ALIEN DREAM: 8 Ad 8
Michael Blackman has been responsible for a number of instrumental albums under the name of Alien Dream which, if you've followed my reviews, have started out well and gradually improved with every release, providing some absolutely storming albums along the way and putting him right at the top of the psychedelic instrumental space-rock tree. In evidence as the ride has progressed, have been a myriad influences. But you could almost be forgiven that, in the pursuit of space-rock nirvana, Blackman has been allowing these influences to well up inside him to such a degree that, at some point, they had to erupt into the world, kicking and screaming. This is that album.
Over 14 compositions, there's this incredible array of instrumental psychedelic rock - however, there's way more than that in here. For a start, the synths are used much more prominently than before as a lead role, leading to some elegant textural solos above the crunch of the guitar riffs and solid rhythmic undercurrents, all of it played expertly and with feeling by Blackman, himself. But what you notice most about this album are the compositions - now, I know that might sound a bit of a trite thing to say, but here, it's the content rather than the effect that makes you sit up and take it all in. For a start, the majority of the tracks revolve around memorable melodies so that, while there's still a mile of space-rock and psychedelia mixed with synth and cosmic textures, each of the compositions is practically hummable, but not annoyingly so.
There's a sense of intricate composition to create something so deceptively simple, and while the overall sound and production are first rate, it is the melodic content that you really take in. This may sound like it's watered down music from times past - and in the hands of many others, it would be - but through a knack for creating a good tune as well as an exquisite atmosphere, not to mention a space-rock sensitivity that is still paramount, Blackman has crafted a set of tracks that are as engaging as they are digestible. Some of the more diehard space-rock fans may feel that he's "sold out" to the gods of melody, but that would belie the fact that here's a guy who, on the strength of this album, should be snapped up by film-makers worldwide, for he has that rare ability of saying it all concisely, strongly, creatively and commercially with depth, strength and feeling, something most film-makers would kill to provide. It's space-rock Jim, but not as we know it.
CENSUS OF HALLUCINATIONS - COH 10
Jeezzzzussssssss!!!!!!!! I didn't think you could squeeze so much onto one album!! Across 15 compositions and a shade under 50 minutes of music, the COH people - of which there are many - have succeeded in completely redefining the boundaries of what makes a psychedelic rock album. You couldn't possibly review this in detail - well, you could, I guess, but life's too short!! Suffice to say that, across a plethora of songs and instrumentals, there this structure at work that's some what akin to an idea overload at work, sort of Zappa-meets-Gong under Bonzo Dog skies, gone completely bananas, with a raft of distant, lead, harmony and spoken vocals almost buried under a psychedelic mountain of guitars, keys bass and drums. But, guess what - it works! Don't ask me how or why, but I found it to be the most engaging slice of originality in this musical field that I've come across in recent times, something that ha more to do with its sonic soup-like arrangements where the vocals aren't too upfront and instead become a part of the overall scenery, which is what makes it such a consistently enjoyable slice of listening - probably best when stoned, but I wouldn't know about that in any way, shape or form - although I can imagine that the people who made this know only too well. Bizarre, solid, inventive, quirkily original, music and a decidedly British sense of humour all combine to produce something pretty jaw-dropping on all fronts.
HEAT FROM A DEADSTAR: Lighten Our Minds MINI-CD
The second offering from this instrumental indie band, and it's even better than the first, and that was original and good enough. This time increasing the length to 6 tracks and twenty four minutes, they've come up with a winner. The first couple of tracks last just three minutes a-piece, but in the capable hands of this instrumental trio, there's more in them than on many similar sounding band's albums. 'Dyslexics' features echoed guitar lead above rivers of bass and crunchy drumming as the guitars chime and then change shape as the track progresses, from ringing riffing to sky-high leads, all set within an indie status and production that gives it the necessary more garagey identity as it almost rages along only, just after two minutes, to decelerate and gather intensity as the guitars and feedback mount one final assault - then it stops. 'Scarlet Eagles' virtually continues where the last one left off, again more chiming, searing, laser-kissed electric guitar leads and riffs while the rhythm section twists and turns through a variety of directions, always hard and strong as the guitars sheer off and fly - superb.
'Black Swans', at six minutes, the longest track on the album, is also one of the slower tracks, heavy without being metallic, almost reminiscent of something like Earth only more intelligent and varied, here with showers of grungy guitars and feedback reigning down above this wickedly thunderous slow bass and cascading, crunching drum work. Just after two minutes it all subsides, only to return with a distinctly '90's King Crimson hue as the Fripp-esque leads chime and chorus over the rolling rhythm section, then the guitar drops back to reveal this sea of chiming guitar and phased effects over the inexorably rolling rhythm section. Then the rhythm drops back to a hard lurch as the guitars chime and the bass takes centre stage - a totally awesome track that just leaves you wanting to play it again.
'Being Less Than Being' is probably the most "upbeat" track on the album with a more expansive, less oppressive feel, and a sea of chiming, ringing, soaring lead guitars and guitar backdrops before the thoroughly amazing grungy guitar riff and equally thunderous bass take on a coat of Magma-meets-Crimso colours as the drums lurch and roll and the searing guitar figures become cut and echoed to amazing effect. A similarly four minute 'Downhearted' is more intense but also features the most melodic lead so far as even this twists and turns, full of chiming, riffing, soloing guitars and driving rhythms that also travel in unexpected directions, but the overall ensemble playing is just awesome as the band drives into the darkness fuelled by resonant heavy bass, Can/Neu-like drumming and searing, seething guitars.
The album ends with the six minutes of 'From Nowhere To Nowhere', beginning with staccato bursts of riffing grungy guitars, above a slow but solid bass line and the sound of thunderous slow drums and crashing cymbals, all initially taken at slow but ultra heavy pace to the three minute mark when it all dies away to leave this lone lead of echoed electric guitar that slowly becomes louder against the lightest of percussive backgrounds, as the drums then emerge and boom out slowly, then more layers are added - the river of bass, the buzz-saw guitar in the distance, the closing intensity of droning guitar textures and the ever rising rhythm section, all gradually intensifying but never erupting, seeing you out to the end and leaving you wanting more - much more. As triumphal a twenty four minutes of instrumental indie-esque guitar-led music as they come, and things continue to rise - can't wait to see what they turn up with next!!
TRAVIS LARSON BAND: Rate Of Change
In the massively over-subscribed world that is the "instrumental rock guitar" album, you've really got to be more than a cut above the rest to get noticed - hell, you've got to be bloody amazing to come up with something that the listener isn't going to play once, think that it was pretty good, file away and probably rarely play again. That this fourth album from the Travis Larson Band trio of musicians not only conforms to the good parts of that statement but actually comes out with such fantastic compositions that make you want to put the thing on repeat play for the rest of the evening as you're beavering away on the computer or papering the walls, is an indication of just how darned enjoyable the album is. With Larson on guitars and the occasional keyboard, Jennifer Young on bass work that is so expressive as well as being muscular and solid, not to mention drummer Dale Moon who plays it way tasty and drives the compositions down familiar roads but with flair and inventiveness, the album is a selection of tracks that are totally consistent with what you want out of such an album. There's a sense of feeling and warmth that pours out of every track, with Larson's tones and chords sounding so darned natural, that it's a pleasure to hear him play.
The compositions themselves are consistently addictive, so that while you get things that twist and turn, bits that chill out, parts that stir the blood and sections that take you to the skies, there's nothing flashy, bombastic or overly "clever" about all this. Instead what you hear are carefully cradted compositions delivered with power, love, passion and finesse, not to mention some absolutely sublime playing.
It's unfair to single any tracks out because there's not one duffer among them, and the whole thing should be played and enjoyed as an album in its own right rather than selecting particular components. There's a love at work here which shares with its listeners, and the feeling is mutual. While it's gorgeous stuff, it still has that element of strength, so that while you wouldn't really call it a "rock" album, it's certainly for that audience as opposed to anything more jazzy or bluesy - in fact forget categories and all that lark - this is just superb playing and composing, production and arrangements, from three musicians with a deep love for and a huge enthusiasm at what they have, all of which is injected into the listener with a curing intensity for which they'll be thanked for a long time to come.
ROCKET SCIENTISTS: Revolution Road DBLCD
In these enlightened times where the art form known as "prog-rock" is the precious gift of a certain elite of the more intelligent-feeling listeners, the fact that its exists at all is testament to the fact that it's a form of music that largely went up a cul-de-sac and stayed there - complete with its audience firmly in tow. Which is why it's so good to see that practically every CD which emanates from the Think Tank stable where artists such as Erik Norlander, Lana Lane, Don Schiff and Mark Mcrite are doing things to and with the style, that make it not only an enjoyable listen, but almost verging on the commercially acceptable. That this fifth album from the trio of Norlander, Mcrite and Schiff (together with drummer Greg Bissonette) has taken four years to assemble and comes 8 years after the previous album, is a testament to the determination of musicians who believe that what they have is worthy of attention no matter how long it takes to get there.
By and large, it succeeds in its quest - on 101 minutes of music that encompass 18 tracks, including several instrumentals, the songs are largely the keys to its success, the average time running to around five minutes a slice. The lyrics are full of emotional imagery with tales of woe and wonderment, life and laughter, having and hoping, and much more, delivered mostly in wistful fashion and occasionally a more rock-based vocal on the harder edged songs. There are all sorts of influences at work, most notably early nu-millennium King Crimson, ELP and Genesis on a track such as "Outside The Painted Walls", while elsewhere everything from Moody Blues to PFM seem to come into play. However, for those expecting a seventies prog feast - forget it!! - 'coz by and large, this thing rocks - OK, so it rocks with a decidedly proggy bent, but rocks nonetheless; and it's this sense of urgency and power, mixed with some brooding pieces and the occasional obvious throwback to the glory prog days of the seventies, that make this album achieve such a strong level of consistency. It's not going to win any prizes for anything outside of its sphere of influence, but within that sphere, it will be justifiably hailed as a work of consistency and quality.
