avestin wrote: ^^^ Which one is that, Eugene?

^^ 

If my memory serves me well, I already recommended them once in this thread, but it can't hurt to do it again! They certainly deserve the recognition.

Well here is for my next recommendation. Hopefully this one has not been mentioned 

This Next band is a Canadian Post Rock band. They are not on the Archives at the moment, but I find them progressive and would be my favourite post rock band out there. If anybody is interested in this album just give me a PM. This album is a must for anybody into the Post Rock scene.


SAXON SHORE - The Exquisite Death Of Saxon Shore



Track list:

The Revolution Will Be Streaming   04:16 

This Shameless Moment   04:15 

With a Red Suit You Will Become a Man   03:37 

Silence Lends a Face to the Soul   04:40 

Isolated by the Secret of Your Fellow Men   07:09 

The Shaping of a Helpless Joy   04:52 

Marked with the Knowledge   03:38 

A Greatness as the Cost of Goodness   05:47 

How We Conquered the Western World on Horseback   03:52 

The Lame Shall Enter First   06:30

Matt Doty - Guitar, Keyboards, Programming
Matt Stone - Guitar, Keyboards
Steve Roessner - Drums
Oliver Chapoy - Guitar, Keyboards, Programming
Will Stichter - Bass

You will be able to find more information about the guys from their website
http://www.saxonshore.com

REVIEW

The Exquisite Death Of Saxon Shore isn't just a clever name -- Saxon Shore's third full-length was almost stillborn after the departure of two of the three founding band members in the summer of 2004. Guitarist Matt Doty floundered for a while and even considered working for the man full-time, but ultimately picked up the pieces, recruited new partners in sound, and released the Luck Will Not Save Us From A Jackpot Of Nothing EP in early 2005.

The reformed Saxon Shore isn't necessarily rehabilitated: as an instrumental wall-of-sound rock band, they still follow the quiet/loud/quiet school of music on a grandiose scale. Fans of Godspeed You! Black Emperor, Mogwai or even Yume Bitsu will grasp The Exquisite Death immediately. The repetitive riffs, the gradual buildup and layering, the fantastic melodic release and the atmospheric denouement are all par for the course. However, Doty and company are slightly different this time around: the physical distance between the new members necessitated exchanging elements of their songs-in-progress via the Internet. This compositional process resulted in a greater reliance on electronics and synth effects than on past releases; without the monotonous guitar/bass/drums arrangements, The Exquisite Death's material feels more spacious and airy. The songs feel epic without actually being epic -- only three of them break the five-minute mark -- and they never collapse under their own weight.

Epic in scope and triumphant in execution, opener "The Revolution Will Be Streaming" (an allusion to the band's collaborative process) and closer "The Lame Shall Enter First" are ideal bookends for such an ambitious album. "With A Red Suit You Will Become A Man" channels the best of Trans Am, while the soaring guitars and heavy-handed melody in tracks like "This Shameless Moment" and "Isolated By The Secrets Of Your Fellow Man" are more in line with Pelican and Isis's gloomy, ethereal metal. These are strong songs from a group that believes in itself; Saxon Shore's members have quit full-time jobs and put graduate school on hold to shill their brand of rock. Their achievement is a palpable example of the success of instrumental music over the ostensibly more accessible lyrical kind -- and while some listeners might argue that the lack of vocals limits a band's expression, The Exquisite Death Of Saxon Shore proves that the exact opposite is true. This is rock you can believe in.

Today's suggestion is Israeli band Hot Fur (Parva Hama)

To quote from their myspace site:
Hot Fur is a musical emsemble founded in 1998 by the guitarist and composer Lior Frenkel. The group plays a mixture of Rock, Jazz and Classical.

In their myspace and official site you can hear samples
http://www.myspace.com/hotfur
http://www.hot-fur.com/

Band Members	Lior Frenkel - composer, guitars Ben Hendler - electric bass Nadav Bachar - electric guitar Shaul Eshet - keyboards Erez Koskas - drums Oran Ben Avi - saxophones Lior Ron - trumpet Participated on 'Hot Fur' Album: Yael Kraus - Vocals Noa Frenkel - alto singer Participated on 'Street Music' Album: Ofer Peled - tenor Sax Gali Nechama - soprano Sax
Influences	Frank Zappa, Miles Davis, Olivier Messiaen, J.S.Bach
Record Label	Musea

They are currently on the RIO/Avant team's voting list.

^^^
I was pleasantly surprised by this album and I second this recommendation.

I would like the recommed the Kraut Rock group Kollektiv, in particular their SWF - Sessions Volume 5 album.

For me this another one of those long forgotten Kraut Rock bands that diserved far more attention than they ever received.

A review on the site:

http://www.progarchives.com/Progressive_rock_discography_CD.asp?cd_id=9066

For a more extensive read on the band and song samples visit their MySpace page.

http://www.myspace.com/kollektivkrefeld

Here's the proper cover (sorry the LP is a 1980s pressing, but I took that picture to sell it on eBay)

    

Well it has been a while since anybody has made a recommendation in this thread so here it goes.

I know they are not on the archives, but I find the band draws a lot of its influences from progressive psychedelic and would interest people on this site. Over the last little while I have been diving deeper into the realms of Japanese music. It was only a matter of time before I stumbled across the Band "Acid Mothers Temple"

The album I would like to recommend is.

Acid Mothers Temple and the Melting Paraiso UFO - New Geocentric World of Acid Mothers Temple



1. Psychic Buddha (21:27)      
2. Space Age Ballad (3:59)
3. You're Still Now Near Me Everytime (10:44)      
4. Universe Of Romance (5:21)
5. Oggie Lady (8:31)
6. Mellow Hollow Love (4:38)     
7. What Do I Want To Know (Like Heavenly Kisses Part 2)      (15:06)


Review: taken from www.pitchforkmedia.com

Japan is a strange place for music, a cauldron of underground activity which continually threatens to bubble to the surface and vanquish the world of rock once and for all. Very few of these underground artists have made a name for themselves on American shores (Boredoms, Melt-Banana, Ruins), but the number of artists that continue to ply their craft continues to mount, all the while unbeknownst to us poor souls across the Pacific.

At the forefront of this underground movement is guitarist Makoto Kawabata and the noise freaks of Acid Mothers Temple & the Melting Paraiso UFO (short for "Underground Freak Out"). A self-described "millennial hippy group," Acid Mothers Temple have been traveling the world, unleashing their particular brand of psychedelic bliss upon an unwitting public for four years. Releasing three albums early in their career on the Japanese underground label, PSF, the group slowly built a name for itself, specializing in what Kawabata termed "trip" music. It's a meltdown of entire genres and movements-- drawing equally from French folk and Western psychedelia-- all re-imagined in a form intended to liquefy your brain.

Part of a community known as the Acid Mothers Temple Soul Collective, Kawabata and friends have been inhabiting the Japanese countryside and living out their own unique brand of utopianism for the last few years. Recalling the countercultural spirit of the 60's and other hippie communes, Acid Mothers even paid homage to that Californian group of restaurant-owning weirdos, Ya Ho Wha 13, with the album The Father Moo and the Black Sheep. But with this, their first release on Massachusetts' Squealer label, Acid Mothers Temple finally free the rein on their noise parade.

I'm not sure if the Acid Mothers are trying to win any converts with their most recent offering, but the make-or-break point (if you will) for potential fans will undoubtedly come at 40 seconds into The New Geocentric World, as "Psycho Buddah" opens with the mantra, "What?," in a sound loop that teases the listener into thinking they've brought home some of that experimental locked-groove w**kery. But a few seconds later, the Acid Mothers annihilate all preconceived notions.

Dissecting the cacophony, the intense sonic war being waged on human ears, is futile. Best to sit back and let your brain bleed. I asked to hear this at the local record shop, and within one minute of the first track, people had either fled with fingers plugging their ears, or were completely rapt and entrenched within a new world of sonic dimensions. "Psycho Buddah" is unrelenting, moving at a furious pace for over 21 minutes and incorporating Kawabata's searing guitar work within the steady framework of the Acid Mothers' thunderous rhythm section. Cotton Casino, the group's only female, constantly pushes the gurgles, loops, drones and hisses of her synthesizer into the forefront.

The song teeters on a hazardous precipice, looking over the edge and waiting to fall, but Kawabata's guitar is the anchor here, effortlessly able to rein all the others into his sonic realm. His ability to create deafening walls of feedback, hiss, and skronk, coupled with his penchant for tearing it all to shreds with a seething solo, is a thing of pure, unadulterated beauty. I'll say it right now: Kawabata is a guitar god. And these other guys are no slouches, either, as they prove while seamlessly incorporating bagpipes (!) and Jew's harps (!!) into this freeform freakout without ever looking back.

The next track, "Space Age Ballad," is a haunting acoustic number that recalls contemporaries Ghost and their psychedelic balladry. Comparatively short at four minutes, this track is mere preparation for the slow-burning "You're Still Now Near Me Everytime." Guest vocalist Haco remains the focal point for the first minutes of the song until, at around the five-minute mark, Kawabata emerges with yet another guitar solo-- a trend on each track so far. A bit tiring? For your average indie rock band, yeah. But this is psychedelic madness, and the sheer joy and inventiveness with which Kawabata plays puts most of his contemporaries to shame, and his willingness to explore every possible dimension of sound succeeds with a creation of textures that seem wholly original.

Unafraid to don their cartoon masks as well, Acid Mothers unveil their frenetic update on Hendrix's "Foxy Lady" with the scorching "Occie Lady," a pounding, speedfreak revision that subsumes Hendrix's riff within a mountainous din of thuds, screeches, and shrieking guitar. The closing track is a pure departure from everything preceding, abandoning the blistering guitarwork and crashing rhythm sections for a 15-minute drone workout. Here, Kawabata's guitar and the song's multi-layered structure evokes the theatrics of My Bloody Valentine and Spacemen 3.

Acid Mothers Temple pride themselves on the drughead obsession of being "cosmic troubadours" in continual search for interstellar communication. But unlike the shoegazers with which their music has so much in common, Makoto Kawabata sincerely believes he's communicating with the cosmos. A strange guy to be sure, but most great musicians are given to some eccentricities.

-Luke Buckman, October 03, 2001

Agreed on the Pitchfork front.  They write absolutely atrocious glib reviews that don't even focus on music qua music; namely on the impressions of such relative to groups of 'hip' and 'knowledgeable' abyssmally labelled 'scenesters'. The whole indie movement en masse I find to be some meretricious evolvement of mettles found in high school.  They actually put 'prog' fans to shame on the snob gauge...they're really insufferable to me...