four tracks so for my money, i'd call the LASHTAL EP the true debut. While CURRENT 93 has become known for their unique take on progressive neofolk, in the beginning they very much in the industrial ritual ambient world. This one was only released as a vinyl 12" in the 80s and has pretty much fallen into obscurity, dwarfed by CURRENT 93's prolific canon.

Straight out of Nurse With Wound and Psychic TV, Tibet's solo project which he called CURRENT 93 was a collective that was designed to focus on Tibet's obsessions, such as Christianity and Thelema, the organization started by Aleister Crowley and the earliest sounds of CURRENT 93 are constructed to honor the ritualistic sex magic that was a part of his practices. The electro-industrial pioneers Coil also sprang from this same wellspring of early experimental artists and John Balance participated in this EP and other the early dark tribal ambient albums of CURRENT 93. Fritz Hääman of 23 Skidoo is on this one.

LASHTAL (or more stylistically written LAShTAL) is a short mini-EP that only consists of three short tracks. The title track is a startling noisy affair with a screeching something beginning the chilling blood curdling-fest that continuously morphs into a collage effect of tribal drumming, ambient synthesizers, nonsensical or at least unintelligible vocal conversations and shrill noise loops that jump in and out of the scene. This particular track sounds a lot like what Coil would utilize on their freaked out noise trips so i would suspect that John Balance was the main mastermind behind this one.

"Salt" also enters a screeching noise and what follows is similar to the title track. A steady tribal drumbeat and some ambient noise. There is a faint flute in the background and more devilish vocalizations that occasional jump in. Although much like the title track, a little colder and detached with a collage effect of noise, disparate musical scatterings and the shrill industrial loop that pierces the soul like an ice pick.

"Caresse" is a detached drone noise and some "chirping" sounds with some irregular percussive beats. A random detached feel brings a darkened chamber devoid of hope to mind. Cold and sparse like the farthest reaches of space. LASHTAL is more like a 90s Coil album than what CURRENT 93 would become and not as sophisticated as the industrial collage soundscapes created on "Nature Revealed" or "Dogs Blood Rising" but certainly an entertaining listen if you are interested in the connecting material from Tibet's Psychic TV and Nurse With Wound days to his own CURRENT 93 project.

 Sunshine Day by JETHRO TULL album cover Singles/EPs/Fan Club/Promo, 1968
2.71 | 17 ratings

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Sunshine Day
Jethro Tull Prog Folk

Review by TCat
Prog Reviewer

2 stars This is a very hard to get single, the debut single by the band. Unfortunately, this was accidentally credited to Jethro Toe and printed on the single as such. The A Side of the single was "Sunshine Day" which is a poppy song with Ian Anderson singing lead vocals and Mick Abrahams, who was Tull's original guitarist, singing background vocals. It was Abrahams that actually wrote the track. It's easy to tell that it is Ian's distinctive voice, but other than that, there isn't much semblance to the sound that Jethro Tull would later be famous for. No flute whatsoever. The same holds true for the B side called "Aeroplane". This is a slightly more interesting song, and it leans more towards a folksy-bluesy sound, but still remains on the pop side of things. Both songs are underwhelming and not memorable.

This is before JT had become well known and I don't believe the single did very well. Both songs are available on "20 Years of Jethro Tull" collection on Disc 1 as the last two tracks. Unless you are a collector, and probably want to spend a lot of money, you would be better off getting the collection which has many other rare gems on it. This single remains as only a curiosity or a collector's item, but the songs really aren't worth the time and expense unless you collect rare recordings and are willing to pay upwards to $900.00 for it. 2 stars....collector's only.

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Prog Folk bands/artists list

Bands/Artists Country
0.720 ALEACION Mexico
3 DAFT MONKEYS United Kingdom
AALTO Finland
RABIH ABOU-KHALIL Lebanon
ACCOLADE United Kingdom
ACCOLADE United States
ADARO Germany
AFFORESTED United Kingdom
AFION Croatia
AGAPE Canada
AGINCOURT United Kingdom
AIGUES VIVES Germany
AKTUALA Italy
NICU ALIFANTIS Romania
ALMÔNDEGAS Brazil
ALVA Multi-National
AMANITA Italy
AMAROK Spain
AMAZING BLONDEL United Kingdom
AMBER United Kingdom
AN DRO Germany
ANACRUSA Argentina
IAN ANDERSON United Kingdom
THE ANGELS OF LIGHT United States
ANNAMY Sweden
APARECIDOS Multi-National
AQUAPLAN Finland
AQUARIUM Russia
DAN AR BRAZ France
MARCO ANTÔNIO ARAÚJO Brazil
DAN ARBORISE United Kingdom
THE ARBORISTS Canada
ARIA PALEA Italy
ARMY OF BRIARS United Kingdom
ARTSRUNI Armenia
ASGARD France
ASHADA Japan
ASHTAR Brazil
ASI SOMOS Puerto Rico
ATMAN Poland
AUCAN Argentina
AVALANCHE Netherlands
AVE SANGRIA Brazil
AZAHAR Spain
BABADAG Poland
BABY WHALE Multi-National
BAMBIR / THE BAMBIR Armenia
BANDA DO CASACO Portugal
A BARCA DO SOL Brazil
BARR Sweden
TOMAS BATISTA Argentina
BAYON Germany
BEAT CIRCUS United States
BEDEDEUM Italy
BERNARD BENOIT France
BIG LOST RAINBOW United States
BLACKMORE'S NIGHT United Kingdom
BLOPS Chile
BLUEHORSES United Kingdom
BOULE DE SON Canada
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