ASHRA was Manuel GÖTTSCHING's continuation of ASH RA TEMPEL, moving from the outerspace psychedelic realms of the temple to the electronic domain of Berlin characterized by TANGERINE DREAM. It's this aspect which leads to the "New Age", which has since been quite successful. The spiralling guitars and electronic layers create calm ambiences which are the basis of this style.There were four excellent albums in the late 70's/early 80's: "New Age of Earth", "Blackouts", "Correlations" and "Belle Alliance". "New Age of Earth" (mainly synth but with some guitar) was the result of his new direction. This is a beautiful, lyrical release, with solo guitar against tapestries of electronics, which has a much more 'human' feel than other similar 'Berlin school' works of the same period. "Blackouts" is very relaxing and a great way to unwind after a difficult day. Line-up / Musicians Manuel Göttsching/keyboards,synthesizer,guitar Discography(Album) New Age Of Earth 1977
1.Sunrain 2.Ocean of Tenderness 3.Deep Distance 4.Nightdust
composer and keyboardist Carlo Barbiera dedicated a full album to the life and works of sculptor Luciano Ceschia (1926-1991), both coming from near Udine, Friuli Venezia Giulia, in the north-east of Italy.The rare album is a rather original example of experimental electro-acoustic progressive style, mainly based on synth effects and acoustic guitars and often reminding some of Battiato's early works. Despite the presence of five singers in the line-up, the vocal parts are short, spoken or recited rather than sung. 19 tracks are listed on the cover, but these are connected to form two long suites.All in all an interesting album for the adventurous listeners in search of something different. Line-up / Musicians Carlo Barbiera/keyboards,vocals Paciuli/vocals Paolo Coretti/vocals Ettore Lo Cascio/vocals Flavio Variano/vocals Maria Zanetti/vocals Leo Croatto/guitar Alberto Zeppieri/sax,flute Gianfranco Lugano/keyboards Edi Croatto/vocals Paolo Tosolini/guitar Roberto Colella/guitar,bass Zladko/percussion Discography(Album) Per una scultura di ceschia 1978
1.Nascita 2.La Sfera 3.Ankh 4.Zed 5.Stelle Cadenti 6.Cheope 7.Campanelli 8.Pianeta Terra 9.Violenza vestita 10.Puntine 11.Verdi prati 12.Magia 13.Adam 14.La fonderia 15.L'incoronazione 16.Luci dal pianeta 17.Sotto il ponte 18.Nell universo 19.Sul ferro
Guitarist Alex (aka Alex Oriental Experience) is considered to be one of the pioneering figures in East meets West 70s fusion. His original folk-ish rock integrates funkadelic-ethno grooves and spacey tendencies. His first release (Alex, 1973)is a must have for krautrock collectors. His later works feature more mainstream ingredients next to blues-fuzzy based rockin guitars. Line-up / Musicians Alexander Wiska/guitars Holger Czukay/electronics Jaki Liebezeit/drums Discography(Album) Alex 1973
1.Tatelle black 2.Ekmekh 3.Turkish tune 4.Big boss smile 5.Derule 6.Monroe song 7.Silent farewell 8.Anatoly highway 9.Tales of purple sally
ACI - "TIEFENRAUSCH" is probably one of more unknown progressive electronic rock bands from Germany . They bring to their music influences the sound from another German bands , such as KRAFTWERK, TANGERINE DREAM etc... They receive another strong influences from French keyboardist JEAN MICHAEL JARRE and their pop/ dance style and ( in smaller intensity) from Greek VANGELIS with his more new age and symphonic style. In spite this work aren't a weak release, the music be very far from the creativity from another great releases of the same style... such as VANGELIS's "Spiral" KRAFTWERK's "Trans-Europe express" and "Autobanh" and TANGERINE DREAM's "Cyclone". Line-up / Musicians Peter Schneider/Minimoog synth Armin Biermann/Polymood synth H. Van Aaken/Lyrics Dieter Petereit/Bass Armin Biermann/Piano Udo Dahmen/Drums Discography(Album)
French band formed in the 70's by guitarist and multi-instrumentalist Richard Pinhas (sometimes called the 'French Fripp'), synth player Patrick Gauthier, drummer François Auger and scores of other musicians dropping in and out over the course of six albums between '74 and '79. Their sound could best be described as a mixture of Frippian guitars with the cold, icy prog of KING CRIMSON and the hypnotic drones of CAN over a harsh, aggressive electronic background.Their six first albums range from fairly spacy and quiet ("Allez Teia") to brain-searing sonic attacks ("Interface"). The easiest one to get into and most recommended to neophytes is "Stand By", their strongest effort to date. It is the least chaotic and most CRIMSON-like of the lot yet still features Pinhas' frenzied/tortured guitar play that verges on heavy metal in spots, complete with growling bass and guttural vocals. In 1998, Pinhas has tried to revive the band with an album called "Only Chaos Is Real", featuring French SF-writers Maurice Dantec and Normand Spinrad (their voices digitally treated) as well as trash singer David Korn. This album isn't quite in tune with the rest, sounding more like 'punk meets techno'. Overall, the music of the original six albums is dark and cold, yet fascinating and intense. It combines the elements of the French and German schools of electronic into something uniquely. Line-up / Musicians Richard Pinhas/synthesizers,guitar Alain Renaud/guitar George Grunblatt/synthesizers Patrick Gauthier/piano,synthesizers Coco Roussel/drums Pierrot Roussel/bass Gilles Deleuze/vocals Discography(Album) Electronique Guerilla 1974
1.Zind 2.Back to Heldon 3.Northernland Lady 4.Ouais Marchais mieux qu'en 68 5.Circulus Vitiosus 6.Ballade pour Puig Antich
Antonio Sangiuliano, a composer from Tuscany, released his only album in 1978 on RCA. Take off is a mainly instrumental album where Sangiuliano plays every kind of keyboards, being only helped by drums (Derek Wilson and Enzo Restuccia) and a soprano singer (Elisabetta Delicato) in some short parts. The atmospheres remind of some Tangerine Dream's works and the album is rather unusual for the Italian progressive style. First side is taken by the 16 minutes long Time control, while the second side only has two tracks. The album was produced by Adriano Monteduro, who had released his first solo album with Reale Accademia di Musica.Sangiuliano also recorded a second album, Out of breath, but this was never released at the time in Italy and its rights were sold to a japanese record company. Line-up / Musicians Antonio Sangiuliano/keyboards Elisabetta Delicato/voice Derek Wilson/drums,timpani Enzo Restuccia/drums Discography(Album) Take Off 1978
Before to start a fruitful career in solo, Michael Rother integrated Cluster's side project called Harmonia. Initially formed by Hans Joachim Roedelius and Dieter Moebius, the band had the intention to go further in ambient music approach. Rejecting a great part of the experimental side of Cluster's music (I & II), they recorded "Musik von" in 1974. Michael Rother who produced the same year Cluster's zukerzeit, collaborated in Harmonia for guitars, ambient synth parts. With rather discreet appearances of the band on stage, the promotion of "Musik von" failed to attract the attention of the public. Musically the compositions stay obscure, consisting of complex, "avant-garde" pieces made for electronic gadgets, organs, including drum machines, repetitive pulses. The atmosphere is "abstract", sometimes "cosmic" but still melodic. In 1975, the trio recorded its seminal "Deluxe" with the participation of Mani Neumeier (Guru Guru) on drums. The album was produced by Michael Rother himself. With new, various compositional ideas, inventive synthesized sounds and Rother's guitar signature, this album is more relaxed, light than the previous one. Historically it remains a pre-ambient electronic standard. Brian ENO who is fascinated by the music of Harmonia joined the musicians on stage during a concert at the Fabrik Club in Hamburg. Line-up / Musicians Roedelius/organ,piano,guitar,percussion Dieter Moebius/synthesizer,guitar Michael Rother/guitar,piano,organ,electronic percussion Discography(Album) Musik Von 1974
The name Verto is the name under which the French guitarist Jean-Pierre Grasset created his musical vision. To this end he collaborated with several musicians and other bands. One such band which he met before, while working in Tartempion (which helped bands setting up concerts) was Potemkine which also appear in side one of the the first Verto release from 1976, Krig/Volubilis. The second album called Reel was released in 1978 on Fleau records and has a different lineup. Krig/Volubilis, released on the Tapioca/Pôle label, is an instrumental album (with some ethereal voices) with a strong spacey, psychedelic and electronic sound which is remarkable given that there are no keyboards on it. It is a dark and gloomy sounding album, which goes very well with the cover art and experimental in nature which puts it in the avant-garde realm. Line-up / Musicians Jean-Pierre Grasset/guitars,drums,sounds Gilles Goubin/bass Xavier Vidal/violon Michel Goubin/piano Dominique Dubuisson/bass Charles Goubin/guitar Serge Soulie/drums Michel Depalle/drums Philippe Goubin/drums Okamoto/voice Alain Thomas/bass Francois Artige/guitars Discography(Album) Krig/Volubilis 1976
NEURONIUM, initially a trio's major effort, but ultimately defined by artist Michel HUYGEN, is Spain's supreme mark in the electronic field of music, a good slice of its essence being easy to be found fitting in terms of "progressiveness". In 1976-77 NEURONIUM was founded by Huygen and two other artists: Albert Giménez and Carlos Guirao.The band signs up with British label EMI-HARVEST for the release of their debut, "Quasar 2C361", cased as Spain's first "cosmic music" album. One year later, "Vuelo Quimico" is recorded, a guest being Nico, ex-singer of VELVET UNDERGROUND. Concert and festival appearances follow this second album, proving already NEURONIUM's great popularity. Albert Giménez leaves, however, the founding trio exactly after this work has made its mark. During the 1980-1982 NEURONIUM not only change the classic record label, but enforce their duo lineup, except those works where special guests appear. After an album such as "Digital Dream", further works already show up evolving ideas, 1981's "The Visitor" being highlighted in this way. The same year, Huygen and VANGELIS perform together for a TV show, the Belgium artist being the main composer. The moment when NEURONIUM becomes exclusively Michel Huygen's project happens in 1982, before the release of a fifth work ("Chronium Echoes"), when Carlos Guirao departs. From now on, the line between solo music and NEURONIUM music is almost erased, Huygen's mastermind workin' simultaneously and effortlessly in both directions - true though, the credit (solo/one-man project) also went, most of the times, both ways. Guests such as guitarist Santi Picó continue, occasionally, the collaboration with NEURONIUM. In 1984, NEURONIUM performs for the first time in England, headlining in the Uk Electronica festival, achieving a great success out of it, Huygen will play again in the festival four years later, combining efforts with ex-TANGERINE DREAM wind-musician Steve JOLLIFFE, in a show of a monumental atmosphere. His major soundtrack work is also mixed during this period, the result being "Barcelona 1992".In the mid 80s, the wave of concerts, productions, new music, documentaries and special roles intensifies its pulsation. Huygen becomes director of the Center Of Art Queen Sofia. The concerts become more and more elaborate, including visual experiences, while the experimenting is combined with the pure electronic ideas that regard melody and flavor. "Alma" or "From Madrid To Heaven" (live) are important albums from thisperiod. The 80s end with two connected works, one, "Numerica", being highly successful, the other, "Intimo", being cultivated towards deeper edges.The year 1990 is very important, given the tribute composition "Dali: The Endless Enigma", in which Klaus SCHULZE, Steve ROACH, Michael STEARNS also collaborate. The 90s, overall, open up to a couple of new concepts, a point where Huygen's own definition of "psychotronic" music already blends with the heavy astral, sonic, cosmic or mechanic working. Complex works such as "Psykya" continue, nonetheless, to catch the audience's attention in a very good way. New-age, navigational art, sensorial filling or cyber-music are also open windows in Huygen's conception, at this time. Of course, the old senses of either symphonic, either ambient, either string-sequenced, either experimental wrests prolong and mutate.Down to the new millennium, Michel Huygen, solo or under NEURONIUM, stays a lot in touch with popular music, special tributes or general modern electronic developments, but also simply extends his "romantic", "cosmic", "psychic", "oniric", "formic" or "mystic" bottled essences to a new or different level. Line-up / Musicians Carlos Guirao/Flute,Guitar,Keyboards Albert Giménez/Guitar,Effects Michel Huygen/Roland,Poly Korg Synths,Keyboards,Effects Discography Quasar 2c361 1977
1.Quasar 2C361 2.Catalepsia 3.El Valle De Rimac 4.Turo Park
BRAST BURN, one of the most obscure and the most mysterious outfits in Japan, burst with only one prochronistic album into Japanese psychedelic rock scene and soon disappeared from this world. There is another report that Nakano record shop, a Japanese local specialty store of Krautrock, released two psychedelic albums from the independent label Voice Records and after a short while went bankrupt because of their debt by these releases and promotions. Anyhow there is no information except the fact BRAST BURN could release their one and only album Debon in 1975 (or in late 1974) and an uncertain report BRAST BURN might be a solo project by Michiro Sakurai, a Japanese unknown artist. Line-up / Musicians Konimara/vocals Masabuni/synthesizer Rey Ohara/percussion,drums Discography Debon 1975
Anna Själv Tredje (also, and commonly, Anna Själv Tredje) is a classic electronic duo from Sweden, with strong influences in the entire Berlin School electronic music adaptation, with several other characters of music being an artificial art and with the taste to steep all the fine touches and typesets into an original obscure (though dappled) style. The two musicians started the music work around 1976 and stood firm in the experiment till 1979, when the duo disbanded. Very rare (and unprinted enough, once the years settled on the dust) but properly impressive, their sole composed and released album, Tussilago Fanfara, stands for meta-inspiration, expansive electronic and experimental dark sensations. The duo consists of Ingemar Ljungström and Mikael Bojen. Afterwards the split, Ingemar Ljungström also played in Cosmic Overdose (from 1977-1981) or Twice A Man, bands that used, sortly, experimental synth / post-punk nuances with sometimes vocals in Swedish.Mikael Bojen worked on even more popular tendencies. The combination of the music, the style and the electronic influence/presence can be diversified, well enough, into different movements and appointments. A Swedish krautrock extension or impulse isn't far (but neither ever fundamental); the recordings and the precision of this electronic band are vastly in the auspices of some mid-classic experiences from Klaus SCHULZE, either from the soft touches of Moondawn or the entirely accurate Mirage minimal findings. The tiny "modern" experiments lead to something between ambient winds, cosmic surround and hypnosis of sound-fragments. Minimalism is a trademark improvised in ubiquitous expressions, reaching the post-influence of Peter Michael HAMEL, REICH or RILEY, but also some acoustic and synth-dynamic characteristics of meditation (most commonly, GLASS being appointed). Between there is the occupied synthesizing attitude, there's the sound-unveiling, there is an organ profusion or some small guitar works, made by Bojen in a tranquil and atomic way. The concept and contrast of sequencing resembles some late 70s ASHRA glance as well. Lastly (and really the last to be considered), TANGERINE DREAM's resembling electronic tempo, the space jams offbeats of the music evolve to a distant distinction. The Tussilago Fanfara project is prolific, deep but not hollow, intrinsic but never too mindless, exploring electronic music of the classic School, but also of the new-performance experimentalism. Line-up / Musicians Ingemar Ljungstrom/Keyboards,synthesizers Mikael Bojen/Keyboards,Synthesizers,guitar Discography Tussilago Fanfara 1977
1.Mossen 2.Inte utanfor tiden 3.Den barbariska sondagen 4.Tusen ar & sju timmar
Musica Elettronica Viva could not be easily defined as one band. Instead, MEV were closer to a movement based around the idea of free improvisation in the form of experimental, electronic jazz. In the early '70s, there were three different (but related) bands that went by the name: one in New York that included Richard Teitelbaum and Frederic Rzewski; one in Paris, led by Patricia and Ivan Coaquette (before his Spacecraft days); and one in Rome, founded by Alvin Curran. In 1970, the French label BYG issued two recordings that included members from each of the branches of MEV. The first of these, Sound Pool, is a live 1969 performance -- both this and Leave the City were reissued in the late '90s by Spalax2. Leave the City is far less noisy than the earlier Sound Pool, though still highly improvised and only slightly less undisciplined. "Message" begins with the sounds of the seashore -- ocean waves and seagulls -- before the group slowly adds percussion, electronics, flutes, and other noises. Droning sounds are plentiful throughout the piece, especially on the second half where instruments and voices create a massive sustained drone that has an almost mystical spiritual feel, while primitive percussion clanks in the background. On the other piece, "Cosmic Communion," Nona Howard and Stephano Giolitti join the trio for an even more fascinating track. It begins like an industrial noisescape, with gritty electronic pulses, beeps, scrapes, and white-noise growls, while mostly female voices shout -- at times even scream -- about destruction, power, and greed. After about 15 minutes of this stark, brutal noise, the piece shifts 180 degrees to gentle acoustic guitar, odd harmonious singing, and earthy vocal drones, with environmental sounds of crickets and birds in the background, and then listeners finally return to the seashore where the album began. The second part of "Cosmic Communion" is breathtakingly beautiful, especially in contrast to the stark industrial beginning, and is like nothing else that MEV, in any formation, has ever done. Line-up / Musicians Alvin Curran Richard Teitelbaum Frederic Rzewski Allan Bryant Ivan Vandor Jon Phetteplace Steve Lacy Garrett List Franco Cataldi Gunther Carius Discography(Album) Leave the City 1970
TONTO'S
EXPANDING HEAD BAND is an innovative project by electronic composers and
sound-engineers Malcolm Cecil and Robert Margouleff, having an
influence on different other references or an diverse artists. The
innovation is the instrument itself, "The Original New Timbral
Orchestra", which is the first multitimbral polyphonic analog
synthesizers and still the largest, design print of Malcolm Cecil (who
had serious engineering background) and, since Robert Margouleff sold
him the ownership, private owner of it and its performance. The project
of the entire instrument system started back in '69 or '68 by
Margouleff's MoogIIIc and Moog modules, then with New Timbers and
modularly transformed, Serge, Oberheims and Arps, polyphonic
instruments, finishing mostly in 1970. Recent additions include SEMs and
EMS gear, finally to go on digital sequencers Vocoders. The sounds and
sensations of its effective instrumentality are considered, up to date,
impossible to replicate from newer midis, digitals and samplers. Malcolm
Cecil was awarded one or two times with Grammy for engineering
performance, as was also Robert Margouleff. The duo set on the early 70s
with the applauded effort of "Zero Time" (1971), drawing the style of
warmness and musicality, advancing already in the generation. Steve
WONDER can be considered the main artist which was influenced, then
involved with TONTO on later works ("Music of My Mind"," Talking Book",
"Innervisions", "Jungle Fear"), Cecil and Margouleff being associate
producers and programmers. TONTO stopped existing for themselves after a
second album, in 1975, "It's About Time", still co-featured or
collaborators or a large scale of projects, going onto pop (Quincy
JONES, Bobby WOMACK) or white rock (Steve HILLAGE), into the concept's
changing (Dave MASON) layers or the notes of improvisation (WEATHER
REPORT). The synthesizer system got used in "Phantom Of The Paradise",
a film by Brian De Palma. For the most recent attitude, the duo came
back with an album re-discovering and re-interpreting the "Zero Time"
album and passages from "It's About Time" (a great move mainly
considering the out of print originals). The modern interest somehow
arouses at times, festivals including the repertoire of their music,
dedications towards their style, art pieces even full invitations of
TONTO performances ("Virtual TONTO live" in August 2006) In music, TONTO
has the in disguisable effect of experimentalism and open
"samplitudes". The result of the 1971 album is actually different that
the main music the electronic range (or disambiguation, for that matter)
went over back them. The 1975 creation is even more plastic. The albums
are mainly a gesture of interpretative forms taken experimentally and,
as alluded, expanded. TONTO'S EXPANDING HEAD BAND deserves a place in
the style and the reflection of electronic history. Line-up / Musicians Malcolm Cecil/keyboards,programmers,origin Robert Margouleff/keyboards,programmers,origin Discography(Album) Zero Time 1971
An impossibly
obscure album of highly advanced cosmic rock of levitational proportions
by a complete mystery band. The only name associated with it is James
Bolden, and the album was released in France, as apparently Bolden was
residing in Paris at the time. The music sounds more 1978 than 1971, as
the electronics have that late 1970s sound especially the electronic
percussion (though the computer drums are primitive sounding, similar to
Klaus Schulze's "Picture Music"). Some psychedelic guitar on Side 2
adds much needed variety to an otherwise mundane album. Line-up / Musicians James Bolden/All Instruments Discography Birth of Paradise 1971
Pekka
Airaksinen started making music in the late 1960s with the group the
Sperm, combining performance art with experimental music of the day.
With influences such as John Cage and Karlheinz Stockhausen, the Sperm
combined free jazz and psychedelic pop to create a sound resembling
early industrial music and noise. After the Sperm’s breakup in the ’70s,
Pekka Airaksinen became a Buddhist and would stop releasing music for
almost a decade. Airaksinen, who was regarded as a recluse, returned to
the public eye in the mid-80s under his own name and with a brand new
but equally futuristic vision. His album Buddhas of Golden Light is an
incredible mixture of Sun Ra’s cosmic free jazz and twisted rhythms
programmed on a Roland 808 drum machine. At the end of the decade techno
elevated the 808 to a fetish object and Airaksinen disappeared for
another five years. In the ’90s Airaksinen released a large number of
CD’s and CD-R’s on his own Dharmakustannus label, on which the style of
each track varied wildly – breaking every rule of the niche-group
marketing concepts of the era. All his recordings, whether they are his
unique interpretations of contemporary music, new age, ambient house or
jazz, are characterized by a sense of improvisation and casual roughness
that is rare in electronic music. The most avant-garde pieces of his
recent output continue his earlier work with the imaginary ‘anthropoid
music’ of the future. One Point Music is his shining moment. Line-up / Musicians Pekka Airaksinen/keyboards,Guitar,Organ Discography The Garden of Jane Delawney 1970
1.A Little Soup for Piano and Orchestra op. 46,8 2.mo-On-ing (1971) 3.Somerain - Sadetta (1968) Music for the Play Sisyfos (1968) 4.Skata 5.S Rock 6.Fos 2
This bizarre
collection of Moog compositions is credited to a band/artist named
Lucifer (or is it "Black Mass?"), but the man behind the machine is
better known by his more ordinary given name of Mort Garson. Along with
scoring films, producing easy listening records, and co-writing the hit
tune "Our Day Will Come," Garson released several electronic music LPs
with themes like the Zodiac, the Wizard of Oz, and plant growth
stimulation. Black Mass/Lucifer (the cover art is ambiguous as to title)
is Garson's exploration of the dark arts, an all-instrumental
soundtrack for a horror film that never existed. Garson conjures up a
sinister, minor-key atmosphere on tracks with titles like "Incubus,"
"Witch Trial," and "The Evil Eye" often achieving a tone similar to the
scores that Italian horror-rock band Goblin would record for Dario
Argento films later in the decade. The technology available to Garson in
1971 was still being developed, and the record occasionally sounds
dated, particularly when some very corny synthetic drums ruin the mood.
There's some evocative music on Black Mass/Lucifer, to be sure, but
ultimately it's just not as wild of a recording as legend has painted,
perfectly rendered for a psychedelic Halloween party but hardly strong
enough to raise evil spirits on its own. Garson's Wozard of Iz album is a
freakier Moog ride, a kaleidoscopic retelling of the L. Frank Baum
tale. Line-up / Musicians Mort Garson/All Instruments Discography
Black Mass 1971
1.Solomon's Ring 2.The Ride of Aida (Voodoo) 3.Incubus 4.Black Mass 5.The Evil Eye 6.Exorcism 7.The Philosopher's Stone 8.Voices of the Dead (The Medium) 9.Witch Trial 10.ESP
Electrophon’s
album "Zygoat" is a much better and more interesting piece of work than
"In a Covent Garden". There were no cheesy interpretations of classical
music around this time (although some passages undoubtedly are inspired
by classical music), and the record consisted instead of entirely
original material composed by Burt Alcantara. His compositional style is
dynamic, energetic and downright weird on some passages, but fresh and
interesting through the whole album. All the music was played on RSE and
ARP synthesizers, and the virtuosity of the playing is quite
impressive. "Leaves of Sand" opens the record with a theme that surely
must have inspired Tangerine Dream a bit when they wrote the
introduction theme to "Tangram" six years later. The track quickly
evolves into one of the main themes of the album, which obviously is a
conceptual work about the goat creature on the cover. The title-track is
something as unlikely as electronic progressive rock'n'roll, and this
unusual approach is repeated in the even more energetic and faster
"Zy-Clone" that has to be one of the wildest electronic progressive
pieces of music recorded. This and the far more classical-influenced
"Pillar of Salt" features some of most insanely fast playing on an ARP.
The weirdest tracks are "Ybur Knom" and "Ybur Doon" which both are based
around the same theme and reminding a bit of Vangelis' most
experimental works from the 70's. "Movement to the Earth" is based in a
slowly gliding pace with lots of quirky synth solos that are anything
else than slow. This track transcends smoothly into "Seeds Cast to the
Wind" that is one of the highlights of the album together with the
mighty "The Ladder of Zeugma". "Zygomania" is a pure cacophony of
tortured synth solos. "Preserverance Furthers" closes the album by going
through several of the main themes. "Zygoat" is a quite unique and
unusual listening experience. Line-up / Musicians Burt Alcantara/All Instruments Discography Zygoat 1974
1.Leaves of Sand 2.Zygoat 3.Ybur Knom 4.Pillar of Salt 5.Movement to the Earth 6.Seeds Cast to the Wind 7.Zy-Clone 8.Ybur Doon 9.Zygomania 10.The Ladder of Zeugma 11.The Libran Sea 12.Perseverance Furthers
