Necroplex (2013, 52.41) ****/TTTT
Every Dead Indian
Empty Traps and Nightfall
The Utopian and the Teaspoon
Winds Over Iceland
Knock Knock Hornets Nest
A Glimpse of Possible Endings (2014, 37.00) ****½/TTT"There Seem to Be Knifestains in Your Blood"
The Sheltering Waters
The Counterfeit Pedestrian
(A) Glimpse (of Possible Endings)
The Worst is Behind Us
Show Me Where it Hertz (2015, 45.42) ****/T½Entering the Sublevels of Necroplex
Everybody Likes Hornets But Nobody Likes Hornet Egg
The Rage Within the Clouds
The Electric Rectum Electoral
Like Fun You Are
The Current Beneath the Squarewave
Mattias Olsson (Änglagård, a million others) should need no introduction to regular readers of this site; Necromonkey (with David Lundberg) is his latest project, their debut, 2013's Necroplex, being every bit as eclectic as we've come to expect from the fertile imagination of Mr Olsson. It shifts between a host of disparate styles, the larger part of the album falling into the 'uncategorisable' bracket, personal highlights including the thoroughly epic Asshole Vote, Every Dead Indian and closer Last Entry, probably chiefly due to their 'proggier' sound. Other notable tracks include ominous opener Pea, the piano-led waltz-time Small Rome and bass clarinet solo piece Notebook Memory, rather proving the point that, Optigan rhythms aside, there's no such thing as a 'Necromonkey sound'.
Mattias has thoughtfully provided full instrumental credits, so I can, with complete authority, tell you that on the Mellotron front, we get:
Mellotronic highlights? All of it, really, although one section in Every Dead Indian that almost screams 'Mellotron strings attack' turns out to be nothing of the sort. Hey, it's that kind of album. Suffice to say, anyone who liked any of Mattias' various 'off-piste' projects is almost certain to like at least some of Necroplex; this is the kind of record that will reward repeat playings, refusing to give up all its secrets upon first listen. Very recommended.
Wasting no time, the duo have produced another selection of recordings for our edification, all of a year on, A Glimpse of Possible Endings, consisting of fewer, yet longer tracks. Once again, categorisation is near-impossible: the rhythmic electronica of opener "There Seem to Be Knifestains in Your Blood" both does and doesn't have anything much in common with The Sheltering Waters, which appears to feature, at risk of using an unwelcome phrase, a heavy dose of trip-hop, 1998 style. The Counterfeit Pedestrian is a brief, slightly fucked-up piece for solo piano and closer The Worst Is Behind Us semi-channels Sigur Rós' transcendent post-post-rock, rather proving my point as to the album's eclecticism. The album's highlight (at least from PlanetMellotronLand), however, is the fifteen-minute sort-of prog epic title track, which is possibly best described as an electronica/symphonic prog cross, suddenly turning into a trip-hop Änglagård halfway through, as massed Mellotrons stomp programmed beats into the dirt.
Tape-replay? Naturally, although not always as overtly as on their debut:
Knifestains, despite its half-dozen credited sounds, is actually very low on the tape-replayometer, but the other two tracks give the album its three Ts between them. The title track sounds like all three Mellotron sounds battle it out at once, which probably means that they do, while The Worst Is Behind Us is no slouch on the Mellotron front, either. Recommended? Oh yes...
Going by its sleevenotes, 2015's Show Me Where it Hertz (v.witty, chaps), while a studio recording, is based around a set the band played in Stockholm that January, concentrating more on the electronic aspects of their work, as against the more typically 'prog' ones. The end result is, unsurprisingly, more of an electronica album in a progressive setting than a prog album per se, vaguely like Tangerine Dream tackling the proggier end of the Kraftwerk catalogue. Personal favourites? Probably Like Fun You Are and The Current Beneath The Squarewave, the latter probably because it's the nearest the album gets to a 'symphonic' sound, whatever you take that to mean. Although Chamberlin and/or Mellotron (presumably played by both members) are credited on all but one track, they're often buried so deeply in the mix that they're near-impossible to spot, more audible parts including the Chamby female voices on opener Entering The Sublevels Of Necroplex, the Mellotron wineglasses in The Electric Rectum Electoral and the string section/choirs in The Current Beneath The Squarewave.
See: Samples | Änglagård
Ko Me to Od Nekud Doziva (1976, 32.27) ***/T½
Sarajka Djevojka Majci Plakala/Mene
Majka Kara/Neko Tiho Zapjeva
U Mene Se Zagledalo Jedno Momče Vrlo Milo
Došli Momci Veseli
Ima Babo 100 Ovaca
Oj Daljino, Daleka Bila
Proći Će Jednom Ovi Dani
Ko Me to Od Nekud Doziva
Neda Ukraden is a popular Serbian singer, still recording today. 1976's Ko Me to Odnekud Doziva was her second album, in a solid Yugoslav folk/middling rock style, taking songs from the former and adding the sound of the latter, not an uncommon technique in many European countries at the time. It's not a bad effort of its type, but not something that's going to thrill many these days, I suspect.
Srećko Zubak is specifically credited with 'Mellotron 400', with strings on opener Šalvare, Mene Majka Kara and the title track and what sounds like mixed strings on Sarajka Djevojka Majci Plakala. It's possible it doubles the Hammond elsewhere, but it's hard to tell. So; Euro folk/rock/pop with a little Mellotron. Unlike several other Yugoslav Mellotronic 'sightings', at least this one's real and easily found as a download, should you be that curious.
Dandies Entre Basura (2009, 43.26) ***/T
|Polaroid Nocturna y Personal
Dandies Entre Basura
Fotos del Ayer
|Las Calles Vacías
La Buhardilla del Lirón
Sacerdotisa de la Carne Eléctrica
Los Negativos (PLEASE don't ask me to translate that) are a modern Spanish psych outfit, active since the mid-'80s, clearly as obsessed with all things '60s as their better-known compatriots worldwide. 2009's Dandies Entre Basura is at least their fifth album, although there could be many more, a decent enough effort, although its appeal seems to pall as it progresses. One of its highpoints is Capitán Escarlata is a Spanish-language tribute to one of Gerry 'Thunderbirds' Anderson's greatest creations, complete with samples from the original series, but tracks like closers La Buhardilla Del Lirón and Sacerdotisa De La Carne Eléctrica (does that really mean 'The Church of the Electric Meat?) drag somewhat, losing the album half a star.
Carlos de Ordax plays (real?) Mellotron on the title track, with a string part running right through the song. Pity he didn't use it a bit more, but there you go. So; not bad, particularly the first half, but not classic, either. No idea what they're singing about, but I'm not that sure it matters. Not a psych 'A'-lister, but definitely on your 'B'.
Nektar (UK) see:
Willie Nelson & Leon Russell (US) see:
A Dream of Glory and Pride (1974, 45.06) ***/T½Sensation
A Picture of Me
Let's Go and Get That Boy
A Dream of Glory and Pride
Two (1975, 41.25) ***/TI'm an Entertainer
Waiting for the Train
Is There an Eden
Reload (1975, 40.04) ***/TDead Eyes
Race for Knowledge
A Man's Not a Man
A Smell of Death
Dust and Rust
Tears of Pain
Neon Rose were a Swedish hard rock outfit with progressive tendencies, though considerably less than, say, Trettioåriga Kriget. In many ways, they're a classic 'local band'; you know, picked up a following in their home town/region/country, but weren't original or charismatic enough to break through into a wider market, as against 'didn't get the breaks'. That isn't to say there's nothing of merit about them - far from it - but much of their material has dated badly and doesn't bear comparison with better-known bands of the era.
They debuted with 1974's A Dream of Glory and Pride, the bulk of which rather predictably consists of workaday hard rock, despite some of the track lengths. It gets more interesting towards the end of the album, notably on the proggiest thing here, the lengthy closing title track, with inventive riffing from all concerned. Vocalist/guitarist Roger Holegård's Mellotron finally appears on Julia's Dream (er, has a ring of familiarity about it?), with a flute part over the acoustic intro, plus cellos and strings on the title track, but it's hardly a runaway 'Tron classic.
They followed up early the next year with Two, which is largely more of the same, with plenty of 'would've worked live to a bunch of pissheads' boogie and not enough material of any real interest. Holegård and bassist Benno Mengarelli on 'Tron this time round, with choirs on the balladic My Lady and the proggier Bloody Welfare, the best track here. The CD adds three live tracks, including a beery version of Eddie Cochran's C'mon Everybody, but I actually haven't bothered listing them, as not only are they (obviously) Mellotron-free, but they're of little interest to anyone but diehards.
Their last album, Reload, appeared later in '75, displaying a modicum of sophistication, at least in comparison with its predecessors. Tracks like Race For Knowledge and Reload itself are less boogie-by-numbers than before, showing the band's increased knowledge of dynamics (in fairness, they already knew how to write longer-form songs). Back to Holegård alone on 'Tron, with choirs on Night Birds and strings on the title track, so once again, notalottatron.
Overall, then, fairly unexciting hard rock in a mid-'70s kind of way. Look, I LIKE this kind of stuff, and they leave me largely unmoved... There's one passable album to be made from these three, mostly comprising the long tracks and the ones with Mellotron (which are mostly the same). None are individually worth it on the 'Tron front, or probably on the musical one, sadly, although all three have their moments.
About Everything (2000, 58.56) ***/T
|Dying Each Day
Granny Ate the Buttons
Waters May Run (Troublesome & Deep)
Reach Out for Love
|7 in the Morning
Where is the Summer
Nervous released one album, Son of the Great Outdoors, in 1996 to little acclaim, then spent many months in '98 working on the follow-up for Grapevine, About Everything (or Nervous About Everything, I suppose). By this time, they had ex-Cardiac Bill "William D." Drake on board, who rang me up and asked if they could use my Mellotron. Well, you don't tend to say 'no' to anyone involved with Cardiacs (well you don't, do you?), so I duly delivered it to the basement studio they'd had rented for them, where it stayed for several months, alongside a bevy of other analogue gear, including a Wurlitzer, a late-period Hammond and Leo Sayer's old Rhodes Suitcase 88. My poor 'Tron was ailing at the time (this was just before it broke down completely during the recording of the Spratleys Japs album), and I believe they sampled it at some point, so I've no idea how many of the 'Tron tracks here are 'real', and how many are samples, so I'll treat them all as real.
What I don't actually know is whether or not this album ever obtained a proper release; I've had a 4-track promo for a while, then found this full-length version for a quid recently, sans inlay, so the image is the promo's sleeve with the 'promo' bit removed. Maybe there never actually was a cover? As a result, the 'release date' info is no more than an educated guess, either. I'm afraid to say the album itself is not fantastically interesting (sorry chaps), being country-flavoured pop, however unlikely that sounds coming from a London-based outfit. The songs aren't bad, but it looks like we'll never know how they would've fared in the marketplace. The one track that really leapt out at me was Bulldog, which turned out to be The Beatles' Hey Bulldog anyway.
Bill played my 'Tron on a good few tracks during the sessions, but I suspect most of them ended up on the cutting-room floor (I believe there were 30+ on the go at one point). The very first sound you hear on the album is an introductory flute part, kept up right through Dying Each Day, and it's possible there's more 'Tron buried in the mix; the choirs on Waters May Run (Troublesome & Deep) only really become apparent at the end of the song. Various string parts throughout the album sound like samples, but who knows? Anyway, your chances of actually running into a copy of this are fairly slight, I'd have thought. If you do, don't pay too much, but it's at the very least an interesting curio.
See: William D. Drake | Cardiacs
Head in the Sand (1979, 39.45) **½/½Too Much Money
Looking in Your Eyes
A Song of War
It's a New Day Dawning
Head in the Sand
Nessie's first album, The Tree (**½) is a distinctly average set, being rather cheesy nearly-prog, languishing in an unfortunate slough of despond somewhere between symphonic prog and mainstream pop/rock. Head in the Sand starts off as if it's going to be a better proposition, despite the appalling vocals (anonymous as all four members are credited; very sensible too), but by track four it's descended into tedium, Lightning Stars being dull pop-boogie. It gets worse, but you probably don't need the gory details.
Henri Leruth is credited with 'Tron, although all the strings are produced by an over-loud string machine. There's a definite (male voice?) choir chord pedalled in near the beginning of opener Too Much Money, and some very background choirs on Looking In Your Eyes, but that really seems to be it. Nessie are one of those obscure bands that collectors are on the lookout for, but I can tell you now; this is not a long-lost prog gem, it's tediously mainstream, with the merest glimmer of interest on about two tracks. Avoid.
In the Following Half-Light (1981, 44.04/54.31) ****/TTT½ (TTTT)Too Hard to Forget
Son of Sam
Straight Into Infinity
Maybe if They Burn Me
Isle of Man
A Matter of Time
[reissue CD adds:
Despite forming in 1975, it took Netherworld until 1981 to release their only album, In the Following Half-Light; the usual story of not getting the breaks when prog was popular, then soldiering on for years before finally releasing a self-funded LP, now highly collectable. Their sound is rather like a more American Genesis, with a few 'later' influences creeping in here and there, possibly comparable to an updated Lift. No one track is especially outstanding, but the overall effect is excellent, although Netherworld were never really going to be frontrunners.
Randy Wilson played Mellotron on most tracks, mostly strings, with male voice choir on Sargasso. Good use throughout, particularly on Isle Of Man and A Matter Of Time, with those strings right at the front of the mix. I've seen a quote from the band where they remark on what they called their 'God Sound', which was a mixture of 'Tron strings and choirs, though I don't actually hear any audible evidence of it here. Given their one M400, they couldn't have produced it live, either; maybe it was more concept than reality. Incidentally, the only reason the album doesn't get a higher 'T' rating is the rather background 'Tron use on the album's earlier tracks.
Anyway, before the album's reissue by those wonderful Musea people, Greg Walker's Syn-Phonic label in the States released a double-vinyl compilation in 1992, Past-Present-Future (right), which gathered together tracks from eight bands (two per side - hoorah!), some of which remain otherwise unreleased over a decade later. Netherworld's contribution was the slightly disjointed Cumulo Nimbus, which seems to consist of three different tracks with gaps in between, tied together by a 'thunder' sample (in pre-sampler days, of course). It takes a while for the 'Tron to kick in, but when it does, it's with full-on choirs, far more in-yer-face than anywhere on ...Half-Light. This had been added to the Musea CD, bringing the disc up to nearly an hour.
On their website, the various ex-members sound hopeful that more unreleased material will be unearthed at some future stage. Let's hope so; Netherworld were a good band, if not timelessly classic, and more of this stuff would be most welcome. In the Following Half-Light is definitely worth the purchase, and Past-Present-Future's worth picking up if you can find a copy (I don't even own one myself). Worth the effort.
Albion (1986, 38.12) ***/T
Sana Saapui Ranskaan
As with so many lesser-known overseas artists, I'm having trouble finding out much about Finland's Pertti Olavi "Neumann" Nieminen. Going by 1986's Albion, he's essentially a folk artist; while the '80s were barely any kinder to folk than to other non-contemporary genres, he has a decent stab at making a good album, highlights including the fiddle-led Ruusujen Sota, his decent, Finnish-language version of Brian May's Queen classic '39 and closer Gaudete, a straight version of the medieval hymn as popularised by Steeleye Span, sung in the original Latin. On the downside, while opener Kohti Kesää starts with a very pleasant melodic 12-string part, the promise isn't kept up; Saaga Auringosta is all gloomy vocals and digital synth, Tuuliruhtinas is slightly dodgy country, while a few too many 'traditional' Scandinavian influences crop up: you know, accordions, massed male vocals, that kind of thing.
Esa Kotilainen, probably the only Finnish Mellotron owner/player in the '80s and '90s, adds flutes, strings and choir to the folky Naiselleni, to good effect, although it's a shame it wasn't used elsewhere. I don't believe this is on CD, although it's recently cropped up on download sites; worth hearing for folk-rock fans, with one decent Mellotron track.
Battlement (1978, 39.05) ***½/TT½Loafer Jack
Ice With Dwale
Intruders and the Punishment
Beyond the Bugle
If I had a pound for the number of times I've seen Neuschwanstein described as 'exactly like Genesis; a complete clone', etc. etc... Well, excuse my ears, but I really can't hear it; Battlement's a pleasant enough album, but even after several plays the first band I think of when I put it on is Marillion. OK, so it predates them by several years, but the essentially fairly simple song structures, washes of string synth and tortured vocals remind me of none other than Aylesbury's finest (?). Good news if you like Marillion; however... To be absolutely fair, from other reviews I've read, the CD was completely remixed, and apparently sounds more like Genesis as a result. By the looks of it, they messed about with the cover art too; the original LP is far less 'yellow' than the scan I downloaded from the 'Net.
I'm probably being a little harsh here, but I wouldn't want anyone to rush out to buy it on my recommendation expecting a symphonic classic; I seem to be in a minority on this one, but it sounds more like proto-neo-prog (new category, anyone?) than yer full-on '70s thing to me. None of the tracks stand out especially, although there's some nice Mellotron here and there from keyboard player Thomas Neuroth; again, nothing to write home about, but the choirs in the oddly-titled Intruders And The Punishment are particularly effective, and there's some nice string swells in places.
Pleasant enough, but I really wouldn't put it at the top of your 'wants' list.
Worse for the Wear (2003, 32.22) ***/½
The Spoils of the Spoiled
Hover Near Fame
Hanging on for Hope
The Smoking Gun
Are You True?
Asleep at the Wheel
|Poison in the Ink
All Our Vice
Worse for the Wear
The New Amsterdams began as the Get Up Kids' Matt Pryor's side-project, going on to take on a life of its own. 2003's Worse for the Wear is their third album, combining Americana and modern indie into an only intermittently appealing stew, better tracks including brief opening instrumental Vignette, From California and haunted closer Slight Return. The slower stuff, basically.
Pryor plays Mellotron, but his use isn't exactly what you'd call overt; I think that's a string part hiding away in the mix on the harmonium-fuelled Vignette, with more of the same on the title track, but you're really not going to buy this for its Mellotron use. You may well not want it for the music either; I've heard worse, but I've also certainly heard better.
Blind Baby (1975, 35.50) **½/TBlind Baby
I Remember Well
Why Did I
Love Potion (1976, 34.54) **½/TTFallin' in Love
We Are All God's Children
I Never Felt This Way Before
The Long and Winding Road
The Detroit-based The New Birth dropped the definite article when they shucked off their old management, releasing 1975's Blind Baby soon after. A typical mid-'70s funk/soul album, it seems to do what it does well, although little of the material really stands out, which is probably why they're not a household name. James Baker plays Chamberlin, so although most of the album's string parts sound like string synth, it's definitely Chamby on Why Did I and flutes on Epilogue.
The band followed up with '76's Love Potion, very similar to its predecessor, but including a cover this time, their faithful interpretation of The Beatles' The Long And Winding Road. James Baker and Carl McDaniel on Chamby this time, with strings on We Are All God's Children, I Never Felt This Way Before, The Long And Winding Road (less obviously) and closer Sure Thing.
New Birth were one of what seem to my ears to be hundreds (thousands?) of interchangeable soul groups of the era, but at least they weren't allied to that horrible Philly soul sound; you know, The Stylistics and their cheeso ilk. Two 'good at what they do' albums, then, with more Chamby on the latter than the former.
New England (1979, 41.02) ***½/TTT½
|Hello, Hello, Hello
Don't Ever Wanna Lose Ya
Shall I Run Away
Nothing to Fear
Turn Out the Light
|The Last Show
Explorer Suite (1980, 43.58) ***½/TTT
Livin' in the Eighties
It's Never Too Late
Seal it With a Kiss
Hey You're on the Run
No Place to Go
You'll Be Born Again
Walking Wild (1981, 35.38) ***½/TT
Holdin' Out on Me
Don't Ever Let Me Go
Love's Up in the Air
Get it Up
She's Gonna Tear You Apart
1978 (1998, recorded 1978, 37.55) ***½/TTT½
Nothing to Fear
I Will Be There
Don't Ever Wanna Lose Ya
Hello Hello Hello
Even When I'm Away
Turn Out the Light
Evolving from US pompsters American Tears, New England are one of those strange imponderables life chucks up sometimes; why were they not huge? New England is chock-full of great melodies and big guitars, easily rivalling the likes of Foreigner and Journey, if not quite in the Boston league. Maybe they were a bit too gutsy? Or the keyboards a touch too prog? The public's taste is always fickle, and even a sure-fire winner like this can be ignored if the planets aren't correctly aligned that week, or something. Part of the problem was probably the label concerned; as an independent, Infinity (also home to the excellent Screams) were never going to have a big enough budget to achieve the saturation airplay that a band like New England needed. Even the coup of Kiss' Paul Stanley 'producing' the album (actually produced by Mike Stone) didn't give them enough sales to step into the big league.
Anyway, on to the music. The album's runaway AOR classic is the mighty Don't Ever Wanna Lose Ya; utterly ridiculous, but at the same time quite magical, this has a chorus to die for several times over, but startlingly was only a minor hit (reached US #40). The rest of the album is actually quite varied, shifting between ballads along the lines of Turn Out The Light and all-out rockers like the lyrically iffy P.U.N.K., but nothing quite reaches the heady heights of the hit that never was. The melodies actually beat Foreigner and co into the ground in several instances, but it obviously just wasn't enough. Keyboard man Jimmy Waldo used quite a 'retro' rig for 1979, with very little obvious polysynth (although various machines had been available for the preceding couple of years), sticking mainly to Hammond, piano, monosynth (probably Moog) and, of course, largish quantities of Mellotron. After a slow start, he really didn't stint on his 'Tron use here, with strings on most tracks, including (of course) Don't Ever Wanna Lose Ya, plus choirs on Alone Tonight. His string work was actually quite orchestral, although a lack of originality in the 'Tron department loses them a T or so.
The following year's Explorer Suite is less of a 'concept piece' than I'd been led to expect, being more of a natural follow-on from their debut. The songwriting is mostly in the same league, although there's no Don't Ever Wanna Lose Ya but then, how could there be? Waldo's keyboards sound (sadly) more contemporary, with plenty of polysynth and less of everything else, until, that is, you hit track five, Explorer Suite itself. You want 'Tron? Huh? This is loaded with it - mainly choir, plus strings, and it seems to trigger a bit of a 'Tron-fest from the hands of Mr. Waldo (although there is actually a little bit of strings on track four, It's Never Too Late). Despite the lack of one killer song, Explorer Suite is a worthy second effort, with nearly as much 'Tron as their debut, and, if anything, more of a 'pomp' songwriting style.
Their third (and last) album, Walking Wild (produced by Todd Rundgren) carries on in a similar vein, although it seems to lack the various highlights of its two predecessors. Don't get me wrong; it's perfectly good at what it does, but it's rather more generic AOR, lacking the surprise factor of another Don't Ever... or Explorer Suite. Gardner's 'Tron is still in evidence, though mostly rather further back in the mix, and mostly choirs, apart from a fairly overt string part on L-5.
There are also two recent Tron-heavy archive releases available; 1978 gathers up their pre-first album demos, containing four otherwise unavailable tracks, while the duffly-titled Greatest Hits Live gives you a selection of songs from the first two albums, Waldo's Mellotron to the fore. I haven't yet heard the latter, but the former is pretty much what you'd expect, being high-quality demos of largely familiar material. Maybe they don't have that 'sheen' you expect of big-budget recordings, but a (very) slight roughness quite suits the material, surprisingly. About the only real loser here, is Don't Ever Wanna Lose Ya, which is slower, in a different key and overall, less gutsy. I suppose that's what 'proper' producers are for... Anyway, full-on 'Tron strings on opener Alone Tonight and several other tracks, with a Strawberry Fields-style flute part on Hello Hello Hello that isn't on the official album version. Other than that, it's fairly standard use throughout, but 1978 gives an interestingly different perspective on their first album material, so it's probably worth it for fans.
So; if you can handle the ultra-Americanisms of the music, New England had good songs and mucho Mellotron all round, so that'll be a cautious recommendation, then.
See: American Tears | Alcatrazz | Hirsh Gardner