PSYCHEDELIC/STONER/SPACE-ROCK:
ASTROSONIQ: Made In Oss CD
It struck me that this is the missing link between Litmus and Orange Goblin - yes, friends - at last, stoner rock and space-rock collide head-on in a stunning album of five tracks over forty-six incendiary minutes. With swirling electronic backdrops giving that feel of wall-to-wall space rock, electric guitar solos that occupy an area somewhere between Dave Brock & Ed Mundell, pounding electric bass and driving drums, dual-vocalising that provide the songs with feel and passion, this turns out to be one quite incredible album. The arrangements are dynamic, too, so that it's not all full-on power, but tracks are allowed to breathe, to build, to travel and the result is a mighty album of class compositions and awesome playing that stands head and shoulders above much of its more well-known opposition. With tons of room for instrumental space, this is a cohesive and superbly played, arranged and produced album, decidedly space-rock but with that extra stoner edge, and might possibly be the surprise best-seller of the year so far - you owe it to yourselves to get this album - and soon!!
EARTHLING SOCIETY: Albion CDR
A UK trio inhabiting the world of space-rock and psychedelia with a debut CD consisting of 7 tracks between four and fourteen minutes long. Lyrics are few and far between as the band prefers to let their music do the talking. They deliver a potent brew of fuzz guitars, occasional synth swooshes, deep solid bass and crunchy drums, the electric guitar taking a lion's share of the lead limelight. Most of the tracks are solid mixes of space-rock jamming with a lot of the feel of something like early Ozrics, Third Ear Band and Pink Floyd. In many ways, I found myself increasing drawn to its slowly moving, building, jam-style songs and instrumentals, thoughts of something like Mr Quimbys Beard never too far away. The production is designed so that the whole thing sounds like some lost seventies space-rock/psych outing but still with the complete essence of what makes a powerful and atmospheric space-rock album go down a treat.This is a tremendous set of space-and cosmic-rock excursions, from slowly layering with chiming guitars and clattering percussives plus deep bass and synth swoops/backdrops through Airplane-esque anthemic on the five minute title track to the brooding atmospheres and incendiary guitar of the slowly building, eventually on-fire 'Universal Machine'.
FIRST BAND FROM OUTER SPACE: We're Only In It For The Space Rock CD
New band from Sweden with a debut album consisting of 6 tracks in fifty-seven minutes, and here we're talking a corking mix of Gong, Hawkwind and Fairies, this time with a suitably fine production to back up the strong compositions that the band unleash. The album begins with the sound of swooshing Hawkwind/Gong style space synths above a distinctly early seventies Krautrock styled backing as chiming guitars and solid drums come moving in and the whole effect is pure early seventies Krautrock, gradually building into a steaming electric guitar riff as the rhythm section thunders, the bass pounds, the space synths soar and the guitar just flies, straight into the next track without even a pause for breath, and as sizzling a space-rock brew as you'll find - then on top of that, the song and guitar riffs add even more of a space-rock/psych flavour - stunning!! - and a near ten minute slice of steaming space-rock ensues. The seven minute 'Sometimes Going Too far' accelerates the pace and takes you on a wild space-rock ride through the heavens as the guitar leads surge, the rhythm section drives forward and the whole amazing piece is wrapped up in a sa of space synths gliding, flying and whooshing all around the mix as the mix of Krautrock and space-rock ignites. Throughout, a classic mix of swooshing space synths, phased, fuzzed and lead guitars, solid drums and an awesome sounding electric bass, the band deliver a sizzling set of steaming space-rock/psych songs, with some superb instrumental work throughout, and when the band suddenly hit overdrive, the effect is fantastic as the arrangements and playing just soar so high. The four minute track is a bit more acoustic, almost Tull-ish, but then the twenty minute 'We're Only In It For The Spacerock' takes things even higher by creating a slowly building canvas of synths flying all around the mix with booming crunching drums, mind-mincing bass and deliberate, soaring electric guitar work that builds and builds, the whole band then lurching into a sort of stoner-space rock jam that is truly thunderous, but always taken at a relatively modest pace, never actually breaking out into a mad rush. After a few minutes of deep space synths and atmospherics, the track ends with a fiery lead guitar-driven, band-played finale that really sets the seal on a truly brilliant piece of music. But that's not the end - the near eleven minute "Make Yourself Heard For The World" wraps the album up in a blaze of flute, phased synths and guitars, pounding upfront bass, crunchy drums, space-synths all around and a sea of dirty guitar riffs. When the vocals come in, you'd think you were on the good ship Hawkwind, that's for sure. A steaming, heady song with which to end the album. As space-rock psych music goes, this is one of the finest of the year to date with a production that brings out the best in the band, alongside a standard of playing that is out of this world - essential space-rock/psych listening, for sure!!!
HAWKWIND: Take Me To Your Leader CD
So, here we are - the first all-new studio album since 'Distant Horizons'. This time it's a core trio of Brock-Davey-Chadwick with guests including Simon House & Arthur Brown on a couple of tracks a-piece. Any good? Have they gone all electronic? Have they embraced dance? Is there any guitar on it - questions, questions. The answer is quite simple - it's a rather good, solid, consistent and cohesive Hawkwind album. The surprising thing is that, apart from the last track, there's not a howler on the entire album. Even 'Distant Horizons' had more waste-of-space tracks on it than this. So, what have we got? Well, it opens with a new remake of their classic 'Spirit Of The Age' and the first thing you notice is the incredibly sharp and crystal clear production, so good that even the trademark thunder and space synth swoops sit alongside upfront vocals, a searing guitar solo and driving rhythm section to provide one of the best versions of this track I've heard to date. After that we move into a Davey-composed instrumental that features predominantly synths in a gorgeously expansive and, it has to be said, typical Hawkwind space music setting, with slow thunderous drums and deep resonant bass down the bottom of the mix, layers of synth melodies floating away on top and, of all things (I had to check the credits), the sudden appearance of a lead trumpet which, as the main rhythm begins, sounds absolutely right in the context of the track, a track that ends with one of THE most beautiful space synth endings you'll hear on any electronic music album. From there we dive headlong into the undoubtedly Bedouin influenced 'Greenback Massacre' which positively roars into life as the trademark Davey vocals do their bit over a rampaging rhythmic backing and surrounding space synths and swoops, the guitar staying more muted but still in evidence, and here the production is set to be deliberately more "lo-fi" in keeping with the whole spirit of the track. Up next is a six minute Brock-penned number called 'To Love A Machine' that had me in mind of the track 'Dogs' off Pink Floyd's 'Animals' - it's got that hollering approach to the vocals and you could even juxtapose the two at a couple of points, but here the backing ranges from the initial ballad-esque acoustic guitars through roaring, on-fire ensemble electricity to expansive arenas of synths, clattering electronic drums and delicate guitar set to angst-ridden vocal, before the whole thing erupts once more and just takes off - stunning and possibly the best track on the album. The title track is a trademark 'Electric Teepee'-esque semi-instrumental, "semi" in that it uses intoned, treated, echoed vocal above the surrounding synths, rumbling bass, clattering and cyclical electronic drums and horizon-stretching space synths, but the effect is spot on and the track works a treat as it drives to its destination with purpose and atmosphere. 'Digital Nation' is a Chadwick composition on which he sings lead vocal for the first time on a Hawkwind album, revealing a voice that's not a million miles away from that of Stone Premonitions label owner Tim Jones (so expect to get into Census Of Hallucinations now, people, if you like this!!) while the track itself features the vocal right upfront and, in its own chunkily rhythmic, almost jerky, foundations, together with swirling electronics, distant searing guitar, brief burst of sax, flying flute that leaps around the mix and all-encompassing synth surrounds that sparkle and shine, a track that would not have sounded at all out of place on the better Census Of Hallucinations albums, but is, of course, better than even that description implies, thanks to the still-amazing production. 'Sunray' is simply a driving space-rocker with Arthur Brown on lead vocals and does exactly what it says on the tin - it rocks!! For only one minute long, 'Sighs' is remarkably full-sounding and busy, almost too good for a "link" track, but it segues right into the head-bending thunder that is 'Angela Andoid' with solid, chunky almost techno-esque electronic drum rhythms, this awesome swirling backdrop from nuclear guitar, space synths and synth swoops, Davey's bass on fire down below while sax adds the "olde" element and the track becomes the closest thing on hear that you'll hear to the seventies, although that's not to deny the dynamics and inventive arrangements that the track possesses, even daring to add old new waver Lene Lovich's uniquely high-register vocal towards the end, something I seriously thought fitted like a glove but which I imagine many will hate with a passion. All in all, five minutes of huge-sounding fun. Finally, the seven minute, 'Letter To Robert'. This is spoken word vocal set to a chunky, tumbling, driving electronic drum beat, swooping, soaring space synths, more synth textures, deep bass and a veritable sea of electronics. Personally, I dislike spoken word tracks immensely and this is no exception - not the band's fault - they may be doing it superbly - but not my thing in any way, shape or form. So, apart from that, you simply can't argue with an album of this quality - there will be those who hearken back to the "old days" but, after all the words, all the arguments, all the anticipation and years of wasted silence, you can honestly say that this really has been worth the wait - bar one track, that is!!
LINUS PAULING QUARTET: C6H806 CD
Psychedelic overload on an epic scale going on here - and more guitars than you can shake a plectrum at. Across 9 tracks ranging from two to fifteen minutes, there's a roaring inferno of stoner-infused psychedelic rock going on, almost like a stoner Dictators in some parts (witness the incendiary 'Cannonball' for proof of this) while elsewhere there's touches of Pink Fairies (particularly in the longer tracks), smatterings of space-rock ('Switzer') and the album ends with the most bizarre thing - a fifteen and a half minute cover of 'Hall Of Mirrors' done as a psychedelic jam, with acres of guitars moving from dynamic and solid chiming to red hot riffing in a blaze of rhythmic thunder that's every bit as stoned out of it head as you are by this point. Yet it's inventively arranged, full of light and shade, way more psych than stoner, tons of searing guitar attack and one seriously hot musical cauldron. An album not to be missed.
MARBLE SHEEP: The Gate Of A Heavenly Body CD
The last album from this band was the best thing they've ever put out - you'd wonder how on earth they could top it - but they have - with a vengeance!! Turning the power up to way beyond "ten", composing songs that are a mixture of rock 'n' roll, garage, space-rock, stoner-rock, psychedelic jamming and all-out sonic attack, the quintet that now numbers guitarist, bassist, synths player and two drummers, with two on vocals, play at furnace heat with a sound that takes your breath away and a set of tracks so powerful, it's like spending forty plus minutes on a rollercoaster. The band play as one, with the volume levels so high you're drowning in a glorious sea of psychedelic mayhem, as this tidal wave of sound covers every part of you, inside and out. But the effect is awesome, as the guitar solos scorch to almost unimaginable heights of ecstasy across tracks from two to ten minutes long. But in the end, it's the howl of the band that takes you into emotional territories that you never knew existed, a band so amazingly loud and yet so incredibly tight, cohesive and structured, with real songs at the heart of a blazing heavy psychedelic space-rock sun. Everything about this album is epic - and it's one of the few that will genuinely take your breath away every time you play it - how on earth they've managed to pull off something this incendiary and awesome is anyone's guess - but they have, and lord knows where it goes from here - but for now, this is essential listening for anyone into the heavier side of rock, metal to psychedelia, who wants to see how it SHOULD be done.
NEON: Sign Of The Time CD
The return of the Stone Premonitions label power trio whose debut album we warmly applauded, seemingly aeons ago, as being a fine slice of garagey, punky space-rock. Well, for the second album, it's not so much Hawkwind as Blue Cheer, Mahogany Rush, Robin Trower &, somewhat bizarrely but then it's never very far away, Gong, that are invoked (all recorded in a garage, of course - no fancy production for this mob!!). Across fourteen tracks averaging about three minutes apiece, you'll hear a steaming collection of tracks that positively roar into life with the whole feel and style and atmosphere of some lost seventies slice of head-bending, acid-soaked, psychedelic blues-rock, the lead guitar work sizzling and scorching on most of the tracks, which come and go with a speed that is absolutely perfect - pure rock 'n' roll - showing that in the right hands, the three minute blues-rock powerhouse is far from dead and buried - it's like having lots of Pink Fairies songs and jams distilled into a concentrated essence that's truly strong stuff. Overall, apart from a couple of slightly less aggressive songs, this is a storming album and well worth your time of day if you've got a bottle in each hand and a bongload of fun.
ROOT DECO: Rain Steam Speed EP CDEP
The lead track, Hole In The Sand', flies into life with a searing slide guitar, furiously riffing psychedelic guitar, crunchy rhythm section and a vocal performance and production that sounds just like the early seventies Jefferson Airplane male vocal section, and the effect is something of a cross between Georgia Satellites & Jefferson Airplane - and it works superbly. 'Working Class' continues this feel and sound, adds a wailing bluesy harmonica and has even more of the classic Airplane feel on a steaming song that is lyrically stunning, musically burning and a chorus that is pure anthemic Airplane - quite superb. 'Alphonso' IS Airplane - ferchrissakes - these guys have been OD'ing on the 'Baxters' & 'Volunteers' albums - brilliant!!! Finally, there's 'Little Black Book' that decides to end things on a completely different tack with a barnstorming slice of bluesy, electro-acoustic boogie, and is so addictive, all that's left is to go back to the first track and play it al over again. This is one stunning EP, pure genius and there's not a reason in the world why any rock fan anywhere should not own this tasty little sucker - and I mean NOW!!!
SECRET SAUCER: Element 115 CD
The latest CD on the well-respected Dead Earnest label is an all instrumental studio album that takes space-rock, seventies influenced Krautrock and hints of progressive, into new and quite amazing territories. Featuring members of the bands Star Nation (the non-Hawkwind half of Steve Taylor & Steve Hayes), Quarkspace (Paul Williams & Jay Swanson), Architectural Metaphor (guitarist Greg Kozlowski), Sun Machine (Thomas Marianetti, Bill Spear & Dan Schnell) plus Dave Hess (of Blaah) , some who've actually played with Hawkwind, Daevid Allen & Ozric Tentacles, this is an all-star studio session featuring 12 tracks and nine musicians on electric guitars, synths, keys, bass and drums. The CD is made even more remarkable when you realize that only 2 tracks feature the same line-up, with most tracks featuring 5 or 7 of the musicians involved in the project, one mighty track even featuring 8 of them playing a stunner.
Anyone into music that stretches from the glory days of guitar-dominated, seventies Krautrock excursions, through flowing melodic prog jamming, to vintage acid-and space-rock as practiced by the likes of Ozric Tentacles, Quarkspace & Mr Quimbys Beard, will be in raptures of delight at hearing this album.
From warm and atmospheric, to searing heat, the music is full-sounding throughout, immaculately played and not a single wasted second on the entire seventy minutes.
'Star Rise' opens the album with a minute and a half of space synths and deep rumbling chords from the electric bass that leads directly into a wondrously electrifying guitar riff that rises up slowly then builds on a strong foundation of slowly driving bass and drums with Hess's spacey synth work filling the background. Here the two guitarists of Kozlowski & Taylor duel and chime, as spiraling leads slowly take you to outer space as the spirit of three decades of jamming space-rock unfolds, with some incendiary work from the 2 guitarists that will have the hairs standing up on the back of your neck, from start to finish of the near seven minute 'Sword Of Conneaut'. The eight and a half minute 'Duul' features rhythm section, Kozlowski on lead guitar and two musicians on synths, with the result being a track that not only pays homage to, but almost outdoes, the classic early Amon Duul II instrumental excursions, only here the space-rock element is also prevalent as the piece begins slowly on waves of synths, high-flying melodic electric guitar work and deep slowly rumbling electric bass, topped off with space synth swooshes as the whole thing flows and floats. Suddenly a string synth is introduced, this magical psychedelic guitar riff swirls away, the bass climbs higher in the mix as the tension rises, the space-synths reappear and then - crunch!! - in come the drums as the track just takes off to the skies on a stunning electric guitar lead that just leaves you jaw-dropped in awe at what you're hearing, truly an incredible piece of music.
The four and a half minute 'The Traveler' features 3 guitarists, 3 synth players and rhythm section, but what they do is far tastier than you'd expect as a mid-paced flow is the foundation of the track from the rhythm section, above which all manner of guitars and synths spiral into life, the musical horizon changing before your very ears as the track continues, with guitars slowly riffing in the background while the synths soar and dive on top, only then for one of the guitarists to lead alongside, as another synth enters the fray with a different lead line and this constant lead and rhythm changing is simply wondrous on a slowly moving track that will amaze you as to just how good it's performed and sounds. The six minute 'Desert Of Existence' numbers rhythm section, 2 synth players, lead guitar from Kozlowski and gorgeous glissando guitar from Dave Hess, with this magnificent full-sounding sea of slowly moving but strongly arranged space-rock/psych/Kraut heaven providing a truly atmospheric experience while at the same time featuring a guitar lead that will have you in ecstasy at its beauty and strength, as the synths fly and soar, filling the horizons while the rhythm section plays it varied, tight and tasty. While the seven minute 'Atom Smasher' numbers no less than 4 synth players, plus rhythm section and Steve Taylor on guitar, the effect is like the best flute-free early Ozrics only with a much fuller and warmer sound, as the track expands your musical horizons with a head-bending display of psychedelic rock, Taylor's lead guitar work coming in after one and a half minutes, to take the roof off, as he provides this scorching lead over the strongly flowing bass and drums, while the synth ocean that opened the album continues to swell and ebb all over the mix as the guitar takes you to nirvana and beyond, on what is a track that seriously distills all that makes Ozrics & MQB what they are, into seven incendiary minutes. The final track on the album is an eight and a half minute slice of guitars-fuelled magic called Beyond Time' that features Kozlowski & Taylor on lead guitars that easily rivals anything you might have heard from the great dual-guitar line-ups of the past as, alongside synth player Hess, plus the ever dependable rhythm section, the two guitarists work up a psychedelic space-rock-meets-Krautrock storm of emotive playing and red-hot solos on a track that has a mighty huge-sounding mix, solid slowly driving rhythms and, as is the case on the entire album, a production that allows you to hear everything with detailed clarity, while losing none of the "seventies" effect -it's like the best bits of early Hawkwind, Amon Duul II & Man all rolled up into one magnificent track - and it will blow you away, for sure.
With another five, equally incredible, tracks that we've not had time to cover, this is a remarkable album of red hot playing, incendiary and emotive tracks, nothing overblown, nothing clichéd and nothing wasted - just truly inspired playing on an album that will not only occupy a permanent place on your player, but sound just as good in ten years time.
SHIVA'S QUINTESSENCE: Cosmic Surfer DBLCD
As someone who's never heard a Quintessence album in his life, I can't compare this to anything that's gone before. But I can say what it's like - well, I could if I "got it" but it's all gone "whoosh……" - right over my head. With a CD of all new material on disc one and a CD of re-recorded Quintessence tracks on disc two, the whole thing is lyrically full of socio-political musings, musings about the world we live in, musings about spirituality and……well…..musings!! With a backing consisting of mostly electronically derived means whether synths or drums, there are a number of guest musicians on guitars and vocals, including original guitarist Maha Dev who plays on a number of tracks. In a nutshell, it sounds identical to the sort of album you might hear from the Stone Premonitions label, particularly the more self-indulgent lyrical leanings, mixed with the more vocal and lyrically strong albums from Gong's Daevid Allen, with whose take on life a lot of this no doubt shares. If you're an erstwhile hippy that wishes the seventies days of Notting Hill Gate, free love and brown rice had never disappeared, then this will suit you down to the ground.
