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Here for Tracklist and Lineup Info  Rahmann
- Rahmann (1977)Excellent French one-shot from 1977. Rahmann plays in a fairly unique style, mixing fusion and Arabic flavors in with a slight zeuhl feel courtesy of explosive basslines and repetitive rhythmic patterns. However, the group definitely veers towards slightly more tasteful and restrained territory than do most zeuhl influenced bands, not even approaching the unrelenting oppressiveness of bands like Dun or even Magma. The fusion element is probably predominant here, with another major influence being Mahavishu Orchestra. Guitarist Mahamad Hadi is the star of the show here, and his playing is utterly phenomenal throughout. The slight infection of Middle-Eastern sounding themes, combined with a fiery fusion attitude a healthy portion of thundering zeuhl makes for a highly addictive blend. Phenomenal music that shifts from aggression to beauty effortlessly. "Atlanta" and
the ethnic rhythms of "Nadiamina" start the album off well enough.
Tons of fluid, fusion-y guitar playing melds with the often
exotic rhythmic feel, along with what seems to be numerous Eastern
stringed and percussive instruments. However, the album
really hits its stride on the monstrous "Danse Sacrée",
featuring a hypnoic bassline weaved in with some utterly explosive
guitar playing and searing melodic touch. "Leila" is the
longest track on the album and another absolute scorcher.
The bonus tracks are all very different alternate takes on some
of the album tracks, and are quite interesting as such.
However, the bonus tracks certainly lengthen the album tremendously,
so sitting through them all in one sitting along with the album
proper does result in an overlong vibe. This really isn't
a huge complaint though, and I'm sure you guys could have figured
it out a solution for yourselves. Overall, this is a pretty
fantastic album, a unique and addictive amalgamation of fusion,
world music and zeuhl. Great stuff.
- Greg Northrup [August 2001] Click
Here for Tracklist and Lineup Info
Actually, about half of this transatlantic collaboration between Texas guitarist James Sidlo and UK loop guru David Cooper Orton is pure, unadulterated ambient bliss - the kind such ambient pioneers as Brian Eno or David Sylvian used to make. Tracks like the hazily clangorous "Garage Gamelan" and the muted spaghetti western-ish "Delayed in Traffic" carry on in a fine tradition of subtlety and somnambulism that is sure to send fans of No Pussyfooting or Plight & Premonition into the land of "Hyper-nod," as Julian Cope put it in his book, Krautrocksampler. Much of the best music on this CD is clearly in the mold of guitar-based ambient, whereby electric guitar is cleverly played and processed to create the desired effect. Short identifiable melodies appear in many tracks, but are almost always looped rather than being "live." Both Sidlo and Orton play guitar on the album, and guitar is often the only recognizable instrument heard in any one track. The second half of this CD exhibits a strikingly more accessible, structured slant, revealing influences that might fall under the urban or even world music categories. Fortunately, these influences are muted, refined and tweaked for more discriminating tastes. Some slightly cheesy drum machine rhythms can be found on occasion, but they tend to disappear, reappear and undergo a certain amount of modulation, thereby eliminating any real potential for monotony or danceability. Such techniques appear in "There and Back and There Again", which offers a simplistic beat and muted bass guitar riff that actually echo hip, post rock á la Tortoise more than any sort of rap or dance music. The urban influence is there, but it seems to have come to Re:Cooperation's music via more interesting avenues rather than directly from the source. The second half of the CD may be something of a letdown to those who prefer purer, more abstract forms of electronic music, but it's not bad for what it is. Even if it were, there would be enough great music on the first half of the album (about 31 minutes worth) to make it a worthy album. One could conceivably listen to only one half of the album or the other and still get a good sense of satisfaction from it. Re:Cooperation seems to have its finger on the pulse of several different kinds of subtle, progressive music. It could appeal to a wide range of listeners who can enjoy the quieter, more subdued end of the progressive musical spectrum. - Scott Hamrick [October 2003]  Rebekka
- Phoenix (1983)Sometimes nothing suffices like good old symphonic prog. As far as the style goes, the German group Rebekka's Phoenix is a particularly enjoyable representative, though I doubt anyone would award them points for originality. Easy comparisons can be made to the greats of lush, melodic symph category, with bands like Novalis, Camel and Eloy jumping to mind. Languid tempos provide a backdrop for shimmering piano melodies, flute, acoustic guitar and all the usual amenities. Surging electric guitar solos recall Latimer or Gilmour at their respective peaks, and we're are also treating to some fine female vocals courtesy of Marion Weldert. Although opener "Swan Song" is largely ruined by her questionable decision to sing in English, the rest of the album is coated with gorgeous German vocalizations, whereupon her voice is given opportunity to shine. However, the problems are obvious. Phoenix does little to distinguish itself stylistically from the legions of other bands playing the style, and there is little that one could call identifiably unique about them. Ultimately, there's your caveat. Sympho heads will find this a release of immense quality and often stunning beauty. Those satisfied with their Camel and Novalis albums will probably want to pass. An added surprise on the CD reissue is the excellent bonus track "Lotos", a raga fueled jam of breathtaking proportions. The liners state that the band decided not to include it on the original release because it did not fit in stylistically. In retrospect, it would have provided some needed variety in the body of the album, but even tacked on the end it gives us another look at what this band was capable of at the time. - Greg Northrup [April 2002]  Recordando o Vale das Macas
- As Criancas Da Nova Floresta II (1993)Although the original version of this album has its devotees, if it's anything like this reworking, consider me unimpressed. Certainly, one might expect this kind of re-arranging and re-recording of an old album to end up disastrous, but the word about this second version has been that it actually succeeded in improving the original on a number of fronts. In fact, the album has the kind of dreadful "modern" sound you would expect for such a project, rather than the warmth we've come to take for granted on most '70s releases. Cheesy digital synthesizers, slap-and-pop basslines and slick production effectively kill any great '70s atmosphere this one may have had. Musically and compositionally, the album has its moments, but is overall average at best. The album has a grandiose, symphonic feel that tries to attain the same level of sophistication as say, the classic PFM albums, but rarely achieves those standards. There are some beautiful moments here, to be sure, but they are scattered between the mundane and infuriatingly stereotypical. When the arrangements are kept simple, as with acoustic guitars and flute, the melodies sometimes seem to take on a traditional Brazilian feel, an aspect which would have made the album less generic on the whole were it exploited further. In sum, As Criancas Da Nova Floresta II is a sub-par symphonic progressive album, certainly not aided by the terrible early '90s production. I might be willing to give the original a shot at some point, but it's certainly not a priority. - Greg Northrup [July 2002]  Rocket
Scientists - Brutal Architecture (1995)Well I had heard mixed reviews about this album, but seeing it for $5 I didn't mind picking it up to decide for myself. The title is quite telling, as this fits in with the neo/retro ethos of bands like the Flower Kings and Spock's Beard which I don't practically enjoy. While this had much more potential for me than Spock's Beard, due to not having overtly terrible lyrics, the song writing and composition here is pretty weak. There is a lot of instrumental work and long, drawn out songs, but that band doesn't develop any ideas well enough to hold my interest over a period of time, especially as the disc is 66 min. The vocals aren't too bad, but they do nothing for me. There's also the tendency for typical pop verse/chorus structures. A lot of the
songs on this album seem to have a large similarity to the
alternative scene present at the time. "Wake Me Up" is a
perfect example, and sounds just like something I would
have heard on the radio in 1996. The main difference is
the large keyboard presence and longer songs. Not everything
is bad. "The Fall Of Icarus" and "Resolution" have some
pretty strong moments, as do a lot of the songs. The problem
is getting a good song all the way through. "Mariner" is
just plain boring. Most
people who like this album will praise Erik Norlander as
being a keyboard virtuoso straight out of the Emerson/Wakeman
school. While this statement alone is enough to keep some
from this band, his playing is usually more subdued and
tasteful than the other two. Brutal Architecture
isn't a very bad album, but the weak compositions leave
little to be recommended. -
Mike Prete [March 2001]  Rock
Four - Another Beginning (2001)Hailing from the suburbs of Tel Aviv, Israel, and formed almost 12 years ago while all members where in the military, Rockfour is a very peculiar band. What started as a pop/rock band with very slight 60s influence soon morphed into a full fledged 60s psychedelic pop monster. Now imagine Lennon and McCartney's pop sensibilities mixed with Roger McGuinn's intricate 12 string work, all backed by Keith Moon on drums. Add a bit of The Zombies, and a touch of 60s punk/garage, and that is exactly how these guys sound! The quartet employs the basic guitar, bass, drums and vocals format, with 2 members doubling on keyboards and effects. The instrumentation is mostly all vintage, with lots of mellotron and that peculiar Rickenbacker 12-string sound throughout. The songs run the gamut of their influences, including but not limited to Beatles-like balladry ("Smell of Sweets"), 60s psychedelia ("Government", "Orange"), 60s garage ("Wild Animals", "Route 66"). They're all done with incredible tastefulness, and even a certain originality, and never sound like a pastiche. Rather surprisingly for a band from Israel, the lyrics don't make any direct references to the Middle East conflicts. They do have a certain hippie-ish "peace and love" vibe to them, which is certainly fitting for the music. This, their
first US release, compiles songs from their first 2 english
language albums, "Supermarket" and "One fantastic day".
Before these, they released 4 albums (including a live one)
sung in hebrew. While this earlier material is good, and
well worth looking up, this domestically released compilation
is an excellent introduction to one of the best bands around.
- Alex
Siufy [September 2002]  Raimondo
Rodulfo - The Dreams Concerto (2002)Raimondo Rodulfo's latest project, entitled The Dreams Concerto, was clearly a massive undertaking. Featuring a legion of guest musicians, a 30 some page booklet, and clocking in at nearly 80 minutes, the entire thing can be a little difficult to swallow at first. With some distance however, The Dreams Concerto is a fairly solid recent entry into the realm of South American progressive rock. Hailing from Venezuela, Rodulfo's music is of the incredibly lush, overtly symphonic variety. The leagues of guest musicians contribute a wide array of instruments to create an musical backdrop that is, while not necessarily inventive, quite diverse, at the least. First, a few negatives. The production leaves something to be desired. That organic, rich sound that could be found on even the poorly recorded Argentine and Brazilian prog albums of yore is absent here, replaced by a compressed, claustrophobic sound. Of course, the reader will note that I tend to be a big fan of 70s recording techniques, and other listeners might just as well find the sound perfectly passable. Secondly, Rodulfo over stretches himself at points. Evidently being a self financed project, the temptation to go all out in every respect seems to have been difficult to overcome (a problem with 90% of prog-rock DIY projects). With some critical distance, some may find a number of aspects of the affair to be garish and certainly overblown. While the music itself remains pretty solid throughout, 80 minutes is a lot of time to fill for anyone, and it can be difficult to digest the whole album in one listen before the unambiguous, over the top classical pretensions to begin grating on the nerves. Now, the positives. The musicianship is fantastic and eminently enjoyable for the most part. Rodulfo's guitar playing betrays hints of Hackett and Howe, along with a difficult to place "folk" influence that I an only attribute to the local musical culture. The best moments are the most typically "proggy", wherein flute and organ come in to complement a core bass, drum, guitar ensemble with fantastic melodies and great energy to boot. Though scattered throughout the album, I wouldn't hesitate to say that a 45 minute or so recording of this kind of stuff would totally kick my ass. The "classical" portions are more yawn inducing, though never overtly bad. The 15 minute classical guitar piece ("Baroque") is one of those things that's probably a lot of fun for the artist, but unfortunately something of a drag for the listener. The heavily emphasized classical themes found elsewhere are largely hit or miss. Though with the hippy drippy, grandiose violin work that coats nearly everything is fine in small doses, the quasi-operatic did not strike me as particularly good. Fortunately they are limited largely to the first piece, and even then are sparsely used. While the woman's voice was all well and good, it sounded like she could have used a couple more takes to improve her performance. "Primo Movimiento" features a heavy emphasis on the "main theme", first brought to us by our aforementioned lithe female vocalist, which may unfortunately have soured my taste for it at first. When it is brought up again, later in that song as well as in the subsequent pieces, it struck me as somewhat cheesy and obvious. Overall, the piece is more than saved by the excellent playing and melodies in between. "Segundo Movimiento" is something of a departure. The first portion, entitled "Matematica Y Arte", is more angular and guitar driven. The playing, particularly the guitar, is impressive throughout, with a clear nod in Fripp's general direction. By this time I was ready to go and take a nap, but no, another 33 minute movement to go yet! The 15 minute classical guitar piece that kicks things off was a bore, particularly under the circumstances, but the closing 18 minute piece was on the whole excellent, returning to the instrumentation and approach of the album opener. While I found
the album tedious at points, there is much to like about
The Dreams Concerto. Fans of modern symphonic
rock or contemporary sounding South American prog who don't
mind a rather bombastic, self-conscious classical angle
will want to sit up and take notice of this recording. The
rest of us might find it exhausting, as the really good
stuff is a little too padded out. On that note, I
think I'm gonna go have that nap now. - Greg Northrup
[September 2002]  Il
Rovescio Della Medaglia - Contaminazione (1973)Another excellent Italian album, albeit one that took a lot of getting used to for me. RDM's Contaminazione is a classical adaptation of one of Bach's works, hence the name. Usually classical adaptations aren't exactly my thing, with the only other particular achievement of this kind I can think of being Los Canarios' Ciclos. However, this album is extremely varied and melodic, not to mention impeccably performed, so a few listenings were all it took to really get my head around the rather unconventional structure of the album. Contaminazione is divided into 13 tracks, however these divisions are rather arbitrary and only serve to confuse the listener. The album is really intended to flow together as one piece, however this is certainly not a "prog epic" in the conventional sense either. The band seems to jump from theme to theme constantly, with not much repetition and just strings the various parts together until the end of the album. The approach is kind of off putting, but once I really "got into" the album, I began to be able to anticipate the different parts are really become accustomed to the way it was put together, and then being able to focus on what is actually an amazing performance. The instrumentation
here is very exciting. RDM employs a full symphony
orchestra to deliver many of the classical, plus classical
piano, harpsichord, trumpets, and not to mention the conventional
rock instruments. The vocals are typically strong
in the Italian tradition, and approach some quasi-operatic
tendencies, though some parts are a tad cheesy.
Overall this is probably the best album length adaptation
of a classical piece that I know of and another extremely
well done Italian prog album. -
Greg Northrup [Februrary 2001] |
Raccomandata
Ricevuta Ritorno - Per...
Un Mondo Di Cristallo (1972)
Re:Cooperation
- TransCollaboration (2003)