I.D. Company (70)

Obscure German rock with two female vocalists: Inga Rumpf (ex-City Preachers, pre-Frumpy) and Dagmar Krause (pre-Slapp Happy/Art Bears).

I Drive (72)

British-band based in Germany. Pre-LP member Geff Harrison was also in 2066 And Then.

[See 2066 And Then]

Cuevas De Altamira (78)

Excellent prog one-shot who released the very culturally influenced Cuevas De Altamira. Good stuff.

Originally touted as "the Spanish Strawbs," it's a comparison that fits if you remember that Ibio was not a Strawbs clone, but instead a band that combined elements of Spanish folk music with rock, much as the Strawbs did with British folk. There the similarities end, as in actual musical style Ibio falls closer to some of the '70s Italian folk-rock groups, but with Spanish thematic content. Very worthwhile.

Spanish progressive with delicious keyboard work. The vocals are a bit overwrought, but very much in the traditional Spanish style, so it adds to the charm of the music, which is supposed to be based on Spanish folksongs. But the music is 100% prog, albeit with a strong acoustic guitar presence. Very much worth your while. -- Mike Ohman

Sun Supreme (74), Ibis (75)

Hard rock band where the best album is Ibis with the great Nico Di Palo on vocal and guitar.

Ibis were another member of the Italian prog rock contingent of the mid- seventies, more inclined toward the "heavy" side of that genre, with songs structured around organ and guitar. The closest comparison would be to groups such as Osanna or Focus.

[Ibis were apparently also known by the name of Nico, Gianni, Frank, Maurizio; See New Trolls | New Trolls Atomic System]

Supernova (72)

Percussion-heavy fusion/prog.

Discography

The Marvel World of Icarus (71)

Reviews

More of the early British scene.

The Marvel World of Icarus was a sort of concept album in as much as all the songs were about Marvel Comics characters. I seem to recall a sort of gravelly voiced singer, and the album was pretty ordinary if I remember correctly. I had a copy in the late '70s but it disappeared somewhere along the way ... -- Neil Gregory

Discography

The Saga (06)

Reviews

Ice - (Not in photo order) Hein van den Broek (lead vocal, guitar, harmonica), Chris van Hoogdalem (guitars, backing vocals), Hennie van Mourik (bass, backing vocals), Ardie Westdijk (keyboards and synthesizers) and Rob Boshuijzen (drums and percussion) Ice is a direct descendent of Maryson, comprised of all the members of that band except for keyboardist W. J. Maryson. He is replaced by Ardie Westdijk in Ice, who also graces the album cover and booklet with his (excellent!) artwork. The Saga is their debut album, a concept album about an ice age caused by an alien conqueror and the rebels who fight them. The story line and several of the lyrics were written by a "sixth band member" René Sterk. The band also take their name from this story. Though I disdain the word "Neo-Prog", it is perhaps appropriate for these guys, who play a type of '80's-style prog with large hints of what I would call Arena Rock and sax solos that could come right out of a Pink Floyd album. It's dead serious and pretentious even when the story and lyrics become a bit trite, sorta like the musical equivalent of a low-budget sci-fi film. Still, there's something engauging about the music, and it's certainly an agreeable listen, though it will probably never be the everlasting prog epic it seems to hope it will be. The Saga will never be on my top-40 album list, but if I had heard this album when I was 18, it might have been. Not bad. -- Fred Trafton

Links

[See Cirkel | Maryson] Click here for Ice's web site (mostly in Dutch)

Ice (74), Import/Export (75), Saga of the Ice King (79)

Late 70's superb flowing prog, ex-Affinity. Saga of the Ice King is perhaps the rarest album from 1979!

[See Affinity]

Tutankhamon (75), Coses Nostres (76), Sentiments (77), En Directe (78), Arc En Ciel (79)

Iceberg were easily one of *the* best Progressive bands to come from Spain, or anywhere else for that matter. Their music is a shifting, complex mixture of fusion guitar and symphonic keyboards. Coses Nostres is most similar to Return to Forever's Hymn of the Seventh Galaxy. Anyone who like's that Return to Forever album will flip over Iceberg. Guaranteed! The scorching guitar dueling it out with the sizzling synthesizer will make you drop your jaw. The rhythm section are mind-blowing, riffing non-stop and enjoining battle with the guitar and keyboards. Vocals are too scared to get hear this hotbed so it's instrumental all the way. The subsequent albums reveal a more unique voice for Iceberg though still a very fusionesque form of symphonic progressive. Well worth searching out but the LPs are apt to set you back several dollars. I've seen Coses Nostres go for $50-60. It's worth it. An absolute must if you can find any of the albums. Try for Coses Nostres or Sentiments as they're a bit better than En Directe or Arc En Ciel though any of these are fantastic. I haven't heard Tutankhamon. -- Mike Taylor

Spanish prog has a reputation of being jazzy. This is with good reason, as most of the bands from Spain that I've heard, such as Om, Cai, Guadalquivir, and Azahar, have a strong fusion or jazz element. But Iceberg stands out among them as being a top notch fusion album not only of Spain, but of all time! With a lineup that rivals those of Return To Forever in terms of skill, Coses Nostres is a fusion-lovers wet dream with it's masterful drumming and bass playing, wildly brilliant guitar, and complementing keyboards. Anyone who has been impressed by the guitar styles of Al Di Meola or John McLaughlin should hear Iceberg's Max Suñé play. His searing leads travel the entire neck of the guitar with remarkable fluidity. He avoids the Trevor Rabin-esque playing fast for the sake of playing fast, and instead combines a traditional Spanish style with the modern rock guitar style of the seventies. The drummer plays on the level that you might expect from Lenny White or Billy Cobham. And lets not take anything away from the keyboardist and bassist, both of whom are excellent. The music is a complex, time-shifting combination of riffs and leads, with an all around aura of musicianship that reminds me of Area (only missing are the vocals and the wild experimentation). Iceberg's themes are upbeat and bouncy most of the time, but don't let the jazziness turn you off. If you're into well written and played progressive fusion like Hymn of the Seventh Galaxy-era Return to Forever, or Visions of the Emerald Beyond by the Mahavishnu Orchestra, Iceberg is a must. Coses Nostres easily makes my top ten fusion favorites. -- Mike Borella

Iceberg's Tutankhamon is there only record with vocals, but fortunately they got rid of the singer. It was pretentious and sung in English, Spanish and, maybe, Catalan. -- Manuel De Pinedo Garcia

[See Pegasus | Suñé, Max]

Discography

As "Iceburn": Hephaestus (93) Iceburn (94, Split EP w/ Engine Kid) Poetry of Fire (94) Firon (95) As "The Iceburn Collective": Meditavolutions (96) Power Of The Lion (98) Polar Bear Suite (00)

Reviews

Dealing in a rock sub-genre called math rock, this is quite a mindfull with its dark and minor key based music with a lot of out-chords. "Not for the fainthearted" doesn't begin to paint the picture. This is music you have to want to like, and even then it's really down to your genes or something. Very much guitar oriented (two guitarplayers), with a little sitar, a little sax and some vocals - sometimes hissed and sometimes shouted. Not a great singer but it's such a small part of the experience it almost doesn't matter. This record brings new meaning to DYNAMIC, as it ebbs and flows constantly between softly picked guitar, and full ensamble at full throttle. Sometimes very dissonant and rhythmic (like a much more aggresive and harsh Boud Deun), only to suddenly break and turn into an improvised whisper-quiet segment reminiscent of bands like Present or Univers Zero at their most quiet. This is truly art music, and I like it plenty (though it took some practise), but I'm just as sure it comes across as improvised noise to others. Either way it's nine songs running as one for 70 minutes straight. -- Daniel

Discography

Iced Earth (91) Night of the Stormrider (92) Burnt Offerings (95) The Dark Saga (96) Something Wicked This Way Comes (98) Alive in Athens (99, Live) Horror Show (01) Tribute to the Gods (02, Album of cover tunes with songs by Kiss, Iron Maiden, AC/DC, Judas Priest, Black Sabbath, Alice Cooper and Blue Öyster Cult) Days of Purgatory (03, 2CD, Re-recordings of earlier albums and previously unreleased material) The Glorious Burden (04, Available as single CD or double CD "deluxe" version. US and European releases have slightly different song lists.) The Blessed and the Damned (04, 2CD, Compilation)

Reviews

Iced Earth (The Glorious Burden Line-up, not in photo order) - Tim "Ripper" Owens (vocals), Richard Christy (drums), James Macdonough (bass), Jon Schaffer (guitar), Roger Stevens (guitar?) Those of you who have read many of my GEPR entries will know that prog-metal isn't one of my favorite prog genres, in general. Still, when I run across a band I've read about in other prog web sites that I know nothing about, has a cool album cover and costs only $3.98 at Half-Price Books, I'm likely to take a chance. Such was the case with Iced Earth's Something Wicked This Way Comes. While not my favorite album of the prog-metal genre by any means, I can't say it was a mistake to pick it up, under the circumstances. My first impression of the album wasn't that great. The songs alternated bewtween two styles. The odd-numbered songs featured shredding speedy power metal guitars, machine gun drums and a vocalist who sounded like what Geddy Lee might have sounded like in the early days if he was on amphetemines and removed the tight rubber band from his testicles (i.e. this guy screams more in the tenor range than the soprano). The even numbered songs are mellower and remind me frequently of Dream Theater's A Change of Seasons, an album which I like quite a lot. But the lyrical content is very sad and downbeat, which I can no longer tolerate for the length of a whole album. I used to enjoy this sort of thing when I was younger, but now ... So, for the first part of the album, I had about decided that Iced Earth was an OK power metal band, but I couldn't really see what this had to do with prog. But then came the "Something Wicked This Way Comes" trilogy, three lengthy songs that fill about the last third of the album. This is a really excellent prog-metal mini-concept album in itself. Sorta like Rush's 2112, a "side-long" concept piece from the old says. Now it's clear why these guys are considered to cross the boundaries between plain "power metal" and "prog-metal". This piece doesn't have the same feel throughout the song, instead switching at a moment's notice from mellow chording to two measures of shred and back to mellow again, and changing from melodic vocals to screaming anguish just as quickly. Of course, the "concept" is a time-honored prog tradition, and the story line here, while perhaps not the most original thing in the world, is sort of cool, and it's easy to get hooked into the story and enjoy it. So, a mixed review. Most of the album I could do without. But the "Something Wicked This Way Comes" trilogy alone made the album well worth the money I payed for it, so overall I feel better educated and found an album I can enjoy at least a significant portion of. Even among other albums I would have to categorize as "more prog", I can't always say that. I'd pick up another album from these guys, and I can't always say that either. Not a bad review from someone who isn't much of a prog-metal fan. One last thing ... Iced Earth has said on their web site that their next release(s) will be a 2CD concept album of "Something Wicked This Way Comes". They're evidently planning on writing the entire thing, then recording it in two sections with release on two separate CD's about six months apart. At least that's the plan for now. I could like this. I'll be waiting for it. -- Fred Trafton

Links

Click here for Iced Earth's web site

Discography

City of Temptation (90) The Speed of Desire (92) Blood Is Red (95) Paradise (00) The Dreadful Dance (05) In the Vodka Garden (05, Compilation) The Body Never Lies (06)

Reviews

Iconoclast - Leo Ciesa (drums, percussion, keyboards, octapad, vocals) and Julie Joslyn (alto saxophone, live electronics, violins, vocals) New York City-based Iconoclast have been composing and performing together since the beginning of 1987. Leo Ciesa also drums for Dr. Nerve. This is information from their web site, and I can't say much more since I haven't heard them. -- Fred Trafton

Links

[See Dr. Nerve] Click here for Iconoclast's web site

Discography

Iconoclasta (83) Reminiscencias (85) Suite Mexicana (87, EP) Soliloquio (87) Siete Años (88, Compilation) Adoliscencia Cronica (89) En Busco De Sentido (89) (ProgressoR review) En Concierto (91, Live) La Reincarnación De Maquiavelo (92) De Todos Uno (94) Trece Años (96, Compilation) La Granja Humana (00)

Reviews

Absolutely superb symphonic instrumental band. Imagine the very best of Tony Banks and Steve Hackett (in particular, Trick of the Tail and Wind and Wuthering) and combine it with the power and majesty of Yes ("Awaken," Tales From Topographic Oceans) and you only begin to understand what this band is about. A must.

A steaming hot band with ALMOST enough chops to pull it off. "Cuentos De Arquicia" is a blistering, energetic, complex instrumental built on a tritone chord progression. The players make a fair number of mistakes, mostly in timing. But given the complexity and speed of the music, one can ignore the sloppiness. This tune cooks! The second tune, "Manantial," is a slow, floating, dreamlike instrumental with nice bass work and a melodic guitar part. Not bad. Iconoclasta sounds like a band with great potential. This was their first album, and you can tell.

Iconoclasta is part of the "new generation" of progressive music still being produced, and one of the few progressive bands from Mexico. While Mexico is not an obvious hot bed of progressive coals, Iconoclasta makes a worthy attempt at creating quality progressive music. Iconoclasta have several albums and one EP, which have recently become available on CD. Iconoclasta's 1983 self-titled first release represents a developing band that is still trying to find a style. Progressive doesn't come naturally from this band. It seems obvious that the band members have a passion for prog rock, but their overall style still sounds like a smattering of other bands rather than a cohesive whole. I keep getting the feeling that I've heard it all before. "Cuentos De Arquicia," the first cut, sounds almost popish, with a bouncy keyboard line. But Iconoclasta's sound develops in the second cut, and improves with each tune. The main instrument is the electric guitars, with the keyboards secondary, though frequently used. Ricardo Ortegon is a capable guitarist, but needs to find a few more tones for his guitar. It seems that Ortegon's first exposure to electric guitar was the "two slightly distorted guitars" from Mike Oldfields Tubular Bells. That tone is predominant throughout the album, though Ortegon breaks out from that tone somewhat in Reminiscencias. By "Memorias De Un Hechicero," I was tapping my foot and bouncing my head, despite myself. That is a good sign. "Estudio VI" is a guitar study over a progressive keyboard rhythm. Flamenco and other Mexican styles really surface in this tune, though other Mexican rhythms can be detected throughout. But fortunately, this album isn't JUST flamenco guitar and progressive rhythm. Reminiscencias is a far better conceived thematic work than Iconoclasta, addressing the band's pacifist anti-nuclear stance and their criticism of the arms race. However, I couldn't detect this by listening to the new singer, since the lyrics are falsetto Spanish. Fortunately, the focus is on the instruments and not the voice. The music is thoughtful and introspective, progressing toward a unified whole rather than a slapped together amalgamation. The 16'40 opus, "Reminiscencias De Un Mundo Sin Futuro" (Reminiscences Of A World Without A Future), is the centerpiece of this album. Though I think this epic cut starts out a little slow, the tune develops rather nicely, again showing Mexican influences throughout. This tune is a very good piece that definitely has its moments. I really would like to hear some of the later Iconoclasta. After listening to their first two attempts, I can definitely see a decent band in development, one that could become excellent with maturity. If Iconoclasta continues in the same direction, they may forge a unique, quality style of their own that pays homage to the best of the Italian progressive stylings and the band's Mexican origin. I haven't heard the others, but Soliloquio is supposed to have a fusion tinge, while remaining symphonic, and Adolescencia is supposed to be squarely in the rock-jazz vein. -- Mike Taylor

Mexican progressive group. Largely instrumental, but the occasional Spanish vocals are very good. With the exception of intentional use of Mexical folk instruments, there is no trace of Mexican music (e.g., mariachi), the sound is much more like the Mahavishnu Orchestra or one of the Italian progressive groups.

The best-known Mexican progressive, and for good reason! Their first two albums are true classics, with intricate arrangements for double guitar (electric and acoustic) and virtuosic keyboards. The first album emphasizes the guitar, and quite well. The second one features some great keyboard playing by Rosa Flor Moreno, especially on "Era De Metabolismos Tecnologicos", in which she plays some stunningly complex synth parts. The 18-minute "Remeniscencias de un Mundo sin Futur" features some uncredited vocals. Both highly recommended. -- Mike Ohman

Suite Mexicana/Soliloquio combines a hard-to-find EP called Suite Mexicana combined with the full-length Soliloquio. The music is more flavoured with Mexican influences than their other material, but still recalls the spirit of the Italian bands of the seventies. La Rencarnacion De Maquiavelo is the latest release from what is regarded as Mexico's premier prog rock band. The music continues in the same style as their prior material, very much influenced by the mid-seventies Italian sound, though somewhat updated, with the presence of digital-sounding keyboards. The sound is a little more aggressive, with the lead guitar operating with more prominence than previously. As always, the music is mostly instrumental, underpinned by keyboards and guitar, and strewn about with fast-paced, symphonic passages.

I have the CD of their first two releases. Not only is there over 80 minutes of music on it, but it's all good. It's almost all instrumental with chants and vocals occasionally thrown in. Definitely a step above the average symphonic band, Iconoclasta features polyrhythymic guitar/keys/bass lineup. The guitar is a bit sloppy (kind of like Steve Hackett's early sound) and heavily distorted which makes me think this was a low budget recorded but the overall quality is good. Very few tracks have vocals. Those that do are in Spanish or seem like orchestrated choruses. The self titled debut is one of the very best albums recorded in the 1980s. Highly recommended.

La Rencarnacion de Maquiavelo is the recent release from Mexico's premiere band. However my first question, after noting that the band is now ten years old, was, "Have they sold out yet?." Seems like all the best do eventually. I'm happy to say that La Rencarnacion de Maquiavelo is not musically compromising at all. They may have lost a bit of an edge over the years, but not enough to warrant any complaints. In fact, this release is very much in the same style of the rest of their albums. That is where I have a problem. While Iconoclasta remains one of the best instrumental ensembles recording today, their style is no longer fresh. When they released their debut in 1983, in was an innovative, adventurous and unique departure from the dominant sound of the time. In 1992 they sound largely the same. While this is better than a commercial sell-out, it is still stagnation. But La Rencarnacion is a very good CD to add to your collection and I recommend it, especially if you've heard and enjoyed earlier Iconoclasta releases. As for personnel, the band is now a four piece, with former guitarist Ricardo Moreno taking the keyboard chores his sister Rita used to handle. While Ricardo is a very accomplished musician, he lacks Rita's virtuousity. Not to mention that it sounds like he's playing a casio on most cuts (get a Moog, Ricardo!) Bassist Nohemi D'Rubin performs spectacularly as usual. I'd vote her in as top female bassist any day. Her vocals grace the only non-instrumental track on the CD. The band is rounded out by guitarist Ricardo Ortegon and drummer Victor Baldovinos. Baldovinos is key in the jerky time changes that makes this band so likeable. While he falls back on the double-bass more than he used to, he remains a quality percussionist. Overall, I give it a thumbs up.

People raved and I succumbed. I regretted it. The first two albums sound like kids messing about ... really sloppy and obvious.

Links

[See Praxis]

1983 And She Told Me I Was... (83)

1980's prog private pressing.

El Cielo Entre Vega No Es Gris (94?)

Instrumental prog with influences ranging across Dead Can Dance, Bloque and Pink Floyd.

Discography

Tales of Instant Knowledge and Sure Death (90, LP only) The Nothing Show (94) Fancy (97)

Reviews

The direct ancestor of Sleepytime Gorilla Museum. Idiot Flesh (1988 - early 1998) had many similarities to SGM and a number of differences from its successor. (You might want to look at the more-extensive SGM entry first, if you haven't already.) Like SGM, Idiot Flesh worked off a mix of dark and threatening-sounding influences, but with less cohesive melding and far more jump-cuts: They would snap on a dime from Metal to Industrial to RIO to 20th Century Classical Quotes and then off the map to Funk or Vaudeville or Country and back just as fast. (Sometimes they resembled a really evil version of Gentle Giant.) As a result, they often sounded more overtly "prog". About a third of The Nothing Show falls heavily into the Industrial camp and can sound pretty suffocating, but the remainder shifts all over the place and includes several good progressive numbers. Fancy also jumps about between genres, but emphasizes the progressive side a bit more - it has a couple of extended, wonderfully pretentious tracks and some very Crimson-like passages. In the band's final year or two, they began a transition toward a stylistically blended, more serious approach which foreshadowed SGM. However, none of that late material has seen release except for a couple of isolated tracks on compilations. Idiot Flesh also used to put on an even more theatrical performance than SGM does: Besides the gargoylish makeup and costumes, they used elaborate props, including giant foam-rubber masks, sets, and inflating suits. Their shows often opened and closed with rackety vaudevillean routines done in and through the audience. On top of this, they worked with many auxiliary sideshow performers, such as the fire-dancer Beefra the Cook, Hatcha and Datcha the Siamese Twins, a Punch and Judy show, and a number of others. All of this made touring a nightmare, although they did manage to get on the road several times a year. Artistically, the band seemed to aim mostly at repeatedly whapping audiences upside the head to jolt them out of seen-it-all indifference. This worked: they had quite a following in the Bay Area. However, they never seemed too clear on what more they meant by all the quick changes and bizarre visuals. The lyrics didn't help much - they usually put forth sardonic jokes, ruminated about the contradictions of performance and the ironies of pop culture, or wallowed in a self-conscious dark ugliness. Most of the words to Nothing Show derived from their obscure, involved band-mythology. Sometimes Idiot Flesh just seemed like the World's Best Novelty Band (well, West Coast of the US, anyway), although they always offered a wild ride and never failed to deliver on that promise. But at the end, they had started to do more, had begun to find an emotional core in all the routines and style-changes, appeared to have found out what they wanted to say with them. And, although the usual tensions and frustrations caused the Idiots to go the way of all Flesh, much of what they'd become at the end continued on into Sleepytime Gorilla Museum. -- John Hagelbarger

Links

[See Sleepytime Gorilla Museum]

Discography

Ie Rai Shan (94)

Reviews

Ie Rai Shan were a Japanese band who put out a single CD (Made In Japan MJC-1005) in 1994. The band's line-up is the traditional guitar, keys, bass, drums and a female vocalist. Vocalist Naomi comes from the Japanese school of strong female progvocalists, and while she may not be the top of her class, she sports a well-controlled voice that has a good dynamic range without venturing too close to where even bats get their earplugs out. Considering that keyboard and guitar duties are handled by none other than Katsuhiko Hayashi (ex-Mugen) and Ikkou Nakajima (ex-Pageant), I was at first a little disappointed with the music on Ie Rai Shan. The first of the album's seven songs is very much in the neo-prog mode, very straightforward, vocal-oriented and accessible. By no means bad music, but lacking the sophisticated melodies, energy and lushness of Mugen and Pageant, and the short instrumental breaks sound a bit forced. The first part of the second track consists mainly of some acoustic guitar and elegant vocal melodies with keyboard sounds gradually layered over them; I am reminded of Pageant's "Vexation". However, the rockier instrumental parts in the second part again sound a bit perfunctory and uninspired, and the song ends rather abruptly. The third song is an improvement, however, as the band kick the energy level up a notch or two, and there is some nifty keyboard work on this track. The fourth song is again more straightforward, at times a bit dull, but saved by some moody-sounding interludes and a strong chorus melody. Song number five is a lighter number, quite catchy and also containing some folk influences. The best song is the sixth: the vocal sections are bouncy and up-tempo with a strong vocal melody and a healthy dose of lead synth, and there is a great middle section with an elegant guitar solo over a wall of keyboards. The final track is a short, understated song with a darkish, Eastern-sounding melody and some gorgeous Mellotron (apparently sampled). Overall assessment: quite a good album after a few listens, just nothing exceptional. If you like Japanese symphonic prog, you might want to have this album too, but it doesn't represent the best that scene has to offer. -- Kai Karmanheimo

Links

[See Mugen | Pageant]

If (70), If 2 (70), If 3 (71), If 4 (72, aka Waterfall), Another Time Around (73), Double Diamond (73), Not Just Another Bunch Of Pretty Faces (74), Gold Rock (74), Tea Break is Over, Back On Your 'eads (75)

The driving force behind this band, at least in their early stages, was the saxes of Dick Morrisey and keyboards of John Mealing, along with the crack rhythm section of Jim Richardson (bass) and Dennis Elliott (drums) they also had a guitarist, second reedsman and lead vocalist. I've only heard the first two albums, those could sort of be described as a progressive Blood, Sweat & Tears, very jazz-rock oriented, but not fusion".

If is a jazz-rock band from the United Kingdom. In this case, jazz-rock doesn't mean fusion ala Mahavishnu Orchestra but something akin to early Chicago or Blood, Sweat and Tears. Also comparable to Isotope and Nucleus. It's also a bit more progressive than either of those two bands. The music is very good and something I like a little better than Chicago. Fairly well balanced between guitar, sax, keyboards, and singing. The lead vocalist (on their first two albums, the ones I have) remind me a bit of Pete Townsend. Perhaps this band isn't for those into heavy prog, but if you also enjoy jazz this may be a good band to seek out. Dave Quincy left If to form Zzebra. -- Mike Taylor

[See Zzebra]

Igginbottom's Wrench (69)

UK jazz/prog featuring Allan Holdsworth.

[See Holdsworth, Allan]

Discography

Igra Staklenih Perli (79) Vrt Svetlosti (80) Inner Flow (91, recorded '75) Soft Explosion Live (91, Live, recorded '78) Drives (93, Live recorded '78)

Reviews

Igra Staklenih Perli - There are 6 members in this photo, but only 4 are credited on the first album. These are (not in photo order): Svaba the Kraut [Zoran Lakic] (keyboards, vocals on song "Putovanje u Plavo"), Joshua N'Goma [Vojkan Rakic] (guitar), Predrag Vukovic (percussions, drums) and Drakula [Drasko Nikodijevic] (bass, vocals). The second album replaces Nikodijevic with Slobodan Trbojevic (bass). In addition, there was a drummer called Dragan Soc who played with the band at the same time P. Vukovic did. This band was from Zagreb [incorrect ... see below. -Ed.] and this was part of Yugoslavia when they recorded their LPs. Igra Staklenih Perli (79) is a real collectors item here in Europe, and you have to pay some $100 if you find a mint copy of it. But it's worth that! They made some Psych-Prog stuff, maybe like Hawkwind, but much more intense and with better vocals (somewhere i read they have trippy guitars and a spacy organ!). There is also a bit of Pink Floyd (Meddle) in this music, but nevertheless they are quite unique. Highly recommended!! (if you can't find the original, there was also a repro available by Kalemegdan Disc [several] years ago!). Vrt Svetlosti (80) is said to be quite bad, but its impossible to find, so i can't tell you more about it. -- Achim Breiling

Avant-garde space-rock, compared to Can. Last 3 are archival material released in the '90s.

I spotted a factual error on your website regarding the Yugoslavian band Igra Staklenih Perli. The band was from Belgrade, not Zagreb. I know this because I've done some net search on the band when I obtained MP3 copies of their first two albums. The error is understandable; this band is rather obscure. Even though I live in Belgrade I've never heard anyone talk about them. The first time I read about them was in 2000 in this Yugoslavian magazine called Rock Express. It's a shame; they were pretty good. If it is of any importance, the band name means "The Glass Beads Game" after a Hesse novel and the title of their second album Vrt Svetlosti translates as "The Garden of Light". -- Aleksandar Zaric

Ihre Kinder (69), Leere Haende (70, aka. Empty Hands), 2375004 (70), Werdohl (71), Anfang ohne Ende (72), Pop History Vol. 24 (72)

Seems to be some sort of flute-focused band. 2375004 is said to be the best, Werdohl the most progressive, whatever that means.

Discography

Milad (99) 0,5 (04)

Reviews

A Turkish outfit consisting of four members. The violinist/pianist/ is a classically trained ex-academician of music. The other three members share bass, drum, guitar, vocal and four oriental percussion instruments (bendir, def, darbuka, kasik). In addition to these, a guest musician plays djembe, an African percussion. Mostly bridged thirteen tracks are more like the parts of a long suite. The five of them have lyrics (all in English) which are nothing to write home about. The vocal is the same. But they are not distracting either. The rest is instrumental. A well-constructed music with themes and sub-themes, which is based more on the mature interplay of the instruments, and of musical themes than on catchy tunes, though there are some nice Anatolion melodies interlocking the tracks. That eastern element is not attached in the form of an eclecticism; it's been saturated satisfyingly to the prog format. All the instruments, rather than soloing mindlessly, make their well-proportioned contributions to a whole greater than the sum of its parts, except when, in a few instances, the violin or the piano comes to the foreground and makes beautiful mini prog concertos. Their only album [could once] be purchased from Shroom Records [but I can't find it any more. -Ed.]. There's an RA version of the first track, "Cizgi", which is not one of the more elaborately arranged tracks. I would include the eleventh track, "Istanbul", instead, which can be summarized as follows: "Istanbul" opens with a somewhat dark atmosphere of keyboard joined by violin. This atmosphere is a brilliant exposition of the climate or sensibility of the forthcoming musical story. Next, by a soft transition of keyboard, an elegant and slightly sad theme (with a pleasant Anatolian fragrance) is introduced and narrated by guitar; soon, by the participation of the rhythm team, the theme is improved. At 2:20, keyboard makes another atmospheric intervention, and the air darkens even further. After this short intervention the theme is repeated. At 4:30, piano, cutting others, introduces a wonderful, slightly joyful and majestic second theme (again with Anatolian overtones) which is a mini prog. concerto for piano; reaching a beautiful climax at 5:30 all the members participate and the second theme is developed. At 5:50, violin adds a sub theme to the second theme; but unfortunately violin's theme is cut short and "Istanbul" ends at 6:10, whereas it could be a fantastic epic extending to 10 minutes. -- Acar Burak

Links

Click here for Ihtiyaç Molasi's web site (in English, a more complete version in Turkish can be seen by clicking Türkçe icon on upper right)

Ikarus (71)

Heavy Prog.

Periodikmindtrouble (78), 10 Suicides (80), Polaroid/Roman/Photo (85)

Ilitch is Thierry Muller, who made an a couple of albums in the early 80's in the electro-acoustic vein, at times comparable to Robert Fripp and Brian Eno, Richard Pinhas/Heldon and Philip Glass, using guitars (both electric and acoustic), synthesizers, and lots of effects.

Circle (89)

Discography

Ezek a fiatalok (67) Nehéz az út (69) Illések és pofonok (69) Human Rights (71) Add a Kezed (72) Ne sírjatok, láyok (73) A koncert (81) Illés-kislemezek (84) Népstadion 1990 (90) Az Illés összes kislemeze (90) Az Illés másik oldalán - válogás (96) Best of Illés - Balladák és lírák (96) Best of Illés - Miért hagytuk, hogy így legyen (96) Illés '96 (96)

Reviews

Illés I have a recording of their 1972 Add a Kezed and it is a nice combination of Beatles-like (late period) melodies and Hungarian folk (i.e., with recorders and such). At times they can rock. At other times they're as gentle as the most gentle Italian prog. I understand Illés to be a very popular 60's and 70's Hungarian band (I think they split up in 1972). They harmonize vocally like the Moody Blues. Their albums deserve to be remastered and reissued as they're very hard to track down. -- Betta

Links

Click here for Illés' web site in Hungarian

Out Of The Mist (77), Illusion (78), Enchanted Caress (79/Rel.90)

This was a reformation of the original Renaissance lineup in the mid-70's with vocalist Jane Relf, Jim McCarty on guitar and vocals, Louis Cennamo on bass, John Hawken on Keys, plus some new faces on guitar and drums. (original Renaissance member Keith Relf had died a few years earlier). The basic sound on the first album is similar to early Renaissance, but with less of the classical riffing, and more song oriented. The second album is more refined, the songwriting is better, and Paul Samwell-Smith stepped in as second lead vocalist. The first two are very worthwhile finds, while the third seems a little pale by comparison.

[See Armageddon (UK) | Renaissance | Stairway]

Ilous & Decuyper (71)

Bernard Ilous (vocals, guitars, keyboards) and Patrice Decuyper (vocals, acoustic guitar) are a folk/rock duo who recorded just this one album of 13 songs. Musea's CD reissue includes two bonus tracks from a second single comprised of songs not on the LP. Ilous & Decuyper is a surprisingly strong album of experimental folk/rock/prog. Ilous and Decuyper shared common interests in the Beatles as well as folk and country rock artists like Bob Dylan, Joni Mitchell, and Crosby Stills Nash and Young. The duo also shared a common desire to fully exploit the 16-track studio to their fullest extent, as well as push their own musical limits. In fact, Ilous and Decuyper took one year to record this album, quite a long time for that era. Because of their love of vocal harmonies, the two spent a great deal of time arranging and recording subtle voicing and instrumental details, as well as layering harmonized voices one on top of the other. To achieve the sound they envisioned, they played most of the instruments themselves, often processing them in various ways to achieve new timbres. Occasionally, they drew help from some friends. On their only cover song, a very nice rendition of the Beatles' "Eleanor Rigby," Jean-Pierre Alarcen (future Sandrose guitarist) provides a fantastic guitar solo. Alarcen also appears in a duet with Ilous on "L'espoir," the B-side of the second single. Here, Ilous played a guitar solo run through a Leslie cabinet draped with felt to achieve a very distinctive tone. But, the vocal harmonies are the real attraction of this album. Ilous, the main lyricist, chose the French lyrics based on their sound, not their meaning. (Recalls Jon Anderson, no?) With attention to engineering and production details, Ilous and Decuyper created harmonies of striking beauty and subtle detail. Unique as a "folk/prog" album in 1971, the album is still very fresh today.

Discography

Iluvatar (93) Children (95) Sideshow (97) A Story Two Days Wide (99)

Reviews

Iluvatar is a Baltimore-based neo-prog band, one of the many Prog bands that takes its name from J.R.R. Tolkein's writings. In this case, the name comes from "The Silmarillion." Iluvatar, in the book, was the "Father of All," who created his children, the Ainur, by his thought. Iluvatar gathered together the Ainur and said to them, "Of the theme that I have declared to you, I will now that ye make in harmony together a Great Music." In this case, the Ainur are Gary Chambers (drums, percussion, vocals), Glenn McLaughlin (lead vocals, percussion, bass pedals), Dean Morekas (bass, vocals), Dennis Mullin (guitars, bass pedals) and Jim Rezek (keyboards). Tolkein's Iluvatar set up a tall order for his children. Do the Baltimore Ainur live up to the expectations? The nine songs on the 57 minute Iluvatar range from the 2.5 minute instrumental introduction to the 10 minute, three part "In the Eye." The opener ("Iluvatar") creates a Pink Floyd ambience of breathy synth pads, low digital synth notes and sustained guitar, which soon breaks into the first part of "In the Eye." And here is the stage set for the rest of the album. During the instrumental sections, there are nods to Yes, Duke-era Genesis and Marillion. When McLaughlin begins to sing, the songs become a very accessible mix of Kansas, Marillion, Genesis, Rush-styled hooks, etc. Lyrically, the music is usually a verse/chorus format, with an obligatory guitar or keyboard solo falling after a chorus and before the next verse. McLaughlin has a pretty nice voice, with a delivery style that often reminds me of Phil Collins. For example, listen to "Through the Eye," the third section of "In the Eye." Not only does his vocal delivery compare to Collins, much of this section is comparable to Genesis' "Turn it on Again." "In the Eye" falls squarely into the round holes of Genesis-influenced neo-progressive rock. Other songs, such as "New Found Key," "Exodus" and "Wait for the Call" are accessible, even radio-ready songs that have little development or progression. "Emperor's New Clothes" ends the album with one of the best instrumental passages heard anywhere on this album, changing direction every so often, with the guitars and synths building tension before releasing into back into the chorus. In short, Iluvatar are a likeable band and it is easy to see why they have developed a loyal following. For me, however, I just couldn't get very excited about Iluvatar. They're just a little too mainstream for my tastes during the vocal passages and the instrumental passages, though nice in some places, aren't exactly brimming with originality. Still, although I think the "Father of All" might be a bit disappointed, fans of Jadis and other decent neo-progressive bands should find Iluvatar to be quite satisfying. -- Mike Taylor

Links

[See Jeremy Cubert Project | Oblivion Sun | Puppet Show] Click here for Iluvatar's web site Click here for the Kinesis Iluvatar web page

Discography

Folle Avoine" (76) Portraits (77) Derriere Le Rideau (78) Auhourd'hui C'est Deja Demain (80) Dernier Bulletin (99)

Reviews

Regarding 2004 re-release of Derriere Le Rideau: Typically forgettable seventies jazz-rock with a mellifluous but dull sound and no interesting rhythms, melodies or direction. If Matching Mole and the Hatfields had done a French children's album it might have sounded like this. -- David Marshall

The French band Imago was at the peak of their activity in the second half of the '70s, when they released four albums: Folle Avoine (1976), Portraits (1977), Derriere la Rideau (1978) and Auhourd'hui C'est Deja Demain (1980). Another release featuring all-new material, Dernier Bulletin, saw the light of day only 19 years later, although the band's reincarnation came about in 1996. This CD [the 2004 re-release of Derriere Le Rideau] presents their third album in its original form, as it was on LP. No additional material is present here. Imago's current status is: disbanded again. -- Vitaly Menshikov

Links

Click here to order from Musea Records Click here for Vitaly Menshikov's full review of Derriere Le Rideau on his Progressor web site

Imán Califato Independiente (78), Camino Del Aguila (80)

Imán's second album falls somewhere between the Arabesque symphonic Prog of Mezquita and the Return to Forever-styled fusion of Iceberg, two other bands from Spain. Imán are a four-piece of Kiko Guerrero (drums and percussion), Urbano Moraes (bass, percussion, backing vocals), Manuel Rodriguez (guitar, vocals) and Marcos Mantero (synths). The album opens with the 10 minute "La Marcha de los Enanitos," an excellent symphonic piece with many Arabian overtones. Velvet-smooth keyboards alternate with electric guitar in solo space. Beneath them is a solid rhythm section. Drummer Guerrero knows that the snare drum is for more than the 2nd and 4th beat. While he doesn't riff as much as, say, Furio Chirico (of Arti E Mestieri), Guerrero certainly likes to take an active role in the music. The star of the show, I think, is Moraes. His bass work is essential to the melody, playing tasteful and memorable melodies while the guitar and keyboards duel overhead. He uses the entire fretboard throughout, and functions as a lead melody intrument, even while keeping rhythm. Like Mezquita, Imán draw from Arabian music and it is noticed here and in the 14 minute title track. The second song is "Maluquinha," a seven minute fusion piece akin to Al Di Meola circa Elegant Gypsy. Guitarist Rodriguez shows a strong Di Meola influence on his solo, alternating sustained notes with swift note runs. He's not as fast as Di Meola but he is more melodic. Comparisons could also be made to Carlos Santana. Congas are used to enhance the Latin feel. "Camino del Aquila" carries on similar to the opening track though there are more melodically diverse passages, including a brief, Steve Howe-like guitar passage in the middle. Also, this track is much jazzier than "La Marcha de los Enanitos," but with a dash of flamenco. The closer is the only vocal track, a ballad of Spanish guitar against a synth backdrop. The only real drawback to this release is it totals less than 35 minutes of playing time. I have no problems recommending it to everyone into Spanish, Italian and South and Central American symphonic prog. -- Mike Taylor

Discography

Cutting Both Ways (87, released as a Phil Miller solo album, but playing w/ In Cahoots) Live 86-89 (91) Live In Japan (93) Recent Discoveries (95) Parallel (97) Out of the Blue (01) All That (03)

Reviews

In Cahoots (original line-up) - Richard Sinclair, Phil Miller, Elton Dean, Pete Lemer and Pip Pyle. Phil Miller project with Elton Dean, Pip Pyle and others. A splendid example of Canterbury stylings extended into the present, English veterans In Cahoots are the very definition of jazz fusion. Guitarist Phil Miller, keyboardist Pete Lemer and friends get into a masterful, seamless brew of rock energy within a jazz orchestra on their All That CD [Cuneiform, 2003]. After the rather laborious opening cut, the album rocks and finds a hip, rhythmic middle ground between the carefully constructed lines of National Health or Mezcla (a great jazz rock ensemble from Cuba) and the more open, organic jamming of Gilgamesh or Mahavishnu Orchestra. If you like the jazzier side of fusion and miss the earnest nature of English jazz-rock, Phil Miller's In Cahoots might fill the order. -- David Marshall

Links

[See Dean, Elton | Hatfield and the North | Miller, Phil | National Health] Click here for In Cahoots' web site

Discography

Bellowing Sea - Racked by Tempest (Unreleased)

Reviews

Lars Fredrik Frøislie, keyboardist for White Willow and Wobbler, also leads another band named In Lingua Mortua. They have been active since 1999, but have not yet released their debut album Bellowing Sea - Racked by Tempest, though it is done and is planned to be released soon. Frøislie describes it as both Black Metal and Progressive, so it's anybody's guess what it sounds like. I'll let you know if I ever get to hear it. -- Fred Trafton

Links

[See White Willow | Wobbler] Click here for In Lingua Mortua's web site Click here for In Lingua Mortua's MySpace page

Discography

In Spe (First) (83, re-released on CD in 1999) In Spe (Second) (85, re-released on CD as Typewriter Concerto in D in 1994) Roheline muna / Näärmed (00, as Alo Mattiisen)

Reviews

In Spe is a quintessential symphonic progressive band from Estonia, a classic for those who have had the pleasure of hearing them, though it remains undiscovered for most of the world's prog fans. The band was founded in the late 1970s by a young music student named Erkki-Sven Tüür, who gathered several musician friends together to try out some of his compositions. The band featured a distinctive symphonic style termed "chamber rock" by Tüür, who was later to become a prominent part of the chamber music scene. As the band continued to play and write, their material became more sophisticated. Compositions by Tüür also became more adventurous, gaining a growing following for Estonian prog fans. In Spe had the opportunity to record in 1981 and 1982, and some of the recording from the latter period ended up on the self-titled LP, released in 1983. Only 3000 of the now collectors item were pressed, as it was lucky enough that the LP was released under the oppressive Soviet occupation. The music was mostly instrumental, thus there was less problems with censors that other bands faced constantly. The LP became the bedrock of Estonian progressive rock, and its sound inspired a generation of prog fans and musicians. The main work of the LP is "Sümfoonia seitsmele esitajale" (Symphony for Seven Performers), an ambitious three-part symphony for the "chamber rock" ensemble. Tüür himself composed the piece, as well as playing various keyboards and flute. He is joined by his wife Anne Tüür on piano, keyboard whiz Mart Metsala on more keyboards, the dynamic Riho Sibul on guitars, Arvo Urb on percussions, Peeter Brambat on flute and recorder, and Toivo Kopli on bass. The main theme of the first part, "Ostium," is so memorable that you will end up humming it before you realise so! The symphony is well composed and performed by the seven, and the trademark sound of Tüür can be realised very quickly into the piece. A shredding guitar solo by Sibul, the top guitarist in the country, adds to the prog flavour. One of the best prog compositions in history. The rest of the LP also featured some dynamic tracks, such as the only song with vocals, "Antidolorosum." Tüür himself sang on the track, showing his hidden talent. It is like wondering how Stravinsky or Rossini would sound singing! Another fabulous piece is "Sfääride võitlus" (The Battle of the Spheres), where the seven instrumentalists would split up into two groups and "fight" against each other. The dynamic of the fight between good and evil is so dramatic you can almost see it. Fabulous imagery from the crafty piece. Though the band played more concerts and recorded some more unreleased material, Erkki-Sven Tüür soon left to pursue music studies full-time. Though it was a massive loss for prog rock in Estonia, since then Tüür has become one of the best known classical and chamber composers in the world, frequently ending up on classical charts with his fantastic pieces. Next to Arvo Pärt, Tüür is the best-known composer from the musically-rich country. It was a shame that the LP remained hidden for so long. It was not until late 1999 when Eesti Raadio (Estonian Radio) released a beautiful digipak of the first LP, with good remastering done on it as well. However, lack of marketing and a small print run has kept this classic from reaching the mass prog audience, though most people who have heard it swears by it. Without Tüür, the band carried on with another budding composer, Alo Mattiisen. The musical style of Mattiisen was radically different from that of Tüür, being much more jazzy. The crafted and concise symphonic style of Tüür thus was replaced by a freer, more adventurous form designed by Mattiisen. The band continued to gig and record, and soon a second LP, also self-titled, was released in 1985. This LP featured a whimsical and adventurous side-long piece called the "Typewriter Concerto in D." The jazzy and fun four-part concerto featured the musician at their best, especially the masterful Sibul on guitars. The music is much freer, and the style of Mattiisen can be heard again instantaneously. The title role featured the rarest of prog instruments: the typewriter. Drummer Ivo Varts of Ruja fame created the fantastic sounds alongside the band, using carriage returns and scrolls alongside percussive typing. Wonderful ingenuity. The rest of the LP featured some other pieces with some blues and minimalist classical influences, which are quite interesting. The LP was pressed like a monster, with tens of thousands of copies floating around. It was much easier to obtain outside of Estonia and the former USSR, thus many people, having heard the reputation of a symphonic prog giant in In Spe, picked this one up and was a bit surprised. In a way, the second Mattiisen In Spe is a different band, just with the same name. Excellent, but not the same. A CD version of the LP was released in the early 1990s by Musea, but it is of inferior production and the sleeve has so many mistakes it could have added "Dewey Beats Truman" or something as horribly wrong as that. Even the liner notes made little sense since one song discussed was discarded! And again the wide circulation of the inferiorly-made CD as a "bonus" by Musea sullied the reputation of In Spe, lending to many disappointing reviews. The release of the first LP on CD is starting to change that perception, but it has a long way to go. In Spe itself did not last too much longer. It became more and more the instrumental team for the solo material by Mattiisen. He crafted several rock operas during this mid 1980s period, such as "Roheline muna" (Green Egg) and "Näärmed" (technically means "Glands" but...), which featured various vocalists such as the unique Peeter Volkonski and the shrewish Silvi Vrait. Many of these pieces remain unreleased, though in 2000 the aforementioned two rock operas came out under the name of Alo Mattiisen. "Näärmed" was the original version by In Spe, but "Roheline muna" was a reworked version that would probably cause Mattiisen to flip in his grave. Yes, going to that. Mattiisen in the late 1980s and early 1990s, during the so-called "Singing Revolution" in Estonia, became a national hero by penning some of the most dramatic and emotional songs for that peaceful revolution. Once Estonia regained its lost independence (it lost it in 1940 when the USSR invaded), Mattiisen continued to compose various forms of music, though less so in prog. However, Mattiisen died untimely in 1996, a sad loss to the Estonian music world. In Spe, again, is hard to pin down as it was essentially two separate bands -- one version, a symphonic one, under Erkki-Sven Tüür, and another, a jazzy one, under Alo Mattiisen. Both are spectacular, though my personal preference is for the former. The first In Spe LP is one of the best pieces of prog I have every heard, and it is probably the LP that changed my life the most. An absolute must for prog and classical fans alike. -- Mel Huang

Estonian symphonic jazz-rock band. Their album (the one with the girl running down the beach in a long dress - actual title is in Cyrrilic) features the sidelong track "Concerto For Typewriter," which is excellent. The second side is not as inspired, though. Another album Antidolerium exists, and possibly an even earlier one, although I can't comment not having heard them.

The intriguing Typewriter concerto in D by modern composer Alo Mattisen comes from Estonia. Apart from his keyboards, a whole ensemble is featured which includes flutes, bass, guitar, percussions, vibes, synthesizers, horns and even a typewriter. The style is a curious fusion of classical, jazz and rock elements and the sound ranges from Frank Zappa-type arrangements (vibes & flutes) to meditation music. With such an unconventional sound, this production is for adventurous listeners with a taste for something else than the usuall symphonic rock. -- Paul Charbonneau

Links

[See Ruja] Click here for an In Spe page on Mel Huang's Estonian Progressive Rock Webpage

Discography

Kankaku Shikou (74)

Karma (74)

Hard Prog.

Discography

IEM (98)

Reviews

Side project from Steven Wilson (Porcupine Tree) inspired by early seventies Krautrock, bands like Ash Ra Tempel, Tangerine Dream, and Neu, though in no ways a mere imitation. No songs as such, just four long instrumental tracks (or five on the CD) that vary from very rhythmic motorik-beat numbers to spacy ambient stuff that's a bit more experimental than Porcupine Tree. -- Rolf Semprebon

Links

[See Porcupine Tree]

Discography

Index (99) Liber Secundus (02) Identidade (05)

Reviews

Index - Leonardo Reis (drums), Otaviano Kury (keyboards), Jones Júnior (guitars) and Ronaldo Schenato (bass) Index is a Brazilian prog band whose works have been compared to the usual '70's classic prog bands - Yes, Genesis, Renaissance and Camel. Index is sending me their latest CD for review, and I'll update this entry after I've had a chance to hear it. -- Fred Trafton

Links

Click here for Index' web site

Indexi (74), Indexi (77), Modra Rijeka (78)

Interesting organ-based prog. Modra Rijeka features narration on a couple of tracks, but fortunately it doesn't go overboard. Guitar work is mainly acoustic, analog synths/string-synth round out the sound. Vocals tend to be harsh, and are the band's most irritating feature. This is worth looking out for, similar to Smak, only less commercial. -- Mike Ohman

Herbstwind (81), Indigo (84), Short Stories (91), A Collection of Tales (92)

Austrian band formed by Gerald Krampl and Norbert Morin several years after the demise of Kyrie Eleison. The sound is (unlike Kyrie Eleison) a song oriented progressive pop with (pretty lame) English lyrics sung with a heavy German accent. Too many minuses: there are too many great albums to waste your money on these for the two or three good songs apiece you'll get. A brand new 1993 album has supposedly just been released which is purported to be very progressive with sidelong cuts. I'll believe it when I see it.

Discography

Índigo (96) Sub (98)

Reviews

Índigo Costarrican trio formed in 1995 by guitarist Ricardo Nieto and bassist Gonzalo De Trejo, later joined by vocalist Henry D'Arias, mainly influenced by 80's line-up of King Crimson along with popular Argentine pop-rock bands such as Soda Stereo. Their sound was very experimental, sometimes leaning towards pop and sometimes throwing some weird jams. They had a hit single in radio, "Almas solas", and were popular specially among college students in Central America. They only released two albums, Índigo in 1996 and Sub in 1998 and finally disbanded in 1999. -- Juan M. Sjöbohm.

Discography

S.U.S.A.R. (05)

Reviews

Indukti - Hot and sweaty after an outdoor concert Polish rockers Indukti follow bravely in the Crim footsteps, eschewing the classical mythology of Beethoven and Wagner for the alternately hot-and-sweetly dissonant musings of Shostakovich or Bartok, all overlayed with smoothly searing guitar work, crunchy violin and miniscule but effective synth squawks. The five musicians, all classically trained, are clearly up to the job and to their chosen lineage, and from the opening spacious harp gestures, the disc sizzles and crushes by turn with energy and intensity. There are certainly quiet moments, the center of "Uluru" providing a momentary respite from the onslaught, but much of the album thrives on grungy gut-bucket riffage altered by subtle time signature change, sometimes from bar to bar. This temporal play doesn't call attention to itself for its own sake; rather, it usually serves a textural purpose, introducing a change in orchestration. When vocals are used, they are heavily effected but quite powerful, making this disc marginally more satisfying on repeated listening. -- Marc Medwin

Fascinating Polish band doing heavy Prog but taking the form to new heights with sophisticated music, and a taste for unusual instrumentation and Eastern European atmosphere. Well-crafted and produced, Indukti don't show us too much of their metallic leanings the way others in their category tend to and prefer to present a textured wall of balance between divine heaviness and sophisticated internationalism. Touches of Tool are present as well as indie rock groups like Pearl Jam and Soundgarden, and the acoustic guitar is often a leading player in the compositions which eventually explode into chunks of riffery. Percussionist Wawrzyniec Dramowicz is with the Polish Philharmonic Orchestra and provides a more than solid foundation, and the entire band (violin/voice, drums, bass and two guitars) pleases to no end if you like metal that progresses. Album S.U.S.A.R. available on their website. -- David Marshall

Links

Click here for Indukti's web site Click here for Indukti's MySpace page Click here to read Marc Medwin's Wobbler/Indukti review in its entirety on the Dusted web site (edited version reused here with permission)

Discography

Infinity (96)

Reviews

Bay-area band that existed from the late '70s to the early '80s, although the recordings from that period did not get released until late 1996. Comparisons can roughly be made to Yes and Dice with a someone more commercial appeal. -- Mike Taylor

Discography

Inquire Within (99) The Neck Pillow (00) Das Auge ist der erste kreis (01, Live "official bootleg") Melancholia (03, includes a bonus CD, Welcome To My Rock and Roll)

Reviews

3/9/05: According to the write-up on the Musea Records site, Inquire was started by members of the German band Trespass. The Inquire web site says they have broken up for the time being, which is a shame, because the one album of theirs I've heard, Melancholia is superb! Actually, "one album" is a bit of a misnomer, because this is really one and a half albums ... Melancholia, which crams about 76 minutes onto the CD (pretty close to the limit of time on a CD) plus an excellent EP (about 20 minutes) which contains a single multi-movement rocked-out classical piece entitled Welcome To My Rock and Roll, which come packaged together. They are so different that I will talk about them as two separate albums. I've railed against the use of the term Neo-Prog elsewhere in the GEPR, and this is another fine example of a band that might be called Neo-Prog, but should not be stained by the frequently negative connotations associated with the term. Melancholia is a concept album based on Jean-Paul Sartre's novel Nausea, and the liner notes contain a synopsis of the story. Much of the album is instrumental, though, so you'll be left to fill in most of the story with your imagination. The sections with vocals are sung in a german-accented English and sometimes French. A vocalist with an accent sometimes annoys me, but in this case guitarist/vocalist Dieter Cromen is quite good, and I don't find the accent to be a problem. His voice reminds me of Arne Schafer's, though perhaps more like a German version of Greg Lake than a German version of Peter Hammill. Or maybe it's just the German accent that reminds me of Schafer. There is also a female guest vocalist (Ursula Becker) who contributes occasionally, and her accent isn't objectionable either. Musically, the compositions are strong '70's-style prog rock, with Dieter Cromen's guitar that sometimes reminds of Dave Gilmour, Steve Hackett, or particularly Steve Howe, but only occasionally. Mostly, the Cromen has his own style. I'd say the same of keyboardist Robert Kohler, who reminds of Rick Wakeman during synth solos, or Keith Emerson during piano and organ parts, but also without being a rip-off of anybody. If I had to complain about something, it would be Thomas Kohls' drums. Not that the he is a bad drummer, but he's merely adequate. Kohls just isn't as exciting as Cromen and Kohler, and this holds back Inquire ... their music requires some occasional frantic ancarchy in the drums ... think early Carl Palmer, '70's Crimson-era Bill Bruford or more recent Hal Darling. This would move Inquire from an excellent band to a truly exceptional one. Still, I've already wasted more words on this minor quibble than it's worth ... the music is really great just as it is. The second CD, Welcome To My Rock and Roll is a very ELP-ish rock version of Louis Vierne's "3rd Organ Symphony". Composed between 1906 and 1918, Inquire asserts that this is one of the first rock and roll pieces. Well, I doubt that Chuck Berry, Bill Haley or Elvis ever heard this song, but it's an interesting sentiment. But who cares? Like ELP's take on Ginastera's Tocatta, this piece sounds great performed by rock instrumentation, and this is a fantastic addition to the album as a bonus disc. Inquire could have saved themselves the one lyric in the piece ... a female voice shouting "Rock and Roll!" at an inappropriate point. But, other than that, this is a very cool piece, and since I consider this disc to be a "bonus disc" anyway, I have nothing bad to say about it. It's great to hear someone doing classical pieces in a rock idiom again, I don't hear enough of that (but let's not do Holst's "Mars" again, shall we? That's been done enough). Overall, Melancholia (both CD's) is excellent, and a must for any serious collector of modern prog. I do hope that Inquire gets back together to make more of the same. News 6/8/06: Though Inquire remains disbanded, several members have reformed their previous band Trespass and are rehearsing new songs for a new album. See the Trespass entry for further info. -- Fred Trafton

Links

[See Trespass] Click here for Inquire's web site Click here to order Inquire CD's from Musea Records

The Insect Trust (68), Hoboken Saturday Night (70)

Insect trust were a New York area five piece of electric/slide guitar, alto sax, baritone sax, banjo, and a female lead vocalist. Session men handled bass, drums and rhythm guitar. The two sax players doubled on recorders, flute, piccolo, kalimba, etc. Their music could be described as psychedelic jugband country blues, but the odd instrumentation made it pretty unique. There was also a jazz element in their sound, plus some trad bluegrass influences, etc. Vocalist Nancy Jeffries is excellent, but comparable to nobody I can think of. This is an excellent late sixties fusion of many styles. The first album is the best, but the second is almost as good. Lots of great guitar jams, squawking saxes, great ideas.

The Intergalactic Touring Band (77)

This one-off sci-fi project from 77 was masterminded by Steven Galfas and Marty Scott, and featured David Scance (guitar), Larry "Synergy" Fast (keys), Pete Sobel (bass), plus a large cast of vocalists and supporting musicians including Rod Argent, Annie Haslam, Anthony Phillips, Dave Cousins, Arthur Brown, Percy Jones, Meatloaf, Pepe Marchello and others. Some of the tracks are great (the ones with Cousins and Annie Haslam come to mind immediately) and others, well... It's a very mixed bag overall, mostly good, something for everybody I guess.

[See Argent | Brand X | Renaissance | Strawbs | Synergy]

Discography

Interpose+ (05)

Reviews

Interpose+ - Performing at Baja Prog 2006 Staggeringly good symphonic rock from Japan consisting of a very straightforward line-up of drums / bass / keys / vocals / guitar but sounding like a Toho Studios monster striding across the landscape, with a big but not pompous sound and some ingenuous, highly progressive passages. Laced with tempo shifts and neo-classical inflections, this is candy to a progger's ears and a lot of listeners will enjoy Interpose+ since they occasionally remind of U.K., Return To Forever and IQ but have a richer tone and employ deeper colors. The woman singing in Japanese will bother some but if you can listen to Banco 's Francesco Di Giacomo, then Sayuri Agura should be tolerable. In particular guitarist Kenji Tanaka, a tremendous player, seems to be emerging as one of Japan's finest instrumentalists in the vein of John Abercrombie, McLaughlin or a young Al Di Meola. Terrific band worthy of any collection of international Prog, I just wish their first album (released on Musea, 2005) was a little longer. -- David Marshall Update from the band's web site: "KOIKE, Toshiyuki (Bass guitar) has quitted the band for his own physical condition. As a guest, Dani from KBB plays with Interpose+ until spring 2006." -- Fred Trafton

Links

[See KBB] Click here for Interpose's web site Click here to order Interpose from Musea Records

Discography

Invisible (74) Durazno Sangrando (76) El Jardin de los Presentes (77)

Reviews

Durazno Sangrando is the middle release and the best of the three. -- Tom (AshRaTemp)

Discography

Golodomar (94, Cassette) Antiar (96, Cassette) Labyrinth (98, Cassette) Citadel (00)

Reviews

Inward Path - Top Left: Pavel Korsun (bass), Middle: Grigory Velchev (drums), Top Right: Yegor Golovachev (keyboards), Bottom Left: Alexander Melnik (vocals), Bottom Right: Vitaly Yatsuck (guitars) Inward Path is a progressive metal band from the Ukraine. I've only heard Citadel, their sole CD release, though this also has 3 bonus tracks on it from Labyrinth. You'll probably get some idea of what this band is like by the fact that all but one of their releases includes a cover song from bands they obviously admire. These covers are by O. Osborne, Black Sabbath, and on Citadel, "Sacred Serenity" by Death. As they say, you're known by the company you keep, and these guys are every bit as heavy and metallic as the bands they cover. Vocalist Alexander Melnik sings in English, though I must say I have a tough time hearing the lyrics. What I can hear displays little Russian accent, though what there is simply makes it sound more cynically resolute. A Russian accent isn't bad for death metal. Too bad you can't hear the lyrics better, because they are really well written (in a depressing sort of way). Fortunately, the band has posted these on their web site, and they're worth reading. Ah, but this isn't just plain vanilla death metal (if there is such a thing). There is some good composition and musicianship to be heard here among the riffing guitars, eccentric bass lines and high-speed solos. And actual keyboards you can hear, too! The keyboardist seems to like a kind of raspy harpsichord kind of sound, which has its own variety of metallic sizzle that cuts through the guitars and goes well with the music. This album is well done and should appeal to fans of this variety of prog metal. You won't find Citadel in general distribution, but you can order it from the Inward Path web site (see link below). Rumor has it that Inward Path have recently disbanded, but enough attention from the west (and a distribution channel to the west for their music) might convince them to make some more of this music, so order your CD now and let the band know if you like them! -- Fred Trafton

Links

Click here for Inward Path's web site Click here for Vitaly Menshikov's overall view on his ProgressoR web site

Discography

Iona (90) The Book of Kells (92) Beyond These Shores (93) Journey into the Morn (95) Heaven's Bright Sun (97, Live, 2CD) Woven Cord (00, Live) Open Sky (00) The River Flows (02, 4CD Box Set Anthology) Songs for Luca (03, fund-raising release by Iona, but also containing tracks from other prog bands/artists)

Reviews

Iona - Joanne Hogg (vocals, keys, ac. guit), Dave Bainbridge (keys, guit), Phil Barker (fretted & fretless bass), Frank van Essen (drums, violin, percussion, vocals) and Troy Donockley (uillian pipes, low whistles, guitar, cittern, vocals) Iona have four albums out, all excellent. Celtic music with traditional and electronic instruments, ethereal vocals by Joanne Hogg, incredible extended jams and solos, tight production, deep spiritual and historically based lyrics, and guest appearances by Robert Fripp and the lead singer of Clannad. Need I say more? -- Dave Taylor

Links

Click here for the Iona web site

I.P.Son Group (75)

They sound like Aktuala but not as good.

Discography

Seven Stories Into Eight (82, Cassette) Tales From The Lush Attic (83) The Wake (85) Nine In A Pond Is Here (85) Living Proof (86) Nomzamo (87) Are You Sitting Comfortably? (89) J'ai Polette D'Arnu (91) Ever (94) Forever Live (96, 2CD Live) Subterranea (97, 2CD) Seven Stories into '98 (98) The Lost Attic (99) Subterranea: The Concert (00) The Seventh House (01) Dark Matter (04)

Reviews

IQ at NEARFest 2005 - Andy Edwards (drums), Mike Holmes (guitar), Peter Nicholls (vocals), John Jowitt (bass) and Martin Orford (keyboards) [Editor's Note:: The following overview of IQ was written by me for 2005's NEARFest program. I've modified it just slightly for the GEPR, mostly just deleting quotes from non-GEPR reviewers and adding the last paragraph regarding a new band member.] IQ is one of the bands usually cited (along with Marillion, Pendragon and Twelfth Night) as one of the bands responsible for the 80's renaissance of progressive rock, also known as "neo-prog". But don't use that term in front of IQ's keyboardist and primary composer Martin Orford, he'll hotly deny the existence of any such genre, not to mention IQ's association with it. And with the negative connotations associated with the term among some in the progressive rock community, who can blame him? But after all, what's in a name? No matter what you call it, IQ was at the forefront of the new wave of British progressive rock in the '80's (and earlier, as you'll see!) and continue to turn out their unique vision of progressive masterworks to this day, most lately with their release of the critically-acclaimed Dark Matter. IQ had its beginnings as early as 1976 with a band named The Lens. Guitarist Mike Holmes, vocalist Peter Nicholls and Niall Hayden met, allegedly while waiting in line to buy tickets for a Genesis concert. After finding a bass player and keyboardist, they started playing a few shows in local colleges around 1977. Nicholls' role at the time was not always as vocalist ... he sometimes only introduced the songs and told stories between them. After several personnel changes, Martin Orford joined as keyboardist towards the end of 1977. It was with this change that the band's sound changed from Hawkwind / Ash Ra type space rock to a more complex progressive style. They played together for several years, even adding a dancer to the shows, but in 1981, tensions between band members had grown to the point that Orford and Holmes left to form IQ, and Nicholls joined them shortly thereafter. For those who are interested, a compilation of recordings from The Lens is available on IQ's Giant Electric Pea label. IQ started working together in Southampton, England, but relocated to London in 1982, releasing a cassette entitled Seven Stories into Eight. Their first vinyl album was Tales from The Lush Attic (1983) which won them a following as they promoted it with numerous concert appearances, mostly in the UK. In 1985, IQ released The Wake (1985), frequently cited as one of the seminal '80's albums from the new breed of progressive rock bands. However, after a gruelling tour schedule, Nicholls announced his decision to leave IQ and went on to form his own band, Niadem's Ghost. Nicholls was active with them from 1985 to 1987, after which they disbanded largely due to lack of interest from record labels. A compilation of all of Niadem's Ghost's output is also available from Giant Electric Pea. IQ recruited a new vocalist, Paul Menel, and signed a recording contract with Phonogram. Their third studio album, Nomzamo (1987), began to incorporate more accessible elements into the music along with their progressive stylings, a trend that would continue in Are You Sitting Comfortably? (1989), produced by Terry Brown of Rush production fame. But by 1990, the band was suffering from differing ideas about their musical direction, combined with dissatisfaction with the support they were getting from Phonogram. Menel and original bassist Tim Esau left the band, and the remaining members recruited Les Marshall (a friend of the band since he played with them in The Lens) to play bass. A chance meeting with Nicholls led to his rejoining with the band, and the new line-up began working on new songs to be released on their own label. However, this line-up never recorded due to Marshall's sudden and unexpected death, a sad event that only made the remaining members more determined to carry on. The band recruited John Jowitt, formerly with Ark, as the new bassist for IQ in 1991. It was also in 1991 that IQ and associated artists formed their own label, Giant Electric Pea, first releasing Jai Pollette d'Arnu, a collection of live and rare IQ recordings. Armed with their own recording label and a stable line-up, IQ resumed touring in Europe and the UK and writing new songs. In 1993, they made their American debut at ProgFest in Los Angeles, previewing music from what many considered to be their best writing to date, their new album Ever. It was released shortly after their ProgFest appearance to rave reviews, particularly since it was the first time many had heard the band since their departure from Phonogram, the return of Nicholls as vocalist and the addition of Jowitt on bass. The next few years IQ's output slowed a bit due to Orford and Jowitt's association with Jadis, with whom they recorded More Than Meets The Eye, Once Upon A Time and Across the Water, all while continuing to perform concerts with both IQ and Jadis. In 1994, IQ got the rights back to their own work and re-mastered and re-released their entire back catalog on CD, this time on their own GEP label. However, by the beginning of 1995, Orford and Jowitt felt that they could not be members of both popular bands, so they decided to leave Jadis to focus more on IQ. It was also about this time that Orford began to work with former King Crimson / Asia / UK / Quango member John Wetton, appearing on his Arkangel album as well as supporting him in live performances. It was at the start of 1997 that IQ began work on their ambitious Subterranea project, a double-CD concept album which would be released later that year. The album was supported by a tour with a huge theatrical show incorporating video projections and a moving lights. It met with an enthusiastic response from fans and music reviewers alike, and many still consider it to be IQ's masterpiece. A live concert version, Subterranea: The Concert is also available on both CD and DVD. In 1998, the band decided to completely re-record the compositions from their 1982 cassette release, re-naming it Seven Stories Into '98. In 1999, IQ headlined day one of the first NEARFest on June 26th in the Foy Concert Hall to an appreciative audience of about 420, where they played a selection of songs spanning their entire history, including a condensed version of Subterranea. In the midst of this work with IQ, 1999 also saw Orford and Jowitt rejoin Jadis for Understand. Orford was not greatly involved in the writing for the next IQ release, The Seventh House, since this was the period he had set aside to work on his solo album. However, as the majority of the other members wanted to release another IQ album during this time, they wrote it with less input from Orford than usual, though he still performs on this album. Orford's solo album entitled Classical Music and Popular Songs was released in 2003. The album's title has been derided as being neither Classical nor Popular, though it does include influences of both classical music and British folk; but it is still recognizably "Orfordian" and thus has many progressive rock elements. It includes contributions from members of IQ, Jadis and John Wetton's band (including Wetton himself). IQ's most recent album, Dark Matter, sees Orford back at the helm as far as writing goes. When beginning work on new albums, Orford has tried to use the latest and greatest keyboard technology to produce new sounds. But for this album, the "latest and greatest" keyboards were, in his mind, instruments which re-created the vintage keyboard sounds of the ‘70's, including the Korg CX-3 (standing in for Hammond B-3) and a plug-in module called SampleTank which reproduces the old Mellotron sound. Composing on the organ caused the music on this album to have a more aggressive edge and thus it harks back to IQ's early days and also to the golden days of '70's prog, though with a cleaner production made possible with these new instruments. Many are calling Dark Matter IQ's best release to date. IQ, like most progressive rock bands, are musicians who also have "day jobs", which prevents them from being gone for lengthy out-of-country tours. Fans sometimes find it difficult to comprehend that IQ is "just a part-time thing that we do occasionally at weekends, and as we have no plans at all to become full-time musicians, there are never likely to be more than about 10 IQ gigs per year." As far as the future, don't expect anything strange or difficult to listen to from IQ. In a recent interview published on the Progressive World web site, Orford has said, "I have never been keen on experimental music, as I think most of what I've heard is completely shit. I mean, who ever plays John Cage, Stockhausen or Einstürzerde Neubauten CDs for fun? Experimental music is fine for people at universities to muck around, with but it's generally not entertaining or pleasurable, not to my ears anyway. I write melodic tunes that I hope people will whistle on their way to work and I don't have the slightest interest in whether they are pushing back the barriers of music or not. So no, I'm not interested in experimentation, just good tunes." Orford also points out that Holmes and Jowitt are "more interested in that kind of thing", so we may hear some influences along these lines from time to time. In the meantime, IQ fans are generally happy for them to remain just as they are now. In April of 2005, IQ announced that Andy Edwards would replace 23-year veteran Paul "Cookie" Cook on drums. Cook decided to move to Scotland "to pursue a hunting, fishing and shooting kind of life - probably". Edwards is a well-known drum clinician and is also a member of Robert Plant [ex-Led Zeppelin]'s Priory of Brion. Andy joined in time for IQ's return engagement at NEARFest 2005. He has his own web site, http://www.andyedwardsmusic.com. -- Fred Trafton

Excellent band that really has two phases and can almost be viewed as two different bands. (And is in fact now embarking on the third phase of their career). First few albums heavily influenced by Genesis and feature keyboard work much in that vein, with some attempts at mini-epics, most notably "The Last Human Gateway" on Tales from the Lush Attic. They later changed lead vocalists and produced what can only be called progressive pop. Are You Sitting Comfortably? is perhaps the best example of this featuring excellent harmonies, and a rather majestic keyboard sound. In a way this band has truly captured Genesis. ..Attic perhaps being their Foxtrot or Nursery Cryme and ....Comfortably? being their Duke.

Heavily Genesis influence neo-prog band. I liked their first two, but wouldn't call either one of them a "classic." I guess it's the lack of feeling and depth that hurt these guys, and in The Wake of all of the millions of bands that sound like them, I get kind of lost. Later albums are ridiculous pop/synth that would fit neatly on AOR radio.

The best of the neo-prog genre. Sounds a lot like Genesis, maybe this is what Genesis might be like if they hadn't sold out to pop in the '80s. The first two albums Tales from the Lush Attic and The Wake are outstanding, thats all I own. Better than Marillion! I've only heard newer material live, more pop sounding but there were a couple of nice songs.

Their first album Seven Stories featured mostly instrumental cuts and is overall not that interesting. Their classic "Genesis like" period began with Tales and ended with Living Proof and the departure of lead singer Peter Nicholls. Although these albums are not the pinnacle of originality, they still remain classics of the mid-'80s UK neo-progressive movement, and as such are quite good, although the recordings leave much room for improvement. Nine in a Pond and Living Proof are both live albums from "The Wake" tour, the first taken from a fan-club bootleg, the latter from a TV appearance. The band's "modern pop" period began with the enlistment of new lead singer Paul Menel, and the album Nomzamo. This album and its followup Are You Sitting Comfortably are honestly quite good, but generally despised for not sounding enough like the "old IQ." Get them if you can find them. J'ai Polette D'arnu is half live tracks and half old studio B-sides and outtake material that fell through the cracks somehow.

Most of you should be familiar with IQ, an '80s progressive band from the UK. Nomzamo was released in 1987, and marked a slight change from their earlier works in that the compositions shortened, presumably in an attempt to reach a mass market. Yet, they didn't lose much of the melodic quality and depth of their earlier works. Are You Sitting Comfortably?, released in 1989 went further in that direction, sounding at times like their counterparts Pendragon, and, perhaps, at times, like the current incarnation of Marillion.

One of the better-known and more popular of the British neo-prog bunch. Also one of the best. Though their sound is obviously Genesis-derivative, no one else does it as good as this. Centre of attention are singer Peter Nicholls, who has an up-front, histrionic, yet likable singing style, and keyboardis