Association P.C. was founded in 1969 by Dutch keyboarder Jasper van't Hof along with the Dutch drummer Pierre Courbois and the German guitarist Toto Blanke. The bassist was sometimes the Dutchman Peter Krijnen, sometimes the German Sigi Busch. Association P.C released their first record "Sun Rotation" in 1971. The band produced a synthesis of jazz, rock and avantgarde music reminding sometimes Soft Machine and was highly acclaimed at the Berlin Jazztage of 1971."Eighty percent of Association P.C. was electronics", Jasper recalls.In 1972 the band released their second record "Erna Morena", the last with Jasper van't Hof who left the band to form Pork Pie with Charlie Mariano and Philip Catherine.On the 1973 release "Rock Around The Clock"he was replaced by German pianist Joachim Kühn. The record moved away from the Canterbury oriented sound and integrated free-jazz elements. Their last record "Mama Kuku" (1974) contained live recordings from 1973, on which the band was joined by American flute player Jeremy Steig. Association P.C. continued to tour until 1975. Line-up / Musicians Pierre Courbois/Drums Toto Blanke/Guitar Jasper Van't Hof/Piano Peter Krijnen/Bass Siggi Busch/Bass Discography(Album) Earwax 1970
1.Spider 2.Hit The P. Tit 3.Elsen 4.Earwax 5.Round A'bout Nine 6.Jazzper
Dutch metal project Xystus surpasses typical rock opera expectations on the troupe’s latest grandiose expose entitled EQUILIBRIO. This brazen theatrical affair boasts a cast and crew over 130 members strong, including a massive choir reserved for religious celebrations and a show-stealing full scale orchestra to properly carry mainman’s Bas Dolmans’ epic vision to life. Highlighted by the immense vocal talents of Simone Simons (Epica) and George Oosthock (Orphan) as major characters, this sweepingly majestic presentation’s ace in the hole can be found via the symphonic might and bold pomp the orchestra doles out, cutting through the competent power metal backdrop at just the right times to stir up drama, create tension, and enrich the entire production with its captivating sparkle and shine. Line-up / Musicians Bas Dolmans/vocals,guitar Ivo van Dijk/drums Bob Wijtsma/guitar Mark Brekelmans/bass Joris van de Kerkhof/keyboards Discography(Album) Equilibrio 2008
1.Ouverture 2.My Song Of Creation 3.Traveller's Theme 4.Last Breath-Death Enters 5.We Stand Divide 6.The Conlict 7.Questions Answered 8.My Time Of Need 9.Forever Bound 10.The Message 11.The Balance Restored 12.God Of Symmetry
Association P.C. was founded in 1969 by Dutch keyboarder Jasper van't Hof along with the Dutch drummer Pierre Courbois and the German guitarist Toto Blanke. The bassist was sometimes the Dutchman Peter Krijnen, sometimes the German Sigi Busch. Association P.C released their first record "Sun Rotation" in 1971. The band produced a synthesis of jazz, rock and avant-garde music reminding sometimes Soft Machine and was highly acclaimed at the Berlin Jazztage of 1971."Eighty percent of Association P.C. was electronics", Jasper recalls. In 1972 the band released their second record "Erna Morena", the last with Jasper van't Hof who left the band to form Pork Pie with Charlie Mariano and Philip Catherine. On the 1973 release "Rock Around The Clock" he was replaced by German pianist Joachim Kühn. The record moved away from the Canterbury oriented sound and integrated free-jazz elements. Their last record "Mama Kuku" (1974) contained live recordings from 1973, on which the band was joined by American flute player Jeremy Steig. Association P.C. continued to tour until 1975. Line-up / Musicians Pierre Courbois/Drums Toto Blanke/uitar Jasper Van't Hof/Piano Peter Krijnen/Bass Siggi Busch/Bass Discography(Album) Earwax 1970
1.Spider 2.Hit The P. Tit 3.Elsen 4.Earwax 5.Round A'bout Nine 6.Jazzper
Rick van der Linden's father was a piano player, so it was not a surprise that young Rick took piano-lessons. Later he started to learn playing the organ and finally he went to the Haarlem Conservatory. He played in many bands and nightclubs and was impressed by Brian AUGER and Keith EMERSON. Rick got worldwide recognition with the 'classic-rock formula' from EKSEPTION but he wanted his own band to show his keyboard pyrotechnics. He founded TRACE with bass player Jaap van Eik (CUBY AND THE BLIZZARDS, The MOTIONS, SOLUTION, LIVING BLUES) and drummer Pierre van der Linden (TEE SET, BRAINBOX, FOCUS), a real Dutch super group! Now he got the opportunity to work out his own ideas with keyboard-dominated symphonic rock. In '74 TRACE released their eponymous debut-album, in '75 their second entitled "Birds" (Ian Mosley had replaced Pierre van der Linden) and in '76 their third and final "Ladies". TRACE is a kind of Dutch equivalent to early ELP but Rick has a wider array of keyboards, including Hammond B3 organ, Hohner clavinet and pianet, ARP - and EMI synthesizers, harpsichord, Solina string-ensemble, Mellotron and church organ. He even used the sound of a bagpipe! The music is a treat for fans from bands like The NICE, ELP, TRIUMVIRAT and early LE ORME. Despite good albums, great concerts and worldwide recognition, Trace didn't work out the high expectations and the 'supertrio' dissolved in the late Seventies. Nowadays Jaap van Eik is chief-editor from the technical based music magazine Music Maker and Rick is after many years again on tour with a new EKSEPTION line-up, including a magnificent digital church organ and his wife on vocals.The first two albums "Trace" and "Birds" (released on CD with bonus tracks by Musea Records) deliver exciting, often sumptuous, keyboard driven symphonic rock: the mainly instrumental music is loaded with virtuosic keyboard runs, swirling Hammond organ and majestic Mellotron eruptions from wizard Rick van der Linden, supported by a powerful and propulsive rhythm-section. The tracks on "Birds" sound more elaborate and refined. The epic composition "King-bird" (featuring Jaap van Eik on electric guitar) showcases the hugh potential of TRACE: dazzling keyboard runs, many changes of climate and dynamic interplay. Line-up / Musicians Rick Van Der Linden/keyboards Jaap Van Eik/bass,guitar,vocals Ian Mosley/drums,timpani,gong,tambourine Discography(Album) Birds 1974
1.Bourree 2.Snuff 3.Janny (In A Mist) 4.Opus 1065 5.Penny 6.Trixie-Dixie 7.King-Bird 8.Birds (Short Edit) 9.Tabu (Second Version)
This album is
the only album from a dutch band to be released on the Vertigo "Swirl"
label. It is also the only album Panthéon ever released. Panthéon made
music similar to Focus and Solution. Jazzy, canterbury like progressive
rock. They started as a fivepiece highschoolband and won a recording
session at a national talent scout festival. The recorded single gave
them attention and this paved the way to record an album. The album
opens with Daybreak, which resembles Focus' House Of The King a bit. The
melody is played by the flute and it has a guitar solo in the middle.
There are also some wordless vocals like Thijs van Leer could have done.
Anaïs also reminds me of a softer song by Focus, again the song is
driven by flute and guitar. It is a very peaceful track. With Apocalyps
the sound changes more to the Solution direction. The main instruments
are saxophone and organ, although the flute appears on this one also.
This is a very sunny and jazzy track. The Madman is a funny short
warm-up piece that leads to the highlight of the album, Orion. In this
track both the Focus and the Solution side come together. It contains
great melodies. Panthéon have an unique sound of their own, it is just
to point out in which corner of the proglandscape Panthéon can be
found.The CD contains three bonus tracks, who were released as singles
in 1972.
Dutch band from
Utrecht, formed sometime in the 70's and having a good live activity
around the time.In 1981 Arkus aka Frans Smits on vocals/guitar, Ron
Willems on guitar, Jan-Henk Wiggelinkhuizen on organ and synthesizers,
John Bouwman on bass/vocals and Erik van Duin on drums/vocals entered
the SR Studios in Bodegraven, working hard for six days to record their
debut , inspired by Dutch poet Bert Voeten.The result was the album
''1914'', released as a private press.Wrapped under a very sensitive
atmosphere Arkus played soft guitar-driven Symphonic Rock with emphasis
on smooth guitar playing, melodic solos and elaborate arrangements.They
seemed much influenced by CAMEL and recall at moments fellow natives
ODYSSICE with Smits and Willems taking over the situation and delivering
series of mindblowing, dramatic solos with a solid rhythm section in
the background.The keyboard work of Wiggelinkhuizen remains in the
background as well, filling up the empty holes for the guitarists and
occasionally offering some nice passages.Vocals are in English and they
are delivered with heart and emotion in a sensitive style.Arkus were
soon abandoned by the manager with large financial debts on their backs,
eventually slowing down their career, though the band kept playing
live.In early-90's, at a time when the band was back alive and well,
''1914'' was reissued in CD format by SI Music with a pair of bonus
tracks from the early days.Both show the band insisting on playing a
warm Neo/Symphonic Rock with delicate and impressive guitar work, but
''Don't break the silence'' contains also some nice synthesizer parts
not unlike the bands of the New Wave of British Prog.Many of these
guitar-based prog albums rely much on how good the melodies contained
are.Arkus did it very well and if you are into Neo Prog, light Symphonic
Rock or even Melodic Rock, ''1914'' is a great purchase.Go for the CD
reissue due to the nice pair of extra compositions. Line-up / Musicians Frans Smits/vocals,guitar Ron Willems/guitar Jan-Henk Wiggelinkhuizen/strings,organ,synthesizers John Bouwman/bass,vocals Erik van Duin/drums,percussion,vocals Discography "1914" 1981
The Voyage was
originally released in 1982 (after being recorded in 1979), and is a
classic example of the symphonic, melodic progressive rock that emerged
from Europe in the seventies. As with that style of music, the music
consists of vocals (in English) and fluid guitar leads over layered
keyboards, churning out minor chords. The best comparison would probably
be to Rousseau, themselves a seventies-revivalist band, and, perhaps
Camel and Sebastian Hardie. Clocking in at a little over 70 minutes, A
World Of Difference is the second release by the Dutch band, whose music
is very much in the melodic, symphonic progressive mode. They have
modernized their sound somewhat, and shortened the compositions a bit,
but still retain the melodic sensibilities that characterised their
first release, The Voyage. As a result, they can be compared to Saga,
who, within the format of shorter tracks, were able to tailor their
tracks to retain the "progressive" nature of their music. Another point
of comparison would be latter-day Kayak, whose music could be best
described as "progressive pop." The last track, just short of 16 minutes
in length, is very much in the vein of the music of their first
release, and closes out the music on a high note.Their first album The
Voyage, originally recorded in 1982 and re-released on CD in 1991,
features a rich, full sound with colorful melodies, excellent vocals,
and a full range of dynamics. Their instrumental approach falls
somewhere between the Belgian band Machiavel and latter period Camel.
Most of the tunes change tempo and feel regularly, and in general the
sound is not hard, but it does cook nonetheless; Lots of guitar and
keyboard exchanges, with extended instrumental passages, big pedal bass
sound, and plenty of very original ideas. Line-up / Musicians Ardie Westdijk/keyboards,vocals Aad.v.d.Valk/bass pedals, harmonica,bass,vocals,synthesizer Gerard Lock/drums,percussion,vocals Arjen Westdijk/guitars,vocals Discography The Voyage 1982
1.Helix Harmony 2.Asgarith's Song 3.True Or False 4.The Voyage 5.Daily Things 6.Battle Of Somme 7.The Melody 8.Five O'Clock
Exises are
somewhat of an oddity – extremely unknown these days, they play a style
of progressive power metal, rich in melodies, with some keys, but not
necessarily the complex blends of sounds and drawn out passages which
are common of the genre. There’s a lot of straightforward ‘heavy metal’
kinda sound to the album. It’s not the all-out abandonment of
straightforward drums and vocal structuring that later progressive metal
came to typify. Having said that – it does retain a few hallmarks of
the genre, though this isn’t the wholly progressive space metal offering
that their later 1996 album is.Slower numbers like ‘Some Sort of
Freedom’ have a relaxed, softer nature – vocal melodies being the main
focus, as well as slower sections of soft, whimpering guitar, over moody
bass work. Drums in this one are soft – reverb on the snare, and much
of the aggressiveness of the sound is ‘scooped’ out. This one features
some really skillful solos by axeman Michel Seithoff, while the riffage
is reminiscent of simpler Queensryche stuff. Meanwhile, the track
‘Brainstorm’ furthers the progressive sound much further. An odd
assortment of guitar melodies, and unusual drums, with slower, moody and
reflective moments make this one an emotional instrumental piece. Crisp
production in this one really helps it along – and you can hear every
instrument crystal clear. The keyboards in the later part of the track
are an excellent touch, and are quite inventive. Highlights of the album
probably include ‘Fear for the Night’ – a pacier number retaining a
melodic NWOBHM feel – particularly in the vocal/guitar mating of the
verses. At times like these, the band perhaps could draw comparisons
with Leatherwolf – their crisp guitars, and softer edged sound. Some
great vocal screams are also found in this one. ‘Misunderstood’ brings
to the table a lot more traditional heavy metal, and has catchy vocals
again with a bit of a NWOBHM feel (Chariot, Tytan), and has some great
guitar reminiscent of Racer X or M.A.R.S. While these songs are good
though, and feature nice production, and some good use of keys, we
perhaps lack some massively catchy, big choruses for memorability, or
much really cool subject matter in the tracks. It often feels like some
of the tracks were a bit rushed, and could’ve been reworked and improved
a bit. Altogether an enjoyable record – benefits being the crisp sound,
and inventive guitar mastery. There are some emotional slower numbers
like ‘Stay With Me’ – a sad ballad, while ‘Fear of the Night’ and co.
make up the faster ground. Songs feature some good touches, particularly
on guitars, but it almost feels like the songs are a bit simplistic,
and lack any really good, powerful vocal sections. Line-up / Musicians Co Timmer/vocals Michel Siethoff/guitar Adri Sleyster/bass Berend Houter/drums Rene Schaap/keyboards Discography(Album) Exises 1986
1.Fear for the Night 2.Misunderstood 3.Some Sort of Freedom 4.The Wall 5.Burn the Lights 6.Stay With Me 7.Brainstorm 8.Carry On
Part of a
vibrant Amsterdam pop music scene in the late sixties with their harder
edged blend of psychedelic rock and Chicago blues, Dutch band Brainbox
paid hommage to both American and British Contemporaries while at the
same time developing their own more progressive brand of pop music.
Brainbox was formed in 1968 shortly after guitarist Jan Akkerman and
drummer Pierre van der Linden joined 19 year-old singing prodigy
Kazmierz " Kaz " Lux to lay down a couple of demos after the latter had
won a talent contest sponsored by the Dutch Record label Bovema. Of
Polish descent and Dutch upbringing Lux had previously sang with several
Dutch pop bands but his heartfelt vocal deliveries were closer to the
soul of Howlin` Wolf and Leadbelly while at the same time hitting the
higher registers of Ella ( Fitzgerald ). Both Akkerman and van der
Linden themselves were no strangers to the Amsterdam pop music scene
with Akkerman having become one of the most famous young musicians in
his homeland with a hit single, "The Russian Spy And I" in 1966 while
playing with a band called "The Hunters". Having played proffessionally
as early as the age of 10 by this time he had developed a distinctive
rock guitar sound which drew more from jazz and classical sources most
notably Tal Farrow, Diango Reinhardt, Bola Sete and Julian Bream. Van
der Linden had also played with Akkerman in one of his earlier groups
"Johnny And His Cellar Rockers" in addition to other Dutch pop groups
including "After Tee" and "Met & Zonder". Newcomer bassist Andre
Reynen completed the new band as Akkerman had played the bass parts
himself on the two demo recordings and the stage was set.While Lux`s
emotive voicings sounded similar to contemporary blues rocker
counterparts from the UK such as Rory Gallager ( actualy from The
Republic of Ireland ) and Joe Cocker, when fused with Akkermans`s
immaginative guitar the result was a blistering meltdown of emotive
blues and heavy rock with jazz attitudes. They experimented with
interpretations of the music of George Gershwin, Tim Hardin as well as
Simon and Garfunkel`s "Scarborough Fair" in addition to their own
compositions. Akkerman`s adventurous guitar work gave the band a
progressive aspect with his extensive soloing and intricate rhythms and
resulted in a 16 minute plus showpeice, "Sea Of Delight", on their first
self-titled album which was almost unheard of in pop music at the time.
The flute was also an instrument which many psychedelic bands were
becoming increasingly interested in during the late sixties most notably
Jethro Tull and a guest musician, Tom Barlage, contributed to a couple
of tracks on the band`s first album with the flute also resurfacing on
later Brainbox recordings. Despite their experimental approach they
became better known for their singles three of which had been released
by the end of 1969. However, Akkerman`s appetite for more explorative
and complex instrumental music saw him jamming with another young Dutch
musician, Thijs van Leer, who possessed similar aspirations which
resulted in Akkerman`s dismissal from the band by the end of `69. He
subsequently formed "Focus" along with Van Leer which later became one
of the first internationally acclaimed rock bands to emanate from the
Netherlands. He was followed by Van der Linden into "Focus" a few months
later with the remnants of Brainbox forging on with new musicians. The
void left by Akkerman proved difficult to fill with jazz guitarist
Herman Meyer being briefly bought in before a more permanent lineup was
established with new members guitarists John Schuursma and Rudy de
Queljoe along with Frans Smit on drums joining Lux and Reynen. A number
of singles were recorded with this lineup in 1970 which also appeared on
an album which was oddly entitled "The Best Of Brainbox" released the
following year which also contained tracks previously released with
Akkerman and Van der Linden. The band continued to shift members
throughout 1971 and with Lux departing to follow a solo path it
eventually morphed into a completely new band with ex-Ekseption vocalist
Michel van Dijk on vocals and flute, Ronnie Meyes on guitar, Robert
Verwey on bass with Frans Smit returning on drums. Although an album was
released in early 1972 by this lineup entitled "Parts" it lacked the
chemistry and soul established by the previous lineups with Kaz Lux
despite the level of musicianship which attempted to move in a more
progressive direction. Overshadowed by the potency of the art/rock
movement which was gaining momentum at the time Brainbox was dissolved
shortly after the release of "Parts" and unfortunately the album has yet
to see a release on CD. In 1982-84 Brainbox reformed as a touring band
with Kaz Lux on vocals, Rudy de Queljoe and John Schuursma on guitars
with original drummer and bassist Pierre van der Linden and Andre
Reynen. Although some demos were recorded during this period no album
materialized. The band reunited again in 2003 and 2004 with Eric Baghus
replacing Reynen on bass and a live swan song album was released
entitled "The Last Train" which documented the band`s last performances
in Sept. 2004.Brainbox was one of the few bands in rock music history
which acquired legendary status on the strength of a few singles and one
major LP alone, arguably because of Akkerman`s subsequent success with
"Focus" as well as a solo artist. Nonetheless, the band is fondly
remembered in it`s homeland of the Netherlands as one of the first Dutch
super groups that played a daring combination of blues, folk and heavy
rock. Line-up / Musicians Jan Akkerman/guitars,organ,vibes,bass Pierre van der Linden/drums Andre Reynen/bass Kaz Lux/vocals,percussion Discography(Album) Brainbox 1969
1.Dark Rose 2.Reasons To Believe 3.Baby, What You Want Me To Do 4.Scarborough Fair 5.Summertime 6.Sinner's Prayer 7.Sea Of Delight
This delightful
Dutch band had its roots in 1965, when Rob van Wageningen (flute,
saxophone) and Peter (bass) and Winky Abbink (drums) brothers played
together in a band called Free Art Group, along with other musicians.
This band played music, mostly inspired by classic and avant-garde jazz
musicians, namely, Ornette Coleman, Sun Ra and John Coltrane. In 1968,
they were joined by Tony Schreuder in bass, renaming themselves Group
67/68, and Peter Abbink switching to guitar. During concerts in Felix
Meritis they met Ruud Tegelaar, manager of center Fantasio, who offered
them to become the house band in Fantasio. They also changed their name
once again to Ahora Mazda, a corrupt version of the chief deity of
Zoroastrianism, Ahura Mazda. (Zarathustra religion is also called
"Mazdaizm.) The name was suggested by Tegelaar. The band was known for
their long jam sessions, but they recorded shorter and more arranged
songs for their self-titled debut (and only) album. The album was
recorded in three days and released on May 31, 1970.During the next
year, Tony Schreuder and Winky Abbink had some problems playing and
rehearsing. At concerts they needed the help of substitute musicians,
like guitarist Jan Landkroon and Michiel Krijnen. Abbink was replaced by
Paul van Wageningen, who played drums in Groep 1850. Because of these
difficulties and the lack of atmosphere that came with the substitutes
the band ceased to exist. Their music is a reflection of the "spacy"
music (as implied by the name of the first track in the album) in
Netherlands, yet, they owe more to the Kosmische Music scene of Germany
than the symphonic approach of their fellow countrymen such as Focus,
and of those which were yet to come, like Kayak and Finch. Though the
tracks are relatively short (the longest clocking shortly over 9
minutes), they still retain the "jamming" and "experimental" features,
which are landmarks of the kosmische Krautrock sound. The CD reissue
adds 5 shorter bonus tracks, which still have the same characteristics. Line-up / Musicians Peter Abbink/guitar,vocals,piano,trumpet,organ Rob van Wageningen/flute,saxophone,vocals,percussion Tony Schreuder/bass,percussion Winky Abbink/drums Discography Ahora Mazda 1970
1.Spacy Tracy 2.Timeless Dream 3.Oranje Vrijstraat 4.Fallen Tree 5.Power 6.Fantasio
