Tomas Ernvik - "Rockoratoriet Brinnande" {Sweden} [1972]

I couldnt find english review, here is swedish one: "Tomas Ernvik (bördig från Kristinehamn)spelade 1971 in sin första lp "Små låtar" på det religösa skivbolaget "Cymbal", året efter kom denna rockopera-liknande lp ut.
Involverade är gräddan av dåtidens Svenska jesusrockare, men förvänta er inget storverk, det är först några år senare med plattan "Tungt vatten" som Ernviks talang som tung gitarrhjälte blommar ut till fullo.
De latar som saknar latlangt (dvs. fran Tomas tro till Bonestund) gar liksom ihop till en enda lang bonmassa medley.
De blir tillsammans 6:31. Ratt okej skiva faktiskt. De kristna texterna gor den riktigt rolig! Battre an vatten!" http://www.progg.se/band.asp?ID=677

translation:
"Tomas Ernvik (from Kristinehamn) played in 1971 his first LP "small songs" on the religious record label "Cymbal" the year after came this rock-opera simmilar LP out. Involved on this record is the creme of that dates Swedish jesusrockers, but don't expect a great work. it's first after a few years later with the record "Tungt vatten (heavy water)" that shows of his true talent as a heavy guitar hero first comes out to it's fullest. It seems like like the songs from "Tomas tro" to "Bonestund" is a long medley (6.31 in total) Pretty good record in total. The christian lyrics makes it pretty pleasant and easy to listen to! Better than Water!" FS
Thanks a lot FS ;)

A1. Inledning (5:59)
A2. Den uppstandne Jesus (2:30)
A3. Marias lovsang (2:01)
A4. Tomas tvivel (1:44)
A5. Konfrontationsblues (4:04)
A6. Tomas tro (6:31)
- Jesu slutord 1
- Larjungakor
- Jesu slutord 2
- Missionsbefallningen
- Bonestund
B1. Pingstafton (2:35)
B2. Pingstdagen (10:18)
B3. Petrus predikan (3:04)
B4. hallelujakor (3:02)

- Bjorn Dahlberg - Trumpet
- Bosse Lindqvist - Orgel
- Jalle Ahlstrom - Trummor
- Lars Folkerman - Trumpet
- Marian Muzykant - Trombon
- Pavel Cech - Tenorsax
- Sigge Nilsson - Piccolotrumpet
- Thomas Lindbjer - Bas
- Tomas Ernvik - Piano, orgel, gitarr

A5. Konfrontationsblues
B2. Pingstdagen

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Osjan - "Ossian" (feat. Tomasz Stanko) {Poland} [1978]

Like the Wawel dragon, this mysterious band emerged from a cave in Cracow.

Osjan is undoubtedly one of the most fascinating bands on the Polish stage. Formed 28 years ago, they still remain part of the underground. They play concerts infrequently and rarely release records.

Osjan's work can be described as an original synthesis of many traditions and music cultures. The group's strength lies in its enormous musical imagination, creativity and genuine message. The musicians have never attached importance to their public image. Osjan is surrounded by a mysterious aura, and facts about the band's activities merge with legend.

The history of Osjan dates back to the 1970s and Crocow's musical circles grouped around the Piwnica pod Baranami club, then the center of Cracow's artists and counterculture. At that time Jacek Ostaszewski, a well-known jazz double bass player, and guitarist Marek Jackowski, both from the band Anawa, decided to start a new project. Soon they were joined by painter and poet Tomasz Hołuj. The group's early rehearsals took place in many different places, most often hotel rooms. The name Osjan was chosen after the band heard it in an Ewa Demarczyk song version of a Bolesław Leśmian poem.

Soon the band's line-up changed, but for 20 years the core of Osjan has been Dimitrios Milo Kurtis, Wojciech Waglewski and Radosław Nowakowski, together with Jacek Ostaszewski. Numerous distinguished musicians have worked with them including the trumpeters Tomasz Stańko and Don Cherry. The band used to regularly perform with Black Horse Cheavers, a Cherokee shaman.

However, it is not the musicians, but the search for their own artistic expression that explains the Osjan phenomenon. In the 1970s, in an atmosphere ruled by banal rock on the one hand and complicated jazz structures on the other, Osjan looked for a different way, for a simplified form of expression: "For example, we would play for half an hour on two or three notes," remembers Ostaszewski. "What fascinated me, not only in the sphere of music, was the search for forms that would allow free expression, not limited to the conventions of jazz, pop or classical music." Osjan was looking for alternative solutions. The group used various elements of traditional Balkan, African, Slavic and Indian music and managed to combine them with free jazz and European classical music. An important influence on shaping the group's musical image were concerts with Don Cherry, as well as inspiration from Zen Buddhism.

Osjan belongs to the small circle of performers who have developed their own original style. The group's compositions, labeled as ethnic music, world music, and so on, reveal the extent of its members' musical quest, as do their performances. For them, playing music together is a form of communication and constant dialogue between themselves and the audience. That is why concerts, when they do happen, are so important to them-there is a dialogue between Waglewski's guitar and Nowakowski's drums, Ostaszewski's flutes and Kurtis's percussion, but the freedom of improvisation does not destroy the overall structure of the concert.

No wonder then that Osjan's rich experience was emvulated by other performers, for example, Maanam (a group formed by Jackowski and Kurtis) in its early days and Voo Voo, another unique Polish rock band, headed by Waglewski... read more here

01 - Wstep Do "Ksiegi Chmur"
02 - Epilog "Muzyki Fruwajacej Ryby"
A: Ten Sam Wiatr Porusza Dwa Drzewa
B: Dziurawe Ucho / Prawe

- Tomasz Stañko
- Jacek Ostaszewsk
- Tomasz Holuj
- Milo Kurtis

01
02A
02B

Some early albums here

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Adaen - "Dancing Metropolis Burial" {Russia} [2009] Exclusive for PNF!

"Adaen is a one man band tending to be not just studio project but also a concert one. This project is started with ”Dancing Metropolis Burial” album recording where Adaen (a pseudo name of the musician) composed all the songs and played all the instruments without session musicians involving not to ruin the created musical/lyrical conception. Being an ex-former of some rock bands, playing progressive rock and some metal-like stuff in this project he chose a bit simplified form of prog rock with some grunge, psychedelic and even 90s’ music influences. Low tuned guitars, simple harmonic patterns, long songs, some sound effects in combination with abstract and depressive lyrics present a way of developing his own style. The warm voice with some Russian accent sings about things that seem simple: love, death, childhood, self-sacrifice and the main thing each song is about – being a king of a quiet and imperceptible person who lives his life invisibly for everyone and even his death can’t call for surrounding people’s reaction, whose funerals are nothing for the ones who dance, sing and seem to be happy almost always. The songs are songs; with no high-technical striking solos and complicated parts, but ”Burial” is really interesting with its emotional send. To help the emotions be intertwined into the music Alex Perfilyev, a young but very high-skilled and talented sound engineer and musician first of all (that mattered too much for Adaen), became the producer of the album. They played together in some bands and Alex perfectly knew about feeling and emotions led in this music and what to do to create really individual sound and how to play additional instruments in Adaen’s manner. Recording/mixing and mastering has engaged 11 months, but this record became a real pride for both of them. Now when the album is ready it appears on some sites and everyone can download it absolutely free, ‘cause only the moral aims are chasing but not the commercial ones. Now Adaen is working on his second album and looking for musicians to create a trio-band for shows."

1 Airships
2 Disconnected
3 Sounds of Running Trains
4 Cameras Set Within
5 The Second Wave

Adaen – voices, baritone guitars, bass, drum programming*.
Music and lyrics by Adaen.
Produced by Alexander Perfilyev and Adaen.
Mixed by Alexander Perfyliev.
Mastered by Bob Katz at Digital Domain, Orlando, FL, USA.
* programming, additional guitars and bass by Alexander Perfilyev.

Genre - progressive rock
Influences - Silverchair, Tool, Muse, Nirvana, Dream Theater, Rush etc.
further more - http://www.myspace.com/adaenband

1 Airships
2 Disconnected
3 Sounds of Running Trains

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Pogonophobia "Bimmib" [2009] (Space, Kraut, Psychadelic)

Here we go again! I've been busy the last six months with all kinds of stuff, but the hunt for good stuff haven't stoped!
So here it is the latest album from Pogonophobia and this time with a drumer and on extra guitarist. And that does a lot for the sound!
In fact this is an album that contains some material from their third (The Book Of Improvisa) album andsome newley recorded songs.
It sounds like the old unknown kraut band Pyramid meets Tangerine Dream
I really hope that they will develop their music and do what they do best great trippy psychadelic!

My favourit tune is Road to Samadhi 1.



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Neuschwanstein - "Alice in Wonderland" {Germany} [1976] (Symphonic Prog)

This is German prog from the late seventies. Instrumentally, acoustic guitar, flute, harpsichord and a variety of keyboards lock together to make an extremely rich and beautiful musical backdrop, with some absolutely gorgeous themes. The music is melodic with detailed arrangements and interesting orchestration. The vocalist sounds remarkably like Peter Gabriel; lyrics are all in English. The sound could be described as "Planets" period ELOY meets "Moonmadness" period CAMEL, with a touch of MACHIAVEL. The reissue on CD of a real "must", a mythical disk from unknown musicians.
http://www.progarchives.com/artist.asp?id=261

01. Theme of Alice - The Flower Meadow - The White Rabbit (1:17)
02. The Gate to Wonderland (2:13)
03. Pond of Tears (2:45)
04. The conference of the Princess - Old Father's Song - Duchess' Lullaby (8:31)
05. Five-O'Clock-Tea (6:49)
06. The Marching of the queen - Palace of Wonderland (12:04)
07. The Court of the Animals (5:01)
08. Alice's Return (2:04)

- Thomas Neuroth (Keyboards)
- Klaus Mayer (Flute, Synthesizer)
- Roger Weiler (Guitars)
- Frederic Joos (Lead Vocals, Acoustic Guitar)
- Rainer Zimmer (Bass, Vocal)
- Hans-Peter Schwarz (Drums)
- Hermann Rarebell (Drums) (ex-The Scorpions)

06. The Marching of the queen - Palace of Wonderland
08. Alice's Return

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Mess - "Küsi Eneselt" {Estonia} [1974-76] (2 CD) (Kindly submitted by route66 and exte82)

One of the biggest groundbreakers in Estonian progressive rock history is Mess. This band, spearheaded by keyboard guru Sven Grünberg, paved the way for symphonic prog to expand in Estonia. The intricate symphonic nature of the music, alongside intricate playing and soothing atmospherics, made Mess recordings much sought-after a quarter of a century after their recording.

Mess was formed in January 1974 on the ashes of Positron, a groundbreaking musical unit that featured the interesting electronics work of Härmo Härm. The partnership of Härm and Grünberg was a natural one, as one was a master of electronics and one was a master of keyboards. Härm created some of the finest analogue synthesisers in the world during those years, with sounds that are truly unique in prog or any other music. Bob Moog and other synth connoisseurs would be knocked over if they heard these things.

Within a few months the "classic" line-up of Mess was formed, which also include bassist Matti Timmermann, drummer Ivar Sipra, and guitarist Elmu Värk. This line-up played many gigs around Estonia; adding an extra dimension for the live shows was artist Kaarel Kurismaa, who provided a ingenious stage design full of props, immersed with a intricate lightshow, and turned the entire concert into an experience. Soon Mess concerts became art events, delighting people visually and sonically.

During the years 1975 and 1976 the band recorded some of their material, with help from world-famous composer Lepo Sumera. Ruja founding member Andrus Vaht joined on percussions, as well as a host of other musicians playing oboe and horn. The world famous Tõnu Kaljuste also lend his choir to add flavour to some of the pieces. What resulted was one of the best symphonic rock pieces ever to be recorded in the mid 1970s. Some of the pieces, like "Rohelised leed" and "Küsi eneselt" are masterpieces. Sven Grünberg also lends his fabulous voice -- with some resemblance to another underrated singer, Eddie Jobson of UK fame -- to the songs.

The band gigged with their full stage show into 1977 (though with a few line-up changes), but still without recorded material released. The situation under the Soviet occupation did not allow for the material to be released, unfortunately. An EP was released in 1980 under the name Sven Grünberg/Mess with some excellent pieces, but all forthcoming recordings came under Grünberg as a solo artist.

The music was thought to be lost until Germany's Bella Musica released a collection of Mess pieces, cut down and edited by Sven Grünberg in 1995. The mix was shaky but the music is fabulous. It has since become a major seller in the US and other countries among symphonic prog fans for its excellent pieces, fabulous playing, and unique synthesiser sounds. However, the full version of the songs remain unreleased. For example the song "Küsi eneselt" was cut by at least half on the CD. Let's hope the full work of the period will be released at some point. Mess is clearly a symbol of Estonian prog, and it should be shared with the world. For those who have heard it, they've come running already! http://www.estmusic.com/index.php?0132104175812

CD 1 - Küsi Eneselt (Ask Yourself)
01. Pilvini (To The Clouds) (7:27)
02. Valged hommikud (Bright Mornings) (6:43)
03. Tiik (The Pond) (11:02)
04. Lugu (Story) (6:08)
05. Uksi (Alone) (4:34)
06. Rohelised leed (Green Hearths) (9:25)
07. Küsi eneselt (Ask Yourself) (16:33)

CD 2 - Kontsert (Live)
01. Intro (Intro) (1:36)
02. Pilvini (To The Sky) (8:25)
03. Rohelised leed (Green Hearths) (10:25)
04. Valged hommikud (Bright Mornings) (7:14)
05. Tiik (The Pond) (13:25)
06. Pilvini bolero (To The Sky Bolero) (3:53)
07. Tiik (The Pond) (3:28)

- Matti Timmermann / bass and voices
- Sven Grünberg / compositions, lead voice, 12 string guitar, electronics
- Elmu Värk / guitar
- Andrus Vaht / drums - 3, percussions
- Ivar Sipra / drums - 1,2,4,6,7

Thanks a lot to route66 and exte82 :)

Posted by:
- route66 on ProgNotFrog-Forum: http://pnfforum.com/index.php?topic=7367.0
- exte82 in comments - post http://prognotfrog.blogspot.com/2009/03/syncrisis-reflections-in-musical-power.html#comments

01. Pilvini (To The Clouds)
04. Lugu (Story)

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Syncrisis - "Reflections In Musical Power" {Germany} [1981] (Jazz-rock/fusion)

"Here's the extremely rare debut album from this excellent band, who kind of epitomized the huge German jazz-rock wave of the time. Released as a limited private pressing, this is very much a "home made" LP, from the simple cover design right down to where it was recorded, "Syncrisis-Studio", which was presumably located in drummer Uwe Holzwarth's basement or something. In fact, attentive listeners will note that "Bata Mata Moone Taboo" is actually an early version of "Don't Cry! Shout!" from "Sunny Crisis", which gives one the impression that even back then they realized hardly anyone had heard this album. That's too bad, because it's a highly entertaining effort in its own right." Fusionaut

A1 Just a happy time
A2 Kamala
A3 Reflections
a) Wait a minute - a drum solo
b) Katharsis
A4 Daydreams
B1 Bata Mata Moone Taboo
B2 Mata Dalam, for the inside looking man
B3 One Hope
B4 Sweet nights

- Titus Köstler - Guitar
- Edgar Müller - Electric piano and mini-moog synthetizer
- Peter Frodi - Bass
- Uwe Holzwarth - Drums
Special guest:
- Armin Keller - Congas and timbales (A1 and B4)

A3 Reflections
B1 Bata Mata Moone Taboo
B4 Sweet nights

Thanks a lot to Fusionaut :)

Posted by Fusionaut on ProgNotFrog-Forum: http://pnfforum.com/index.php?topic=7950.0

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Traphico - "Traphico" {Colombia} [1980]

Traphico (se pronuncia Tráfico), fue un grupo de rock colombiano activo a principios de los años 80. Es un caso excepcional dentro de esos años en la historia del rock colombiano, ya que a pesar del letargo que vivió en esos años el movimiento rock en su país, realizó una gira de 180 presentaciones y grabó dos discos larga duración con el sello Sonolux. También se le recuerda por ser la banda que abría con un concierto la exhibición en Bogotá de películas con temática alusiva al rock.

Integrantes
Al grupo pertenecieron el ruso Vitalii Druzhinin (voz, teclados), Ernesto Rozo (guitarra), Miguel Alzate (bajo) y Enrique "Blue" Martínez (batería). En 1993, diez años después de su disolución, Rozo y "Blue" hicieron parte de la banda Ex-3, uno de los proyectos más exitosos del rock colombiano de los años 90.

Google translate

Traphico (pronounced Traffic) was a Colombian rock band active in the early 80s. It is an exceptional case in those years in the history of Colombian rock, and that despite the lethargy that lived in those years, the rock movement in his country, made a tour of 180 presentations and recorded two albums with the label long Sonolux. He is also remembered for being the band that opened the exhibition with a concert in Bogota-themed movie alluding to the rock.

Members
Group belonged to the Russian Vitalii Druzhinin (vocals, keyboards), Ernesto Rozo (guitar), Miguel Alzate (bass) and Enrique "Blue" Martinez (drums). In 1993, ten years after its dissolution, Rozo and "Blue" were part of the band Ex-3, one of the most successful Colombian rock of the'90s.

Miembros
- Ernesto Rozo (guitarra) (guitar)
- Vitalii Druzhinin (voz, teclados) (vocals, keyboard)
- Miguel Alzate (bajo) (guitar bass)
- Enrique “Blue” Martínez (batería) (drums)

Discografía
- Traphico, Sonolux, 1980
- Stop, Sonolux, 1982

http://es.wikipedia.org/wiki/Traphico

01 - ilusiones
02 - amor es tu libertad
03 - nueva generacion
04 - hiding from me
05 - confusion
06 - old rhym
07 - sweet home
08 - funky night
09 - war

01 - ilusiones
03 - nueva generacion
07 - sweet home

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Jack Hammond - "Open The Doors" {USA} [1980]

Early 80's privat-press of high-tension Progressive-Guitar Rock-Fusion... all-instrumental tracks laden w/incredible dense patterns, lines buildin' to intense, mercurial peaks, swarmed w/acidish trapdoors, classical structures transformed outta Fusion brews (one track is a Bach cantata performed on acoustic guitar) ...a Blues that seems to be based on "the same thing" w/sparklin' lead-work, tight drum- 'n bass-jobs! this album may help describe some hidden boundaries that lie in Rock's structures... it may appear as Head-Music at the first "assault" ...but its hipnotic speech sure will cause to 'plode a capsule of extended scope by the time you get reminded of Steve Tibbetts (on "frammis") Loch Ness, Horton and perhaps some crystallized Mad River drops destilled outta Hampton's grease!!! nice, thick card-board-jacket w/ an Allen Ginsberg quotation on the back! http://www.k-fox.ch/pages/rock308/rock121.htm

Thanks a lot to osurec :)



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Locust - "Seasons Grasshopper" {South Korea} [1981]

제3회 TBC 젊은이의 가요제에서 "하늘색 꿈" 으로 대상과 가창상을 함께 수상, 가창력 뿐만 아니라 연주 실력까지 갖춘 것으로 인정받은 아주 우수한 그룹 로커스트. 이 음반 <사철 매뚜기>는 그들의 독집으로 발매된 첫 음반이다. 가요제에서의 찬사에 힘입어 기대 속에 발매 되었지만 그들의 재능을 채 인정 받지 못하고 시장에서 사장되면서 안타까움을 안겨준 앨범, 결국 이 들의 첫 앨범이 이들이 마지막 앨범이 된 셈이다. 하지만 이 앨범에 대한 평가는 세월이 흐른후, 서서히 사람들의 기억에 떠올려지기 시작했으며, 박지윤이 이들의 히트곡을 리메이크 하면서 데뷔함으로써 더욱 더 관심을 끌게 한다.

앨범의 크레딧 속의 일면읠 보면, "내가 말했잖아(이연희 작사/작곡)"와 "그대여(조진원 작사/작곡)을 제외하고 모두 김창완 작사/작곡으로 김창완이 이 앨범에서 지대한 영향을 끼쳤음을 알수 있게 한다. 그런 면에서 김창완의 팬이라면 관심은 물론이거니와 반드시 수집을 할 만한 가치가 있는 앨범으로 손꼽힌다. 특히 김태민의 독특한 보컬은 이 앨범을 몇번이고 반복해서 듣게 만드는 가장 큰 이유이기도 하다.

이런 작곡의 우수성과 보컬의 매력 덕분에 한 곡도 놓칠수 없는 정말 주옥같은 곡들이 모인 이들의 유일무이한 앨범이 바로 이 앨범이다. 당시 젊은이들의 신선한 청춘의 맛을 느낄 수 있는 곡들은 물론이거니와 프로그래시브를 즐겨듣는 이들에게도 충분히 관심 가질만한 곡이 될 "그림자" 역시 김창환의 프로그래시브한 면모가 어떻게 당시의 시대와 섞여 새로움을 발현하는지 알 수 있게 한다. 기회가 된다면 " 박신덕의 앨범 "김창완이 쓴 박신덕의 새노래들(서라벌/SR-0224/80.12.10)"과 비교해서 들어보면 좋을것 같다.

알토란 같은 음악들과 함께 이들만의 개성을 들어내는 앨범 자켓도 순수하면서도 토속적인 정서를 들어내 향수를 자극하기도 한다. 단 한장에서 끝이 나버린 이들의 음악세계에 대한 안타까움이 앨범 곳곳에 묻어 있다..... http://www.maniadb.com/album.asp?a=100318

Google translate:

TBC 3rd Song Festival of Youth in the "sky-blue dreams" with the target and gachang prize award, was recognized with gachangryeok as well as a very good group to play rokeoseuteu skills. The album dokjip as their first album is released. Thanks to the expected release in the Song Festival in the praise of their talent, but it does not receive the recognition of sadness in the giving of the album, even the first album that was the last album. But the years for this album heureunhu, people slowly started to remember, and remember thinking, while Park Ji Yoon This remake of the song is brought to his attention and more.

Ilmyeonuil of the credit in the album, "I told you (Lee Yeon Hee lyricist / composer)" and "you F (jojinwon lyricist / composer) and Kim Chang Wan All lyrics / composer Kim Chang Wan to have a profound effect on this album allows me kkichyeoteumeul is. that in terms of fan interest, as well as Kim Chang Wan yigeoniwa to be collected as an album's worth being. gimtaemin unique vocals, especially on this album to hear repeated again and again is the biggest reason to create.

The superiority of this composition and vocal charm, thanks to one of the gems of songs, I really do not miss this gathering of the same songs, the album that this album is unique. The young people can taste the fresh songs of youth, as well as the yigeoniwa professional geuraesibeu might be interested in jeulgyeodeutneun enough songs to be the "shadow" of the gimchanghwan how peurogeuraesibeuhan face and blend in the new era of will be able to know the expression. If the opportunity "of the album baksin Doug" Doug's baksin written by Kim Chang Wan saenoraedeul (Sorabol / SR-0224/80.12.10) "would be nice to hear and be compared.

With the same musical personality altoran not stop saying their own emotions on the album jacket, and a pure folk, but also a touch of nostalgia to get down and dirty. In the end only one of the music world for the nabeorin sadness are buried all over this album .....

Black Locust http://www.all-creatures.org/pica/ftshl-locust-bl.html

A1 내가 말했잖아 (I Said!)
A2 그대여 (Woman)
A3 저 달이 미워 (I Hate Moon)
A4 바람 (Wind)
B1 그림자 (Shadow)
B2 밤길 (Walk At Night)
B3 오늘같이 이상한 날 (Strange Day Like Today)
B4 사랑의 발자국 (Traces Of Love)

A2 그대여 (Woman)
A3 저 달이 미워 (I Hate Moon)
B4 사랑의 발자국 (Traces Of Love)

Thanks a lot to sayclub and hwabian ;)

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The Jack Hammond Group - "A Fatal Beauty" {USA} [1978] (kindly submitted by sosgotcha)

Follow-up to his excellent "open the door"-lp earlier; double-pack rimful w/adventurous Fusion-Prog-Lounge moves w/ an epic context on the side-long title-track, full-band sound w/solid bass and exqusite lead-guitar work, organ maneuvres, synth colors; w/insert-sheet; http://www.k-fox.ch/pages/rock308/rock121.htm







01. Blue murder
02. Lazy bones
03. Walk on air
04. Suite a fatal beauty
05. Festival overture
06. Concerto in B minor
07. No shame
08. The Flower & the stone
09. Nothing to say

01. Blue murder
03. Walk on air
04. Suite a fatal beauty

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