One of the greatest missed opportunities of the early 1970s surely belongs to the Belgian collective of talent known as PAZOP. Too eclectic, too cleverly creative and too removed from the major progressive rock regions of the world during the early era of prog, PAZOP was teased with all the promise of carving out a career in the blossoming world of the 70s prog scene but thwarted at the last minute at every move. Despite giving it all a veritable effort from every possible angle, PAZOP had disbanded a mere two years after forming in 1972 despite having recorded two complete albums worth of material. Sadly these classic recordings would sit quietly on some undisclosed dusty shelf awaiting a reawakening some two decades later.

The band formed in Brussels in 1972 and was forged out of a group of talented musicians who had ties to various previous musical acts. Flautist and vocalist Dirk Bogaert, drummer Jacky Mauer and keyboardist Frank Wuyts all emerged from the Brussels based Waterloo, an early Belgian band making a transition from the world of 60s blues based psychedelic rock into the more progressive styles that were blossoming all across Europe. Bassist Patrick Cogneaux on the other hand emerged from the short-lived Arkham which was one of the first bands to emerge out of England that was dabbling in the world of Canterbury jazz that had practically just begun with bands like Caravan and Soft Machine a few years prior. The fourth member, the Polish born classically trained violinist Kuba Szczepanski had his connections with the Brussels Opera Philaharmonic Orchestra before joining the Baroque psychedelic pop band the Wallace Collection in 1968.

Starting out without a name and eventually settling on Pas Op, the Flemish word for "Warning," the quartet stylized the name to PAZOP which gave it a rather unique moniker which also added an air of mystery. The name actually perfectly matched their idiosyncratic blend of progressive rock that was as inspired by King Crimson and the zany avant-prog whimsical antics of Frank Zappa as it was with the jazz-fusion sounds of England's Canterbury Scene. Having proven themselves as a popular local live band in the local Belgian scene, the band was wooed into a contractual agreement with the Barclay label and allowed to begin recording sessions on their debut album titled PSYCHILLIS OF A LUNATIC GENIUS, the PSYCHILLIS part referring to a species of peacock orchid native to the West Indies. After recording a total of eight tracks that were to be the debut album, the label rejected them based on the fact that weren't commercial enough for the market they were aiming for.

Completely dismayed but not totally demoralized, PAZOP continued on by delivering well received live performances that showcased the band's exquisite compositional flair of writing clever musical scores, some vocal based and others completely instrumental but each with a unique spin on the world of progressive rock which gave the band its own distinct unique style from the very beginning. Adding insult to injury the band was approached once again by the musician Sylvan Van Holme who wanted them to adapt musical scores from classical artists such as Tchaikovsky, Dvorak, Mozart and Verdi to the world of modern progressive rock so once again the band was off to the recording studio and recorded a "second" album of innovative arrangements that offered an even more demanding spin on the band's already quirky stylistic approach that it had developed on the unreleased debut. Once again the band's efforts were completely rejected due to the fact Van Holme as aiming for a more pop-oriented watered down approach to such musical hybridization.

That was the final straw for a completely deflated PAZOP. Financially and emotionally bankrupt, the band called it quits in 1974 leaving two phenomenally brilliant albums to collect dust for more than two decades until the prog revival of the 1990s found labels like Musea scouring the rubble of the past in order to salvage the lost treasures that should've materialized during their day. The two albums emerged together in 1996 as the compilation PSYCHILLIS OF A LUNATIC GENIUS which featured eight tracks that were intended to be the first album and an additional eight tracks that were created to be the second.

Musically speaking, PAZOP were top dogs in the world of prog with an amazing display of compositional fortitude fortified with seasoned instrumental interplay and dazzling virtuosity. The band's eclectic sound is hard to pigeonhole. The potpourri of influences range from the world of classical legends and Canterbury jazz rock to the quirky whimsical brilliance of Frank Zappa and the Mothers of Invention. On vocal tracks Dirk Bogaert showcased a wide range of singing styles ranging from an emphatic well pronounced huskiness to utterly off the wall wailing and complete irreverence to established vocal norms. The first album is a bit more conservative with more emphasis on established song structures and singing styles but by the time the band recorded its second album, the members had garnered a true sense of musical freedom and went for the jugular as far as delivering some of the most far out music that existed in the world of whimsical prog. Amazingly enough the band consisted of a vocalist / flautist, keyboardist, violinist, bassist and drummer and yet delivered their whole enchilada without a trace of guitar.

PAZOP was one of the Belgian greats that was obviously too far ahead of their time to be recognized in their region of Europe. The band did everything right. Lyrics were in English. The melodic elements were instantly catchy and the hooks were irresistible. Soloing and progressive elements were cleverly constructed in a logical cohesive manner and the band exuded a charismatic delivery of tracks that all stood out from one another by offering a limitless expansive creative edge over pretty much anything going on in the Belgian scene during the timeline of 1972-1974. A lost gem perhaps but one that finally has gotten the recognition it deserves and if you ask me PAZOP was one of the most creative and talented bands to come out of the entire Belgian prog scene before the darker avant-chamber prog bands like Univers Zero and Present came onto the scene in the latter half of the decade.

To make things even more confusing, the French based Replica Records also decided to release the band's two albums only as separate units. This label would release the archival first album with the same title as this compilation by Musea and then would release the second album as a self-titled release. Both albums are fairly irrelevant considering everything you could possibly want from PAZOP is on this sole Musea compilation. This album really delivers it all! Outstanding tracks that range from a proto-prog stage that features more standard vocal and songwriting techniques to the utterly bonkers tracks such as "In The Army (Devil Likes Smoke)" and "Airport Formalities And Taking Off / Stewardess And Breakfast." PAZOP really delivered the highest caliber of early 70s prog and suffered one of the greatest injustices of the entire era perhaps. This is a must for fans of Canterbury infused progressive rock that indulges in wild excessive creativity, hilarious jocularity as well as top notch instrumental elegance. I wouldn't call it an understatement to claim that the record companies committed one of the greatest prog crimes of the century by ignoring PAZOP.

One of the most creative and ahead of its time Belgian prog bands, the Brussels based PAZOP suffered one of the greatest injustices in all of the classic early 1970s progressive rock years. This band featured five extremely talented musicians that consisted of vocalist / flautist Dirk Bogaert, keyboardist Frank Wuyts, classically trained violinist Kuba Szczepanski, bassist Patrick Cogneaux and drummer Jack Mauer. Wuyts. Together this creative team crafted some of the most interesting and well designed prog of the era however due to forces outside of their control, never was given the privilege of releasing music.

The band was a local sensation on the live scene which got the attention of the Barclay label to sign the band and send them to the recording studio to record their debut album. The band recorded eight cleverly crafted songs but proved too be a bit too crafty, too eccentric and too ahead of their time to be considered viable and therefore after all the recording sessions, was told that their album wouldn't be released. As if that wasn't bad enough, the band deflated but not completely demoralized continued on only to be approached by another interested party who sent them to the recording studio to record an entire second album's worth of material with a different focus. Once again the band's creative efforts were a too outside of the expected parameters and rejected a second time.

PAZOP basically existed from 1972 to 1974 and engaged in two separate recording sessions that resulted in two albums worth of material but neither album was released during its time in existence. The master tapes would have to sit on dusty shelves for over 20 years before the Musea label would scour the artifacts of the past and find the brilliance of PAZOP suitable for a bonafide delayed release in 1996. The compilation PSYCHILLIS OF A LUNATIC GENIUS was released on CD and featured both albums in their entirety spanning the band's earliest proto-prog leanings of the earliest recordings to the oft whimsical and serious adventurousness of the more serious tracks.

The confusing part of the release PSYCHILLIS OF A LUNATIC GENIUS is that under this title, the album was actually released twice. First by Musea as a comprehensive compilation that featured both unreleased albums and then a second time by the French label Replica Records which for some reason though it best to release both albums as separate units in 2016. This label retained the title PSYCHILLIS OF A LUNATIC GENIUS but only released the first eight tracks of the album that were supposed to emerge as the band's debut album back in 1972. The second album was released as a self-titled PAZOP album with the eight tracks that were supposed to emerge as the band's sophomore album.

As far as the music goes PAZOP were masters of their trade. Clever prog compositions that offered diverse creative musical styles that mixed everything from King Crimson influenced prog to Frank Zappa inspired wackiness all fortified with the technicalities and sounds of England's Canterbury Scene. The music on this version of PSYCHILLIS OF A LUNATIC GENIUS is brilliant to say the least however it is rather unnecessary as a release due to the fact that Musea already released both albums together 20 years earlier. I guess the main reason for this release is because Musea only released the compilation on CD and this edition was the first edition on vinyl so for those who only wish to own their music on an LP format then this one is obviously the way to go but for everyone else who is indifferent to such things then this is fairly redundant.

It should have at least carried a slightly different title reworking to distinguish it from the Musea compilation of the same name. This vinyl version also features a completely different album cover that offers more of a psychedelic vision of what the era represented. While i prefer the Musea comp with both albums side by side. This Replica Records vinyl edition does offer what the original debut album was supposed to be. Great music no matter how you find it. PAZOP offered a true sense of originality that set it apart from the very beginning of its existence.

One of the most creative and ahead of its time Belgian prog bands, the Brussels based PAZOP suffered one of the greatest injustices in all of the classic early 1970s progressive rock years. This band featured five extremely talented musicians that consisted of vocalist / flautist Dirk Bogaert, keyboardist Frank Wuyts, classically trained violinist Kuba Szczepanski, bassist Patrick Cogneaux and drummer Jack Mauer. Wuyts. Together this creative team crafted some of the most interesting and well designed prog of the era however due to forces outside of their control, never was given the privilege of releasing music.

The band was a local sensation on the live scene which got the attention of the Barclay label to sign the band and send them to the recording studio to record their debut album. The band recorded eight cleverly crafted songs but proved too be a bit too crafty, too eccentric and too ahead of their time to be considered viable and therefore after all the recording sessions, was told that their album wouldn't be released. As if that wasn't bad enough, the band deflated but not completely demoralized continued on only to be approached by another interested party who sent them to the recording studio to record an entire second album's worth of material with a different focus. Once again the band's creative efforts were a too outside of the expected parameters and rejected a second time.

PAZOP basically existed from 1972 to 1974 and engaged in two separate recording sessions that resulted in two albums worth of material but neither album was released during its time in existence. The master tapes would have to sit on dusty shelves for over 20 years before the Musea label would scour the artifacts of the past and find the brilliance of PAZOP suitable for a bonafide delayed release in 1996. The compilation "Psychillis Of A Lunatic Genius" was released on CD and featured both albums in their entirety spanning the band's earliest proto-prog leanings of the earliest recordings to the oft whimsical and serious adventurousness of the more serious tracks.

Twenty years after the Musea CD release, the French label Replica Records released both albums separately vinyl in 2016. One of the most confusing aspects of this decision was that the label opted to retain the title "Psychillis Of A Lunatic Genius" for its stand alone collection of eight tracks that was intended to be the debut album back in 1972 therefore the title refers to both the double album compilation as well as the vinyl edition that was basically half the music. Also in 2016 Replia released the intended second album as a self-titled release that featured all eight tracks from the later recording session. The music on this second release offered more adventurous excursions into complex prog inspired by King Crimson and England's Canterbury Scene in the form of instrumental workouts as well as featuring a stronger sense of whimsy with hilarious Zappa inspired tracks like "In the Army (Devil Likes Smoke)" and "Airport Formalities and Taking Off / Stewardess and Breakfast."

While it may seem redundant in many ways, for vinyl purists this one is certainly of interest as the music of PAZOP was unique, complex, quirky and utterly accessible simultaneously. While i always prefer more bang for my buck with compact units that offer multiple albums especially of unreleased archival material, this PAZOP album offers some of the greatest musical moments of the entire early Belgian scene therefore musically it's excellent and highly recommended. After all having too many versions of a lost album released is by no means a bad thing at all especially after the indignant disregard of the band's brilliance that was crafted in the classic era of prog. Thankfully rediscovered and payed the proper respect, the world of PAZOP is available on both CD and vinyl thanks to Musea and Replica Records. That is a great thing indeed.

LABORATORIUM were an important part of the Jazz scene in Poland in the early seventies playing a lot of live shows. They didn't release anything until those two singles in 1972, and their debut wasn't released until 1976, so by the time this the third studio album was released in 1979 these guys were a highly respected band. Not as fiery as say SBB who were more into Blues/Jazz but different like WEATHER REPORT or MANFRED MANN CHAPTER THREE.

One thing I've noticed is that if a band is described as sounding like WEATHER REPORT I have a hard time with them. Maybe because I have a hard time with WEATHER REPORT(haha) only liking that three album run after the debut. And other than say PERIGEO I just need to stay away from these type of bands. This was a difficult rating for me but 3.5 stars seems right, better than their next record "Nogero" which is "Oregon" backwards as a nod to that band but that record isn't as good as this one in my opinion.

Some strange sounding synths on the two LABORATORIUM records I own and they can sound awesome it's just surprising some of the sounds the keyboardist gets out them. And when they are "off" it just sounds lame to my ears. This is an album that isn't for the faint of heart and personally I'm not into the cover art or album title while the actual music is hit and miss.

"I'm Sorry, I'm Not Driver" is the only english title thankfully and this is a top three for me. Vocal melodies on this one and synths are hit and miss. Acoustic guitar I believe too. Another is "Sniegowa Panienka" for the sax and overall sound while like most of you that closer "Ikona" really stands out, and it's a tribute to legendary Polish Jazz musician Zbigniew Seifert who passed the year this album came out.

I honestly have trouble with SBB as well except for those two fiery live Fusion albums "Hofors" and "Karlstadt". I'm on the fence with this one but most rate this high.

Amazing album from start to the last chords. Combination of long instrumental passages with lovely melodic songs.Antony did it again! Firstly "Land of Chameleons" charms you with its surreal and imaginative artwork (by maestro Igor Sokolskiy). Then you dive into the world of sound - which is very balanced and production is top (actually all latest albums raised the bar on a high level!). It`s already on a Spotify (though only the "main" cd material, which is presented on a vinyl too, that will be released later) I enjoyed the 2nd cd of the Deluxe edition as well - must have edition for true fans! (you can listen to it and purchase of course, on Antony's official Bandcamp site). I'm waiting for my Cd to arrive - and to hold this prog epic in my hands. Unfortunately, I`m not into vinyls anymore (wish i could have more space for my collection) but I do beleive "Land of Chameleons"will look and sounds gorgeous in LP format. So, the latest release is at some point a mixture of Karfagen's classic symphonic driven prog with brightest elements of Sunchild, that to me, is a perfect combination.

Tom Penaguin is the latest musician to grace us with a Canterbury album, and I must admit I don't usually hesitate on anything labelled as Canterbury whether I know the band or not. And it's my love for this type of music that will keep me coming back for more. It doesn't always work out like AMOEBA SPLIT for example but I have so many modern Canterbury favourites, I'm a blessed man. And yes this is another one. And speaking about love for Canterbury, that is what comes through in Tom's words in the liner notes, how at 17 years of age he wanted to make this album because he too loves Canterbury. So this is legit folks, this is no paint by numbers release in any way.

Tom is from France and started playing guitar at six and then playing other instruments followed until by 15 he was playing guitar,organ, piano and drums at a professional level. He's the guitarist in a Metal band and keyboardist in a Stoner psychedelic group honing his skills. He released an album of drums and synths only in 2020, but he says that this is his true debut released in 2024. While at 17 he wanted to make this record he didn't have the equipment, instruments or knowledge to do it then.

So he's been busy even thanking his parents for allowing him to educate himself in his love of music. So in 2020 he starts building an analog studio in his home and of course picking up instruments along the way. The list of things he plays is woefully lacking on the site here, he has a list of things he plays that is as long as my arm. The songs are complex in structure and certainly EGG and NATIONAL HEALTH seem to honoured by him the most on this his debut. He mentions Stavinksy as well and Zappa as influences but this is 100% Canterbury and it's a beautiful thing. He thanks Ryan(ZOPP) saying without his help this record would not have been possible. He helped Tom secure a record deal with the Spanish label aMarxe and by the way aMarxe the cardboard on my cd case is separating from the plastic. Just sayin'. It's rippled.

So while this is composed, played, mixed and produced by Tom the opener "The Stove Viewpoint Introduction" features some guests adding sounds to this opening under 3 minute collage. Some laughter from Marie, slowed down glassware as it says, and echoed flute along with Inkus the dog helping out. An experimental start that blends into the mammoth "Housefly leg" not that the leg was mammoth but the song is 14 1/2 minutes long. This track has so much to offer from those gorgeous Canterbury sounds, you know those distorted keyboards, and this goes from gorgeous to intense to those "wow" moments. I was thinking of Phil Lee with the guitar. Some distorted bass too. Love the electric piano and the way he changes this song up as it flows out to us so beautifully.

"Aborted Long Piece No2" of course screams EGG how amazing does the opening organ sound. Just another flavour to enjoy. It will come and go and when it turns intense with that rhythm section I couldn't help but think of Dashiell Hedayat. "Arrival Of The Great Hedgehog" is so english isn't it? A mellow start and it doesn't start to move until after 2 1/2 minutes with distorted sounds in tow. Quite the guitar solo too from around 6 1/2 minutes to after 9 minutes. "The Stove Packed Off And Left" ends it opening with a repeated organ line as piano joins in then drums and bass. Punchy sounds then it's all Canterbury the rest of the way.

I can't imagine how proud Tom must be to have finally realized his dream, and I'm proud of him too and so happy to have this music in my hands. And yes Tom, this will help decorate some of the most important moments of my life, as you hoped it will.

'The Empyrean Equation of the Long Lost Things' with the soaring piano arpeggio opening, the spleen tune of Anathema, the storm in the distance; the deafening riff, the keyboard of Alessandro, new replacement for Günter, and the vocal choirs are imposing; emotion, solos, epic symphony, return of their original creation; final louder to silence the provocative detractors and those of metal who had forgotten them. 'My Icarian Flight' with Andy at the helm setting the tone on a warm, intoxicating, melodic track; the touch is there, the bass suddenly brings the break with organ and guitar solo, you would say you are in a Dream Theater with this duo displayed; the finale on the bewitching and metronomic Vanden Plas touch. 'Sanctimonarium' with the intro one minute flat to heat up the atmosphere; Andy gently, the symphonic riff which will leer on vintage prog metal with the Hammond, it feels like a remake of Deep Purple from the 2020s; the synth wants to be modern before letting the Teutonic riff come back in force, with pads stamped 12.7; the elegiac finale to deliver the fatal blow, the air of Epica younger than them.

'The Sacrilegious Mind Machine' tumbles in, sharp heavy riff; a minute to forget time before leaving on the tune calibrated melodic prog metal with choirs and hearts, just bleeding; the riff more cutting than that you die, Andy which lacerates, the synth which tears; soothing melodic-acoustic break before returning 20mm cannon riff; the organ still there to cause confusion and melt. 'They Call Me God' for the piano arpeggio ballad, remembering the group's enjoyable orchestral drifts; a plaintive guitar that we found on the Anathema, a sampled violin to cast doubt; the romantic ballad is played as often with a moving guitar solo before the rise to a divine Kashmiri tune; effective, simple, pompous, epic. ' March of the Saints ' heavy intro to the progressive track at heart; adding time gives breaks, heaviness, desired repetitions which can become redundant; piano interlude break before returning to the calibrated riff, the supercharged drums and the syncopated bass; the orchestration becomes bombastic with the guitar solo and Andy's bewitching voice eyeing a musical maelstrom; the final crystalline piano recalls the neo-classical sound.

Vanden Plas releases a melancholic opus, epic sticky spleen of heavy dark and enlightened with its elegiac, epic and crescendic scents; a fusion of feelings, of emotions for a conventional prog metal which has not aged a bit but which does not bring much of anything unique, a good repeat opus full of technical prowess which makes our past resonate. Originally on ProgCensor!

Jan Garbarek has released close to 50 albums I believe on the ECM label and the man can play the sax. His debut is the only one I've kept around "Afric Pepperbird" and to be honest I don't have a lot of Jan's recordings. "Rites" is a highly rated double cd from 1998 worth over an hour and a half of music.

Essentially a five piece with two keyboardists including to my great surprise Rainer Bruninghaus from EILIFF. What? Well Rainer would be older here after all this is some 25 years after his Krautrock band called it quits. Rainer is playing piano and keyboards while the other keyboardist adds synths and effects. Jan's left arm is here otherwise known as Eberhard Weber on bass of course. We also get drums along with an orchestra and a boys choir.

I initially was drawn more to disc one for it's melancholy but a funny thing happened after repeated listens I just felt it was too sad. The second disc has some variety on but over all this just isn't my music like a lot of ECM albums, although I do have my favourites. Yes it was a tough go with "Rites" being such a long recording, but like I said fans rate this one high and 1998 was a tough year for our music.

One to consider if your a Jazz enthusiast. Hey there's even a Don Cherry cover on here.

What we have here is a compilation album featuring the best tracks off of PLACEBO's three studio albums which were released between 1971 and 1974. Sean Trane in his review goes on for some time about the tracks chosen and how good they are and I agree with him, it's so rare to have a compilation album that has all the tracks on it that I want. Rarely the case. Five songs from the debut, and five from the second album, and five from that third record and yes this 80 minute album sounds like an actual album, it's so uniform and has the same vibe throughout.

This is some of the absolute best Jazz Rock/Fusion I have heard. I remember my first time through it, and getting more excited after each track but also waiting for the dud, but it never came. Without question a five star release that I just can't get enough of. Pair this with Marc Moulin's debut solo album "Sam' Suffy" and I have two of the best Jazz Rock/Fusion records in my collection. Marc the keyboardist here is a joy to listen to. This record also defies logic for me with all the horns in play but for some reason this record works for me big time.

I honestly could close my eyes and pick any five songs as my top five. So consistent. A must!

I'll be honest I didn't spend a lot of time with this double cd set. We get an hour and forty five minutes worth of music from "The King Of Limbs" album where every track is remixed and one is even re-titled, but there's multiple versions of some of these songs like "Bloom" for example is on this set five times. Now each version is drastically different from the other but you really need to be a fanboy in my opinion to really enjoy this. The numbers 1 to 7 underneath the album's title refer to the seven EPs that these tracks were taken from. An eighth EP was released after this set was issued and is available only separately of course.

No liner notes but on the back cover is a list of the tracks and what they called the remix, for example the opening track "Little By Little" is called the Caribou RMX and then they list who added additional production, and it's Dan Snaith in the example I'm using. Atmosphere and beats standout to me on this recording. Some singing but electronics seem to rule the day here. It's just a lot of music but to be fair for the avid RADIOHEAD fan who wouldn't want this compilation of EPs in their collection, especially for fans of "TKOL" as it's put on the front cover.

I got this cd from my daughter who was getting rid of her cd collection. She was such a fan at one time and still is I guess as she asked me the other day if I'd checked out that THE SMILE band yet that consists of Greenwood, Yorke and a Jazz drummer. Not yet. This recording was still in it's package along with several others, busy girl. Going with 3 stars here.