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MAN IN SPACE: For Medicinal Use Only CD
Ah yes, real space-rock - just what I like to hear. This is the second album from the trio and it is so much better than the first, and that was pretty good. With mainman Jan Geerts on guitars, synths and vocal, aided by real bassist and real drummer, this is a real space trip, so that it begins with scorching space-rock of the instrumental and vocal varieties before moving into an altogether more robotic type of track with lurching electronic drum rhythms and phased vocals as synths swoop all around and the bass pounds. The seven minute instrumental, 'Dance of the 3-legged snake' starts with synths, phased effects and rumbling bass depths as percussion enters, a guitar lead arises and the sound of traveling over Moroccan deserts is conveyed as the track gradually builds, adding more layers and Gong-like chanting to the four minute point when all of a sudden, this scorching lead guitar emerges, only to fall back, then rise up reinvented as the drums really start to take hold, the guitar solo spirals and the track surges into a slice of space-rock magic - quite superb. 'Vortex Valentino' is a song that you could so easily imagined as having come off an album such as 'Quark Strangeness & Charm' with a structure that is that era Hawkwind and a vocal that you can almost hear Calvert delivering, another smoking gem of a track. 'Disobeying The Galaxy' is a mix of seventies-styled space-rock with a phased vocal refrain (as opposed to a "real" song) as the whole thing just launches into orbit in a blaze of guitars, drums, bass and synths, as classic a space-rock sound as you'll hear and just immense. The four minute 'Le Peuple Du Soleil' is a more laid-back, synths-dominated instrumental, the sort of thing that Simon House does so well, but without a violin in this case. The near eight minute 'Borg' is another sizzling slice of epic space-rock that really hits the spot as that classic structure and sound unfolds to perfection. 'Bombdreaming' really reminds you of the classic 'Capt Lockheed' track 'Ejection', so much so that at several points along the way, you could sing that song and it would fit on top like a glove, so similar is the pace, sound and structure, particularly the rhythm section - sensational stuff. With two equally fine sounding instrumentals to end the CD, this is a massive step forward on all levels for this fine, fine band. With a production that is first rate, plus songs and playing to match, this is one smoking gun of a CD and one I would recommend most highly.
MEADS OF ASPHODEL: Mill Hill Sessions CD
Brand new album composed of two batched of previously unreleased session recorded "live in the studio" and as close as possible to the live experience that is the Meads in action, as you've so far witnessed on CD. For the first twenty-seven minutes or so, you'll hear 6 tracks between three and six minutes long that come across very much as "Black metal Hawkwind", with furious guitar riffs that expand from horizon to horizon like space-rock on heat. Below all this you'll find THE most punishing of electric bass work from none other than Hawkwind's Alan Davey, who's now a fully paid-up member of this band. Also on the album, particularly on the album's closing twenty-three minute epic, 'My Beautiful Genocide', is ex-Hawkwind guitarist, Huw Lloyd Langton. Complete with a certain J.D. Tait on guitar and vocals, plus Crin on keyboards, with second guitarist, drummer and vocalist, this is the sound of a band on fire. The fact that they are essentially a Black Metal band should not put you off, for while it is predominantly fiery and powerful, it's also, musically, so well arranged and structured, with a roaring, riffing sound but also unafraid to exhibit a sense of dynamics as the tracks roll incessantly forward. There is a huge depth of and horizon-stretching sound that is this band with all engines running and creating riff-fuelled anthemic space-metal that really is like a cross between Motorhead and Hawkwind, only, if you can envisage such a thing, even more aggressive, yet musically consistent, and, most important of all, enjoyable as hell turned up loud and so repeat playable - don't miss out!!!!
NEGATIVE REACTION: Endofyorerror CD
Not a brand new studio album but a revamped remaster of this album from 1996, together with bonus material from the following year, and it's a wild ride through some crushingly heavy riffs, guitars, bass and drums, with some of THE most wicked electric guitar riffing going on, sounding low down and dirty to perfection. The vocalist charges in the distance giving it all he's got as he hollers out in the distance while the band cruise effortlessly through sludge city and slo-riff nirvana, occasionally erupting and going even further into their musical dwarf star. - Stunning stuff and a guaranteed winner for all stoner rockl fans.
NEKTAR: Journey To The Centre Of The Eye - Remaster+Bonus Tracks - CD
You have to remember that this was first recorded in 1971, an era that included Hawkwind's 'In Search Of Space', to see and hear just how both ahead of its time, of its time and positively timeless, that this album really is. Their debut album, it approached the genre known as "space-rock" from a completely different angle compared with a band such as Hawkwind, in a sense mixing prog and space rock genres together to come up with a concept album that was greater than the sum of its parts. Revolving entirely around electric guitars, bass, drums, organ and mellotron, the songs and instrumental sections are closer to 'Solar Music'-style Grobschnitt than anything, with its lengthy instrumental excursions that are so similar in arrangement and sound and yet a year ahead of the aforementioned mob, while the playing and singing, arranging - and now production - are just first rate. Always the sort of album you could play from start to finish, it exhibits a sense of dynamics that is superb, and the new remaster from the original tapes, not only brings out the best in the guitar and organ solos but adds a whole new dimension to the tracks that was hot to start with. Consequently, this is one mind-melting album of classic seventies proportions, one that anyone who likes red hot guitar work, strong but not overly used vocals, plenty of guitar-organ duels, surging rhythm section and a sound to die for, will just play till they drop. The presence of the A- and B-sides of an early single as bonus tracks is merely an added bonus, but it is the original album that is the business and as classic a slice of music as you'll find.
NEKTAR: Recycled - Remaster+Bonus Tracks - CD
After what was, for me, the complete disappointment that was the 'Down To Earth' album, this came out in '76 and it was like "whoooooahhhhh - what is this!!!!" as the band, complete with new secret weapon in the form of master synth player Larry "Synergy" Fast, provided a comeback album of mighty proportions, showing quite clearly that Nektar were still a space-prog band of the highest caliber. Now with a much "fuller" sound as synths took over from the previous keys as the main dueling component next to the guitars, the whole thing was a wickedly powerful ride to space, once around the galaxy, and back. Oddly enough, the remaster doesn't seem to have brought out the same degree of breathless awe that the other ones have, but you can't deny that it sounds just so high-flying you'd be very hard if you called it anything other than yet another timeless gem. The bonus tracks are, once again, the whole album, but this time in the form of a pre-Larry Fast performance in the form of the original mixes of the album - and this is the jaw-dropper - it sounds exactly like the vintage band that you're hearing on 'Journey' and 'Tab' with a much more identifiable, if slightly odd, sound, where the guitar and mellotron are the main musical mainstays, but once you get used to it, where the album now takes on a whole new identity that you never knew it had, and I'll lay odds on that, once you've heard it in this form, you'll be hard-pressed to play the "real" version in a hurry. So, an amazing album and an amazing discovery wher the bonus tracks are the "raison d'etre" for buying it. Stunning.
ON TRIAL: Head CD
Now be warned - it shows twelve tracks on the sleeve but only eleven come up on the player, since they merge tracks four and five on the sleeve into one mighty climactic track.. That said, this is one awesome album with a whole host of cover versions of classic psych songs originally done by the likes of Thirteenth Floor Elevators. MC5, Stooges, Blue Cheer, Pink Floyd, Love, Rolling Stones and more, all performed as high-octane, psych-rock, guitars-driven killers with drive and muscle that just propels you onwards in the wake of the simply awesome performances. The way the drums, bass, rhythm, lead and fuzz guitars all combine to provide this searing sound is way more than the likes of the aforementioned bands could ever dream about, produced, sung and played to perfection, classic seventies sounding psych guitar solos erupting from the rampaging morass of songs, almost like Pink Fairies on steroids in many cases. Difficult to pick out highlights as every song is one supercharged dose of guitar-laced adrenaline rush, but the steaming drive of 'You're Gonna Miss Me' followed by Stooges 'TV Eye' that segues straight into the MC5's 'Starship' is eleven minutes of unbelievably immense, guitar-driven magic that will leave you jaw-dropped and breathless as this huge sound takes you over and reduces your head to a pile of steaming rubble, by the time of the amazing electric guitar pyrotechnics that close the last track of the three - incredible stuff. The give the Pink Floyd's 'Interstellar Overdrive' this amazingly grungy, psychedelic makeover and have guitars and Hawkwind-like space effects coming out of every pore as the steaming rhythm section drives on and the piece turns into this huge-sounding slice of space-rock might, as smoking a five minute rendition as they come, and you'll never think of the instrumental in the same light again, after hearing this version. The Jagger/Richards composed 'Citadel' is astounding, the sonic soup of guitars powering the track forward yet, as with all the album, retaining the flavour, spirit, feel and magic of the original's timeless qualities. Without a bad track on it, this has to be one of the best ever psychdelic guitar albums that I've heard and this is one that will be played long, loud and often for years to come - immense, essential and awesome - you have to get this album!!!!
ORODRUIN: Claw Tower CD
Well, out of all of the current crop of doom bands, this lost are the ones least like Black Sabbath, in that they play the right moves without conforming to the obvious riffs yet still manage to come out pretty intense for all that. Across a sea of original new material and high quality demos, this is a band on fire, but not over-the-top, with an altogether more "melodic" brand of doom, although the opening two 7 minute tracks bear all the hallmarks of the crushing density that is the hallmark of these style bands. Overall, though, and unsually for me, I felt there was something missing - normally, I'd be the first to say "the more original the better", but here, I'm just not sure. Maybe another play is required - watch this space.
OZRIC TENTACLES: Spirals In Hyperspace CD
No disrespect to anyone, but, for the sake of overall firing up of your imagination and desire for this album (a desire that will be repaid by the bongload), imagine if Ozric Tentacles was a supergroup consisting of Ed Wynne, Steve Hillage, Miquette Giraudi & Tim Blake - well, although that isn't actually the case, musically, you'd be spot on. In fact, it's not that far-fetched either because both Steve Hillage & Miquette are the only other musicians with lead Ozric Ed Wynne, on the seven minute 'Akasha' but more about that in a bit. The album features essentially Ed on guitars, synths, keyboards and programming on all tracks, with other musicians taking part according to the track. So, the album opens with a driving slice of Ozrics but with a decidedly more electronic sound and THE most amazing production job known to man. When Brandi Wynne's glide bass comes churning in as the track begins, the effect is unreal, and the quartet of Ed, Brandi, Seaweed & Schoo chart a powerful course for you into the heart of this blazing instrumental album. The following three tracks are all done by Ed alone, but you'd never guess, as the synth bass thunders, the incredible panorama of synths soars, flows and flies all around while the drum programmes crunch away and the guitar work takes you back to the Hillage seventies handbook, but just so inventive and fresh sounding, it's a positive breath of fresh air. With two quite forceful tracks sandwiched by a slower one, it's a trio from which you won't come down in a hurry.
The five minute 'Plasmoid' is Ed & Brandi with some wicked bass lines and spiraling lead guitar just some of the highlights on a number that practically defines the term "psychedelic funk" and will have the floorboards shaking for sure. The nine minute 'Dalkum' heralds the first sign of "ye olde" Ozrics with a line-up of Ed, Schoo on drums, Seaweed on synths and bubbles, Zia on bass and John on ney, blul, duduk and silver flute - all of which means we open with Eastern phrasing before cascading synths and bass/percussion slide in as the flute spirals all around the space synth swoops and the feel is just classic building Ozrics, as the drums come in, the pace quickens and the track just soars to heights you can only have dreamed of. Then suddenly Ed's guitar takes center stage and as classic a slice of Ozrics as you'll hear takes off to heaven, still only half way in and undoubtedly jaw-dropping, if you weren't already - and when the guitar, synths and rhythm section go "supernova" at the five minute mark, you'll be nothing more than a liquid puddle on the floor as you turn to jelly at the incredible music that's coming from the speakers. The aforementioned 'Akasha' with Ed, Hillage & Miquette, is a chunky track with some fantastic work from guitars and synths, drum programming and deep electronic bass, with electric guitar work that just shines as melodies spiral upwards and synths glide all over the mix, a truly gorgeous yet substantial composition, with so many layers, rhythms and textures, but a track that moves and flows to perfection, music that brings grown men to their knees.
The near nine minute 'Psychic Chasm' features Ed joined by old mate Merv Pepler on drum programming, samples "'n' stuff", with Brandi, and they set about creating this huge sounding, positively cavernous slice of Moroccan sounding psychedelic ambient rock, that covers driving rhythms, echoed floating passages, spiraling synths, the crispest and strongest drum 'n' bass line in existence, a shower of synth chords and a river of Eastern-tinged electronics, as the track coalesces and this towering production of synths, rhythms and guitars becomes a positive musical sandstorm. Finally, the trio of Ed, John & Schoo see things out with another Mediterranean-tinged sea of bliss with acoustic guitar, flute, drums, resonant bass and tablas conjuring images of deserts, camels and stuff while the synthesizer dervish sways and swirls, a forceful and atmospheric finale. So, without a less than riveting second on the entire album there's only one thing left to say - perfection!!!
PYRAMIDS OF SNAFU: Alternative Present CDEP
Four tracks and nearly half an hour of music from a new UK psych septet that numbers among their ranks Stu:Art Barton (Anomie) on synths, keyboards and additional guitar, Mick Slattery on lead guitar and Terry Ollis on drums, not forgetting Melissa Joseph on bass, Chris Barnett on violin, Colin Wilson on vocals, lead and rhythm guitar plus Jaki Windmill on djembe and backing vocals. With tracks ranging from over five to seven and a half minutes long, we get a neat set of compositions that mix the songs with stretches of instrumental space. Musically, we're talking a mix of mainly High Tide and Magic Mushroom Band, with odd hints of Hawkwind and Floyd. Not as ragingly heavy as you might think, this is more controlled dynamics, with some of the instrumental work sounding more akin to the less high-powered sections of an album such as 'Hall Of The Mountain Grill' as anything. Throughout, the main lead work comes from the violin and guitars, with the synths and keyboards taking more of a background and "filling-the gaps" role, while the rhythm section is strong and strident, the feel decidedly seventies, psychedelic and even more decidedly High Tide, albeit with a slightly less adrenaline-fuelled guitar ride. Wilson's vocals are on the subdued side of things, but go with the music, although it has to be said that one or two flat notes did make me wince a tad. It's punchy stuff nevertheless, with the seven minute instrumental 'Free Energy' really taking off as the violin, guitars and rhythm section fly along superbly, a good full sound to it all as you'd expect from so many, but well produced too, it has to be said, but, for my money, the best track on the EP, with some scorching lead guitar and violin duelling along the way. Overall, a promising start, would have liked to have seen a bit of multi-tracking on the vocals to make it totally perfect, but this will do more than nicely as a starter - roll on the main course.
QUARKSPACE: Node In Peril CD
The brand new, seventy minute, studio album for 2004, complete with 16 page comic booklet by renowned underground artist, Matt Howarth. All instrumental, this album is very much in keeping with the immaculate 'Spacefolds' series of releases. This time we're talking space-rock, or probably to be more precise, cosmic-rock, for most of the tracks, while possessing slow to mid-paced rhythmic backings, and founded on beds of ever-present electric bass and distant drums, are taken at a pace more befitting something like the more rhythmic excursions of the first two classic Cosmic Jokers albums, and it is with those albums that this epic journey shares more than a passing similarity. Built on layers and textures of synths, mellotrons, electric guitars and the aforementioned rhythm backings, the whole thing is a wonderfully constructed and warm analogue-sounding voyage through the heart of space, with that whole seventies feel very much prevalent throughout. The music and layers change constantly while the music moves on so that you are always engaged by the unfolding delights. The layers and textures shift effortlessly, and the effect is magical, the sound full and the body of the music solid and substantial yet at the same time cosmic and atmospheric. If you like the Cosmic Jokers albums, the previous 'Spacefolds' series of Quarkspace albums or anything that mixes slow space-rock with seventies sounding electronic Krautrock, then this will be on your CD player for years to come - it's just brilliant and so repeat playable on every level. Their finest CD so far and essential listening.
RAMESSES/NEGATIVE REACTION: Split CD-EP CDEP
It's twenty seven minutes of the most blistering, slowly churning stoner rock that I've heard and is absolutely glorious stuff. The first two tracks belong to Negative Reaction with some of the finest, best produced stoner doom I've heard in ages, the sound of the sludge guitars, riffs and rhythms, actually produced to perfection, just takes hold, the guitars spewing over everything in sight as the percussion and bass hammer out the rhythms. Slow, dirty and downright heavy, this is what this style is all about. However, Ramesses, ex-members of Electric Wuizard, go one further, with a huge huge arena of fuzz guitars, modern Metallica-sounding drums (only slower), grungy riffs, thunderous bass and intense songs delivered with strength as the barely heard lyrics are part of a vocal that rises to be heard above the monstrous guitar-soaked doom metal heaven. Overall, a killer and well worth your attention.
REVEREND BIZARRE: Slice Of Doom CD
75 minutes of demos, previously unreleased tracks, the ubiquitous St Vitus cover and an album that lives up to its name - bizarre! The opening instrumental actually has them playing the theme to "Dr Who", stoner-doom style, so you know already that this is going to be an interesting experience to say the least. The 10 minute 'In The Rectory Of The Bizarre Reverend' is classic grade-A early Sabbath in all but the pitch of the vocalist, but then there's only ever going to be one Ozzy. Anyway, you won't be surprised to find that the spirit and sound of very early seventies Sabbath is what pervades this album and takes hold pretty well throughout, on tracks long and short, with some scorching guitar riffs, searing solos and slow to driving rhythms. More varied than you'd think from the beginning, it's a really strong album, and if this is the sound of their demos, because the quality is excellent throughout, then the real thing is going to be a total killer - can't wait!!
SATELLITE HEARTS: Space Lounge Sessions Vol 1 CDEP
New outfit - six tracks - 23 minutes - any good? Well, yes, actually - remarkably so. Opening with 'Beyond Time & Space' they reveal a short (less than 2 mins) slice of superb sounding instrumental synths, space fx, samples and synth bass that is delivered with real strength and genuine warmth, a real scene-setter. Then the 4 minute 'Lost Files, Hidden Agendas' opens with swirling space synths, world war siren, acres of wonderful string synths and stuttering space-rock electronics, all of which build until the electronic drum rhythm comes in and you'd swear you were listening to a parallel universe intro to Hawkwind's 'Spirit Of The Age', but here the vocal enters in a swirl of synths and expansive electronics, the vocals lightly phased and down slightly in the mix, working to a tee as the whole canopy of sound is electronic space-rock that's more atmospheric than powerful but sounds great for all that. 'Star Gazing' is a full-sounding slice of string synth-led instrumental electronic music that sparkles with delight and travels with purpose across the night sky, full of warmth and delight, at just under 3 minutes, perfect in the context of the album.
'Technology' fires up from the start and gives us a wicked slice of mid-seventies influenced Hawkwind-esque space-rock, and it doesn't take much imagination to think that this could easily have been a Calvert-era track in the first place, a steaming song that works a treat, produced and played to sound clean and crisp yet with all the traditional fuzz of classic space-rock, again at 4 minutes, staying its welcome to perfection. 'Not Of This World', at just over 5 minutes, in a way, breaks the spell of the album, but still works, for the piece drives along on a river of lurching drums, deep-rooted synth bass, far-off space-synth swirls, distant electric guitars and horizon-stretching synths that fill every corner of its universe, the guitars eventually coming to the foreground, but, for such a good sound, could have done with being higher up in the mix to hear the solo to its full potential, but for all that it's a really superb slice of languid instrumental space-rock, synths dominating, that drum rhythm and its bass depths a bit too upfront, and you feel that it could do with a better mix to take that down, bring the guitar up and it would be one sensational track. The final track takes this feel and sound even further, and you get the feeling that, at this point, the band have lost sight of the style that has really worked on the album up to now, as they close things with a track that, while admittedly is really excellent, has an almost drum 'n' bass groove running through it, so that while it showcases a good side of the band, in the context of the EP, seems to be at opposite ends of the spectrum that started it all off - as electronic ambient drum 'n' bass goes, it's really heavenly, the narrated bit in the middle making you think you've wandered into a Faithless track as the whole thing goes into "lounge" territory, powerful for sure, and a great track it has to be said, but somehow, just "out of place".
So, overall, if your tastes encompass all that I've stated, then this EP is the business - actually, it's the business anyway, but its riches of variation may be what ultimately holds it back from being a best seller - I loved it - I just hope there are more out there like me, because this deserves wider recognition.
SPACEHEAD: Live Hawkfest 2003 CD
The irony here, for me, is that this isn't on my Dead Earnest label. Why irony? Because it's the best Spacehead CD to date -in terms of performance, in terms of sound quality - hell, in terms of everything. A document of the concert the band played at the "Hawkfest" in 2003, this features a line-up that is positively breathtaking with ex-Krel members Mr Dibs & Floyd on bass/vocals and synths respectively, plus the dual electric guitar attack of Martyn "Dr" Has been and Keith Barton, all of this propelled by the drum attack of Wob. But if you thought THAT was mind-bending enough in space-rock terms, it doesn't end there - for the last four tracks of the eight track CD, including two sensational cover versions of 'Quark, Strangeness & Charm' plus 'Choose Your Maques', the band are joined by none other than Hawkwind's main man Dave Brock on electric guitar and synths plus ex-Hawkwind synths man Keith "Starfield" Kniveton. Musically, it is just under an hour of scorching, soaring and driving space-rock of epic sounding proportions. Believe me, you've never heard Spacehead sound THIS good, with Dibs' are the best I've heard to date. The driving thunder that is the incredibly infectious "Standing On The Edge 3Of Time' will leave you open-mouthed as to its space-rock credentials, as class a track as they come and so, so powerful. The sound quality is mixing desk and much of it has the same feel as vintage '72-'73-era Hawkwind and you can't get much of a higher recommendation than that!! The tracks featuring Brock & Kniveton total around twenty minutes and the sheer energy, enthusiasm and power of these slices of pure, unadulterated space-rock will leave you grinning with glee at what you're hearing. In every way, this is the band's finest statement to date, even eclipsing my Dead Earnest label albums - and you've no idea how much it breaks my heart to have to tell you that - essential.
SPACE MIRRORS: The Darker Side Of Art
Quote from Aural Innovations main man, Jerry Kranitz:
Hey Andy,
Alisa tells me you're about to release her new Space Mirrors CD on Dead Earnest. I just listened to her samples at soundclick.com and I've gotta stock this sucker in my catalog. Let me know as soon as they're ready. If the whole CD is as good as the couple of samples I heard then I'd say you've got a winner on your hands.
Jerry
Well, it's ready now, it IS that good, and it will be a winner……………….
Alisa Coral's second album following the immense cosmic synth music splendors of the debut CD, but this is altogether different - and something very special. Recorded in collaboration with Michael Blackman (Alien Dream) with four tracks featuring Arjen Lucassen (Ayreon, Star One) and one featuring Steve Youles, this is a space-rock album through and through, but also a consistently fine one too. Opening with nearly six minutes of scene-setting instrumental cosmic-rock that sounds like it's comes from the middle section of an early seventies Hawkwind set, as synths, guitars, drifting, barely heard female voice, swooping space synths and bass all create a magnificent instrumental introduction that is classic sounding stuff. Then it's into 'At The Crossroads Of Worlds' with a driving space-rock rhythm, guitars firing off all around the place and synths soaring and swooping in between to create a tension-building, driving slice of space-rock that is just fantastic, and when the added bonus of this glorious glissando-like slide guitar figure emerges over the top, the effect is stunning. Then it all drops down to an eerie scenario of space synth swoops, heartbeat drums, distant guitars and more Hawkwind-style space synths all around and distant female vocals, before the rhythms kick in even stronger than before and the whole thing, slide guitars, electric guitars, synths, bass and drums, all cruise effortlessly upwards and onwards for nearly six minutes.
'A Trip Through Inner Space' is more textural instrumental stuff, with a more relaxed feel than on the first track, while the music, solid it has to be said, wafts and drifts throughout, synths creating some magical cosmic-rock moods. 'Your Soul's Been Sold' starts with a solid, chunky rhythm as the space synths and electronic backdrops soar from horizon to horizon, as the gorgeous female voice drifts around from the back while a new guitar lead emerges and gradually builds to provide a steaming slice of space-rock with more layers of synths and guitars than you can throw a comet at, yet all superbly produced and arranged, the guitar work really electrifying the proceedings as then synths fly and soar over the ever strong rhythmic motor. More layers are built with barely discernible voices, as the piece slowly dies to a spacey finale. 'Pale Ghosts' opens with a hail of guitars, fuzzed, wah-wah, lead and rhythm, as drums roll in, bass thunders below and synths fly all around, and another driving, mid-paced slice of space-rock magic blossoms into flower, the guitar really spiraling as the huge wealth of sound is built up and powered along, this all continuing for a mighty eight minutes.
'It's Cold Today In Underworld' is the album's first real song, with guitar and vocals provided by Lucassen, over the backdrop of driving space-rock rhythm guitars, space-synths and rhythms from the main conspirators, another spiraling slice of classic space-rock. 'Black Dragon' is another more spacious but full-sounding excursion from the synths and guitars, bass and percussives, into deep space and beyond, again building and layering as it goes, always changing, always sounding firmly "space-rock" in its approach and feel, and just wonderful music. The album ends with the most driving track of all as 'Dark Jedi' features a pummeling drum rhythm, solid lead guitars, space synths flying all around, thunderous bass and the more distant vocals from Alisa as the guitar then rises to the surface and this lead blitz of soloing space-rock guitars, thunders out into the night skies, the sound so solid from top to bottom, then suddenly the rhythm decelerates as this monster cauldron of guitars, synths, electronic drums, bass and more guitars travels in juggernaut fashion through the airwaves, laying waste to anything in its path, gradually dying away, only to reveal yet another new twist as the synths, guitars, bass and rums, rise to an almost unbearable climax and the whole thing just drives unstoppably, taking no prisoners inside its awesome, multi-layered, intense sonic soup. Near the six minute mark it drops to acoustic guitars, flute-like synth lead, space-synths surrounds, bass rhythm backdrop as yet another new direction is brought in, working to an absolute treat. Just over eight minutes it changes again as a cosmic synths backdrop adds space-vocal narration over the top, briefly, then this huge mass of synths and electric guitars emerges from nowhere and the piece just takes off even more than it has so far, absolute space-rock bliss achieved to perfection, and just short of twelve amazing minutes of music, it drops down, only to re-emerge seconds later, drums and bass still propelling the synths and guitars as it all suddenly fades and all you are left is wanting to play the whole darned lot over again from the beginning. You can't argue with an album as good as this.
ST 37: Live 2003 CD£12.99
Recorded at three concerts in the late summer of 2003, this is a staggering 79 minute CD that sees the band return to a fair degree to their more jamming side of things with plenty of "Krautrock-psychedelic" passages where the dual electric guitar attack smoulders, sizzles, builds, develops and ultimately breaks out. With any vocal presence fairly well buried in the mix, this is the sound of slow-burning psychedelic jamming at its best. The sound is somewhat of a "bootleg-y" nature but that just adds to the feel of being there, in a hot sweaty concert hall surrounding as this tower of guitars-bass-drums reigns down. It's all very lo-fi stuff but a great document of one of the most underrated psychedelic bands coming out of the USA right now.
ST 37: The Insect Hospital CD Brand new studio album, this time mostly instrumental save three short but fiery songs - cover versions that include two originals belonging to Rocky Erickson & Germs, plus a rendition of the old Brian Eno classic 'Seven Deadly Fins'. Elsewhere we're talking a consummate mix of space-rock, guitar jamming and seventies psychedelia by the truckload as this immense sounding band really take off and an arsenal of synths/electronics, guitars, bass and drums does its stuff. Four epic tracks between nine and eighteen minutes long will satisfy all your needs for some spectacularly far-out instrumental ensemble work that ranges from all-out attack to cosmic build-ups, with a five minute 'Cold Night For Alligators' screaming through as a slice of mighty space-rock with driving bass and drums, squalling feedback-laced guitars and masses of backdrops, all thunders along effortlessly, bringing back the heady days of seventies Hawkwind and Pink Fairies, even a nod to the legendary Hendrix-Winter-Morrison jam session on the aforementioned track. The long tracks are full of driving rhythms and have a decidedly "Krautrock" quality to them, even right down to the production conveying the same feel and analogue warmth of the seventies pioneers of the genre. All in all, a faultless album and a whopping great 77 minutes of superb playing and composing.
V/A: Dreams Of What Life Could Have Been CD
You have to chuckle when you see the label saying - as a promotion to get you to buy this album - that it is "thee ultimate sludge-doom compilation - evil doom at its bleakest. Ultra heavy, crushing, dark, grimm and doom". Sounds pretty frightening to me. Anyway, it's ten tracks by mostly bands I didn't know and, somewhat interestingly, the label's got it pretty well spot on - a musical joy-ride, this most certainly isn't. It really is intense stuff as these molten, black, dripping guitar riffs ooze like steaming pus out of the ether, while this sickeningly heavy bass and crashing drums provide the backdrop to your nightmares, as assorted vocalists just add to the whole blackening doom. You'll probably be a basket case or on the wrong end of a rope by the time this has finished - but what a way to go!!!!
V/A: Essential Stone Premonitions Vol 1 CD
Odd way of naming all this as it's not a compilation, but a set of all-newly recorded, mostly instrumental, and occasionally vocal, tracks, from members of Census Of Hallucinations & Krom Lek. With its early seventies leanings, its psychedelic spirallings and its eccentricities, it comes across as a mix of early Jade Warrior, only more acoustic, Gong, only less electronic and Amon Duul 1, only less chaotic. With some neatly flowing guitar work, great use of percussion, deep electric bass and chiming, mostly acoustic, and electric/glissando guitars, there's also some absolutely magical flute work right out of the early Gong way of doing things. With the feel of something like Allen's 'Magick Brother' album, this is a seriously and, for me surprisingly, good album that I'd unhesitatingly recommend.
V/A: Hawkfest 2002 DBLCD
All tracks recorded live at the festival run and organised by the Hawkwind crew, and on the CD you'll find exclusive live tracks, all bar one of mixing desk top quality sound, from the major players on the space- and psych-rock scenes including Hawkwind (a near fourteen minute version of 'Night Of The Hawks'), Tribe Of Cro (a killer fifteen minute acid/space-rock instrumental), Spacehead (a searing and spiralling eight minutes of the space-rock gem 'Fire Dragons'), Astralasia (doing seven minutes of 'Uncle Sam's On Mars'), Mr Quimbys Beard (a thirteen minute barnstormer of space-rock proportions), Bedouin 98 minutes of the supercharged Hawkwind-esque 'LSD'), Litmus (an all-too brief slice of driving space-rock), Huw Lloyd-Langton's "Broken Bits" Band (the surprise track, an electrifying and electric eleven minutes of fuzzed-out psych-rock that really delivers the goods) with tracks from up and coming bands in a similar musical sphere notably One Eyed Bishops (doing Hawkwind's 'Hurry On Sundown'), Proteus (a ten minute ambient/space-rock instrumental), Jez Huggett's Band Of Gold (a six-minute blues-jazz track that sounds like it was recorded in the audience never mind from the audience!!!), Bruise (a brief song) & Connecting Routes (four minutes of raga-jazz). Fantastic album - essential for anyone into any of the bands on here!!!
V/A: Stone Premonitions Retrospective 1994-2004 DOUBLE CD
At a really bargain price, this excellent CD celebrates ten years of one of the most musically conistent underground CD labels in the UK to date. Across two CD's you get nearly 150 minutes of music from Census Of Hallucinations, Body Full Of Stars, Krom Lek, Spacehopper, Mr Quimbys Beard, The Rabbit's Hat & Terri B. Quite a few of the tracks are different from the versions that have appeared on CD before, including the original mix of the ten minute Mr Quimbys Beard track. If you've not discovered the world of this label before and are into mostly song-oriented compositions of the best quality with influences from a wide variety of seventies groups such as Gong, Daevid Allen, Ozrics & that sort of "free festival-meets-new age" mixes of rock and folk with a decided spiritual feel, then there is plenty for you here. For me, it's worth the asking price for the 60 minutes of tracks from the Census/Krom Lek/Spacehopper/MQB quartet, but I found the rest of the tracks remarkably engaging in this context, things I wouldn't have bought as a whole album but here in small doses, just perfect. A neat item and worth supporting both for the cause and to hear some criminally underrated musicians, singers and songwriters - may Tim and Terri have another ten years and more if this is what the first ten years was all about - recommended!
VOCOKESH: The Tenth Corner CD
Brand new studio album from Franecki and friends, and this time round it's a treat. Entirely instrumental, well recorded and produced, this has to rate as a masterpiece of seventies "Krautrock"-meets-psychedelic space-rock style of things. With well thought-out arrangements, you'll hear plenty of electric guitars, bass, drums, organ-like sounds, ARP fuzz guitars, intense atmospheres, and more as the tracks, from two to over fifteen minutes long, burn into your brain. You almost expect to open it up and see that long-since forgotten equipment list that you used to get on the early Krautrock pioneers' album sleeves. From deep sonic layered explorations with heady atmospheres and a voyage of discovery, through multi-layered passages, to all-out explosive effect, this is not an "easy listening" album - far too complex and involved for that - but it is addictive and anyone into that whole seventies Kraut thing done by the likes of Cluster, Guru Guru, Faust and similar, would do very well to cop a listen to this. It's strong, intricate, accessible, loud, intense and quite an amazing musical experience, positively timeless. Highly recommended
VOODOO SHOCK: Voodoom CDEP
While we're waiting for the next album, the label has decided to let us have a treat in the form of a CD issue of their promo CD, with additional bonus tracks, so you'll hear 34 minutes of melodic, guitar-driven, doom-rock. Things starts slow and dense with 'Showtime', pick up a pace or two with 'Amazing Fire', including a most sensitive and satisfying electric guitar solo in there too, return to a mix of the two on 'Living In Paradise' only to become almost stationary on their cover of St Vitus' 'Patra'. With all the right ingredients of stoner riffs, rhythms and atmosphere present, this is a welcome release in anticipation of a stunning second album.
WALL OF SLEEP: Slow But Not Dead CD
Following a rather fine first EP, now comes the debut album and it's every bit as strong as you'd dared to hope. With the ghost of early Black Sabbath present by the shovel-load, both in terms of riffs, melodies, compositions and construction, this is going to be one of the most satisfying "doom-rock" albums you're likely to hear, in the sense that it's both original and familiar at the same time, with all the right ingredients, but so easily accessible. The tracks have been written and arranged with passion and nothing is allowed to be over-indulgent, nothing too long-drawn-out, with playing and production to match. Throughout the albums you'll be hooked to some of the finest riffs this side of early seventies Iommi, while the rhythm section sound stronger and more attacking than ever the early Sabs could have dreamt, and on top of all this a strong but not shouting or howling vocal, just fits the picture perfectly. With sizzling guitar solos along the way, mighty riffs and muscular, crunchy rhythms, this is a totally quality album that puts this band right up there among the current great examples of rock in any genre - a fine and awesome album.
ZONE SIX: Zone Six CD
Already well written about, I felt I had to investigate what all the fuss was about - on the sleeve it's described as "trip rock" and goes onto say that it "creates spacious psychedelic trips, including expansive guitar works, dreamy female voices and trippy sound effects". Well, base on the opening 7 minute track, that would be just about right as the whole thing wreaks of early-mid '70's Krautrock with a wall of sound, soaring female vocals all over the thing, mellotrons, space effects, crashing guitars, and slowly driving rhythms - I just know it reminds me of a couple of bands in particular but for the life of me, I can't think who. The interestingthing here is that the female vocals, are pretty prevalent throughout the album but in a way that they fit in like some extra musical instrument rather than being just yer typical vocals, almost a bit like a female slow-motion Damo Suzuki - you get what I mean now. When the guitars come to the fore to solo and burn, they are generally with a more bluesy, structured, slowly driving framework rather than the oft-anticpated burning firepower, firmly psychedelic but decidedly bluesy and searingly hot, in a track like 'Empty Faces' almost echoing bluesy Jimmy Page. The 9 minute 'Three Elements' has the female vocal all over most of its swirling, psychedelic space settings with chiming guitars, space synth, slow and delicate rhythms and this heavenly voice all producing music that you'd swear had come right out of the early '70's Krautrock phenomenon. Across tracks long and short, this scenario continues, the band occasionally setting on stun but never going in for the kill - it's the atmospheres that they are creating that are the reason for their existence, so it's psychedelic, it moves, it's got guitars and space effects, movement and rhythm, atmosphere and emotion, and a female vocalist spread all over it - a unique way of doing things these days but a breath of fresh air in many ways when done this well.