Carl Weingarten, who has been covered at MSJ before, is the main person involved here. David Udell is also included, but only on the second disc. These two re-masters feature intriguing instrumental music. I say instrumental because, while there are vocals here and there, they are non-lyrical. This is proggy, and creative. It’s also quite effective. At times it leans toward spacier and more electronic. At other points it’s more purely guitar oriented. King Crimson is a frequent reference point, but this is well beyond that, too. All in all, this is an intriguing set that includes two albums with a number of bonus tracks on each of them.

This review is available in book (paperback and hardcover) form in Music Street Journal: 2025  Volume 4. More information and purchase links can be found at: garyhillauthor.com/Music-Street-Journal-2025.

This guitar oriented instrumental romp has plenty of proggy tendencies.

Weird voice samples and electronics make up this short oddity. As bizarre as it is, it’s also very classy.

Space rock and freaky stuff is on the menu on this driving guitar number.

For some reason, even though this isn’t a big change, it reminds me a little of Rush in some ways.      

More trippy guitar based stuff is on the menu here. This isn’t a big change, but it works.

Noisy guitar, feeling like a wounded animal, is on the menu as this gets underway. This evolves into some cool guitar dominated stuff from there.

This keyboard based piece is more mainstream prog. 

Driving guitar based stuff, this has more of a King Crimson vibe to it.   

At the start of this we hear some mumbling. A voice says “can I have your attention please?” Two people answer “no.” While it’s just a silly touch, I love that. It put a smile on my face. From there we get into more trippy proggy guitar based stuff.

Trippy ambient stuff is on the menu here.

I dig the keyboard energy and vibe on this. It really does have a feeling of travel. It gets pretty crazed in terms of tempo, but remains all electronic keyboard based.

This is intriguing. It’s built around percussion and something that sounds like a flute, but mostly the percussion. It has a real rustic vibe.

Feeling quite a bit tribal with its percussive vibe and hints of odd vocals that I think might be synthetic, this has its charms. 

This comes in trippy and at once electronic and symphonic. This is epic in size and scope, running over twelve-minutes. It gets pretty spacey as it continues and shifts more toward the electronic. This continues to evolve and really occupies some tastefully strange places at times. 

While the studio version of this had some definite King Crimson angles, that side really takes things over in live performance. This is a smoking hot cut that’s among the best stuff here.

Percussion starts things here. We are taken into some crazed guitar instrumental territory. This has hints of King Crimson at times. It is seriously freaky and weird.

I really dig the groove and rhythmic vibe on this thing. It’s playful and rather electronic. It seems to have hints of an Asian thing at play.

This bouncy number has some non-lyrical vocals and a playful retro texture.

Trippy and rather atmospheric, some comparisons to King Crimson would be appropriate. Early Pink Floyd is another possible name to be dropped.

This has a good rhythmic flow. The bass gets funky for a moment or two here and there. It’s a rather upbeat and cherry piece that’s not the proggiest thing here.

This has some great melodic vibes and energy. It’s a more mainstream cut, but definitely proggy instrumental music.

Circling guitar is a big part of this piece of atmospherics.

Trippy and electronic in nature, this isn’t very long. 

This reminds me of some of the spacey instrumental work on Nektar’s Remember the Future album. It’s freaky and so cool.

Keyboard textures and acoustic guitar work are combined on this piece.

King Crimson like guitar jamming is on the table here. The rhythm section adds to that reference point later.

A weirdly processed spoken voice is heard in the background as this starts. As the music climbs in, there are hints of punk rock along with King Crimson. That voice is heard again at the end of this piece of weirdness.

Rhythmic freaky vibes are on display here. This has some great electronic elements.

While I dig this more mainstream groove, it’s not as funky as I expected given the title. That said, the bass does have some hints of it.

This retro sounding piece has some non-lyrical vocals. It feels like something that could have come from the soundtrack to a science fiction or light-hearted horror show in the 1960s.

There is a trippy, playful vibe to this killer piece of music. It’s still quite proggy. It’s also electronic and rather experimental in nature, even though it’s catchy and funky. This is one of my favorite things here. It does turn a little weirder for a while later.