Aural Innovations — March 2014

Deep Space — Through The Haze

(Sulatron Records 2014, st1401, LP)

Jerry Kranitz

Austin, TX, based Deep Space are new to me and their Through The Haze LP is an intriguing set of deep space Psychedelia that draws on a cohesion of 60s and 90s influences. The band are the trio of Buddy Hart on drums, Robbie D Love on guitar, bass and vocals, and Golden Unknown on guitar and vocals (their Bandcamp site names Greg Connor and the promo sheet says Golden Unknown so I'm not sure if it's the same person or not). Through The Haze consists of 5 songs, both long and short, and is 45 minutes in length.

The album opens with Work, a spaced out Psychedelic rocker with winding, phased and various other efx'd psych guitar leads, whirling and weaving synth lines, eerie wailing 60s organ, myriad effects, and a heavy driving rhythmic pulse. It rocks hard but you could dance to it or relax in a head bopping stupor. Take your pick. The 11 minute Vibrations is next, and I like the cool grooving, trippy vibe, both in the music and vocals. The promo sheet references Spacemen 3 and I'd say their spirit and even Spiritualized is present here, as well as a touch of psychedelic country. It alternates between a lazy drugged feel and a valium restrained energetic rocking pulse. I don't know how many guitars are playing at once but it sounds like it could be a few, and I like the combination of strumming, melodic leads and freaky efx'd psych guitar.

Inner Light is a short but rip roaring Psychedelic Rockabilly-ish tune. Things really get wild with Motorcycle, which starts off hypnotic, tribal, and darkly atmospheric. Between the narrative style vocals and the overall vibe I'm reminded of The Doors' The End, though FAR more spaced out. And the explosive song segments hail back to the high intensity feel of Vibrations. The entire 15+ minutes of this track is white knuckled, edge of your seat gripping. Absolutely monstrous! Finally, Lady Heroine is similar to Vibrations but with a Lou Reed/Velvets edge, and includes some excellent tripped out jams.

In summary, I was quite taken with this album. There's lots of variety but these guys really shine when they stretch out on the lengthier tracks. Recommended. Note that the LP comes in an edition of 500 copies pressed on white/clear marbled vinyl. I see on their Bandcamp site they have another recent release, a cassette/download EP.

For more information visit the Sulatron Records website. Visit the Deep Space Bandcamp site for several albums. Through The Haze is not there but tracks can be found on Cosmic Waves. Also, Deep Space are on Facebook.

The Spacelords — Synapse

(Sulatron Records 2014, st1403, LP)

Jerry Kranitz

The Spacelords are the German trio of Hazi on guitars and FX, Klaus on bass, synths and FX, and Marcus on drums and voice (Marcus is also the drummer in Electric Moon). I'd not heard the band before but Synapse is their fourth album and consists of 4 tracks and clocks in a just over 40 minutes.

The title track opens the set and in the first moments sounds like it might be a Hawkwind Assault & Battery cover. The music does indeed flow with that kind of vibe. It's dreamy drifty Space Rock, with melodic guitar, deep space symphonic and soundscape synths, and bits of freaky electronic effects. Later the music transitions to heavier Space-Prog rocking mode that carries us through to the end. Sitarguitar kicks off in a similar style, jamming along in dreamy Hawkwind friendly spaceland. Again I'm reminded of Assault & Battery, specifically the feel of Assault & Battery/Golden Void from Hawkwind's Palace Springs. At 12 minutes it's the longest track but pretty much stays in the same groove, though like the last track it gets more chunky rocking in the last minutes. I would have liked to hear more transitions. In fact, I think this music is screaming out for a vocalist.

No 2 opens with a groove that is steadily rocking and has a hypnotic droning quality. I really dig the slowly tripping Dave Gilmour in space guitar leads. After about 6 minutes the music gets heavier, creating a majestic symphonic Space Rock sound that I liked a lot. Finally, we have Pyroclastic Monster. Right out of the chute the rhythm section is rocking while the guitar is spewing soaring acid-space licks. Then after a couple minutes it shifts to a Space-Prog theme that reminded me of Ship of Fools, with a heavenly combination of guitar and synths that's both heavy rocking and dreamily atmospheric. There's also sporadic spoken word narratives that sound pretty cool. Then in the last few minutes the band explodes into a high intensity jam that approaches Farflung or Litmus territory. Lots more variety on this one and it's easily the strongest track of the set.

In summary, The Spacelords play pretty cool instrumental Space Rock, though I'll repeat that they would benefit from the addition of a singer. I enjoyed the album but only the Side 2 tracks really excited me. I need to check out their previous albums. Note that the LP is limited to 500 copies.

For more information visit the Sulatron Records website at: http://www.sulatron.com All albums can be found on the Spacelords Bandcamp site. And visit the Spacelords website.

Electric Moon — Mind Explosion

(Sulatron Records 2014, st1402, CD/2-LP)

Jerry Kranitz

German cosmonauts Electric Moon have been mighty busy. Their latest effort - the appropriately titled Mind Explosion - documents a performance in Austria during the band's 2013 tour. These folks are 100% about extended jams, and Mind Explosion consists of a tasty quartet of excursions in the 17-22 minute range. Electric Moon are the trio of Sula Bassana on guitar, FX and Casio Orgel, Komet Lulu on bass and FX, and Marcus Schnitzler on drums.

It all starts with Trip To The Moon, which begins like Pink Floyd at their most exploratory, creating a steady rolling groove, over which Sula plays liquid fuzzed, acid searing guitar notes. The mood is doomy and intense and doesn't take long to build up to Teutonic powerhouse levels of acid-space fervor. Marcus and Lulu are like a rhythmic launch pad, propelling the rocket into space while Sula's guitar rips off corrosive licks that signal all the obstacles that are broken through on the journey to their lunar destination. A monster stoned, Psychedelic Space Rock expedition.

Kaleidoscopeephole is similar, roaring out of the starting gate with a legion of tanks rhythm section. I like how the guitar alternates between playing slow, sustained, cosmically majestic leads and rocking out hard in space. And once we're beyond the halfway mark the intensity level is gloriously punishing. Stoned, acid drenched improvisational Space Rock at its best. Electric Moon go totally Blanga for The Picture, a sludgy, stoned to the gills Space Rock dirge that's like the most jamming, hypnotically droning moments from Hawkwind's Space Ritual. Damn... this one left me bruised and bleeding. So I wasn't disappointed when the final track, Mind Explosion, was easier on the intensity and even a wee bit whimsical, like some kind of robotic dance party for space cadets. Oh, it does indeed get intense. But the overall vibe is lively and even festive.

In a nutshell... it's all about the journey friends, however rough and tumble it may be. If you dig extended instrumental Space Rock excursions that just take off and explore, with a focus on mood, image inducing sounds and effects, and brain frying levels of cosmic intensity, Electric Moon are among the best; the progeny of the pioneering greats like Guru Guru and Amon Düül II, readymade for the contemporary stoner generation. The freak flag is flying high.

The album is available in CD (500 copies) and 2-LP (1000 copies) editions, and vinyl junkies should note that the LP is pressed on marbled vinyl and house in a foldout cover with artwork by Komet Lulu.

For more information visit the Sulatron Records website. The Electric Moon website at electricmoon.de is no longer active but several albums are available at the Electric Moon Bandcamp site and the band are on Facebook.

The Space Spectrum — The Red Eyed Queen

(Cosmic Eye Records 2014, EYE 008, LP/Download)

Jerry Kranitz

The Space Spectrum began life as the solo project of German guitarist Nico Seel. Seel released several albums on Bandcamp, and with the new album, The Red Eyed Queen, he has added additional musicians on drums, synths and electronics. The LP has been released in an edition of 350 copies, 150 colored and 200 black. (The colored edition clear vinyl was chosen by the band as homage to Faust's debut album.)

Can you say Space Rock epic? The Red Eyed Queen is a continuous piece that floats across two LP sides and bears out Seel's description of his music as Space/Drone/Psych/Kraut. The music is cosmically meditative, darkly but deliciously intense, and takes its sweet time to develop slowly but assuredly.

There's a beginning and an end to The Red Eyed Queen, but it's the 36 minute magic carpet ride in between that counts, a sweeping Psychedelic symphony of acidic, bubbling, shimmering guitars. As Part I found its groove the music brought to mind a darker, edgier Lamp Of The Universe. But as the piece progressed I envision a stoned, cosmic Spacious Mind. The vibe is stately in the way the bass and drums pound out their thunderous march, ringed by cavernous droning atmospherics, hypnotic synths, and the ever evolving spaced out trip guitar. It's all about the RIDE!

For more information visit the Cosmic Eye Records website. You can stream and download all the albums at The Space Spectrum Bandcamp site.

Seven That Spells — Future Retro Spasm

(Cosmic Eye Records 2013, EYE 006, LP, originally released 2010)

Jerry Kranitz

Future Retro Spasm, by the great Croatian band Seven That Spells, was originally released on CD in 2010 by Beta-lactam Ring Records. The Greek label Cosmic Eye has now reissued it on vinyl (with 5 of the 6 original tracks) in a limited edition of 150 color and 150 black. For this outing the band are the quartet of Stanislav Muskinja on drums, Narantxa on bass, Lovro Zlopasa on sax, and, as always, guitarist Niko Potocnjak.

The saxophone takes the lead on Olympos, wailing away as a propulsive rhythm section supports to create a Psychedelic Prog-Thrash dirge. Near the 5 minute mark the bass asserts itself, laying down a wildly syncopated pattern while the sax continues to wail. In the last couple minutes the band maintain their relentless assault, soaring into space for the finale. G (yeah, just the letter) kicks off with a Punk-Funk groove, around which the sax and guitar wail, sail, flutter and fly, and Niko soon steps out to the forefront in Psychedelic freakout mode. This is seriously intense and brings to mind Acid Mothers Temple with sax. Niko has collaborated with Kawabata Makoto in the past and Seven That Spells played shows with Acid Mothers Temple and these two bands really are like two peas in a pod when it comes to multi-styled Prog infused freakouts. Terminus Est continues the ferocious Acid-Punk-Funk-Thrash no quarter offensive.

The 14+ minute The Abandoned World Of Automata goes in a different direction, starting off as the most laid back piece of the set. It's slowly rockin' Psychedelic drift, with Niko playing a nicely trippy and only gradually changing melodic guitar pattern. And when the sax joins in, Lovro and Niko are soaring along in tandem to create an easy paced but still high powered dream rocker. Even later when the guitar and sax devolve into lysergic mind-fuck territory there's still a sense of introspective drift to the proceedings. And the luscious last minutes sound like a swirling Psychedelic marriage of Soft Machine and Van der Graaf Generator. Wrapping up the set is Quetzalcoatl, a 3 minute monster that's like a coda to everything that came before. Freakin' awesome...

Much of Future Retro Spasm is a bit different for Seven That Spells, but no less wild and intense than any of their other albums. The guitar and sax are a dangerous combo, and supported by an equally threatening rhythm section, Seven That Spells come in for the kill.

For more information, visit the Cosmic Eye Records website. Visit the Seven That Spells website or on Facebook. You can stream and download all the albums at the [Seven That Spells Bandcamp site]9https://seventhatspells.bandcamp.com/).

Kalutaliksuak — Death Of The Alpinist

(R.A.I.G. 2014, R081, CD/Download)

Jerry Kranitz

Kalutaliksuak began in 1993 as the Moscow, Russia based duo of Vladimir Konovkin and Alexander Chuvakov, who performed live with various musicians but produced little in the way of quality recordings. The duo disbanded in 1997, with Konovkin going on to study tube-organ at the Moscow Conservatory of Music, and performing with Rick Wakeman at a 2001 concert in Saint-Petersburg. Chuvakov graduated from the Russian Academy of Fine Arts and went on to become a professional painter and book illustrator. In 2006 the duo regrouped as Kalutaliksuak and at this time are the quartet of Konovkin on keyboards and synths, Chuvakov on guitars, flutes, percussion and voices, Alexei Ohontsev on bass, and Sergei Titovetz on drums and percussion. Their new album is titled Death Of The Alpinist and is a conceptual work based on a story from The Aged Tales, though I'm not quite clear on whether that's a book by a particular author or a collection of some kind.

The set opens with the 21 minute Hard Climbing, which traverses through various interesting realms. The music is instrumental except for periodic theatrical spoken narratives in what could either be Russian or a made up ranting language. It starts off like a psychedelic blend of 70s Jazz-Fusion a la Herbie Hancock's Headhunters and early 80s New York "Downtown" Avant-Funk like Material. I love the combination of ripping guitar licks, deep grooving Bill Laswell styled bass, flowing flute melody, and soundscapes. As the music grooves and jams along I'm also reminded of the contemporary Psych-Jazz-Prog of San Francisco band Mushroom. About halfway through we transition to a darkly grooving Acid-Stoner-Funk-Prog-Jazz vibe that I really dig. The overall feel of the piece is loose and jamming, but in a controlled way that is always clear of its direction. Shambhala follows and is a shorter 7 minute nicely flowing melodic rocker that's just as heavy on the atmospherics as the funky grooves.

At 20 minutes, Buried Horizons is another Kalutaliksuak epic. The first few minutes are loosely trippy and grooving and then go into the cosmos when the spacey keys join in. Around the 5 minute mark the band take off into a steadily rocking Space-Prog theme, with razor sharp guitar licks and spacey effects. But things quickly quiet down with a quiet ambient flute led segment, which slowly but surely starts to speed up again, and as it does I'm reminded of Porcupine Tree's The Sky Moves Sideways. It's got that same bass pattern and deep space aura, though there's also a Psychedelic-Jazz feel, and an intense but heavenly ambience. And our freaky narrator is back! Finally, we have the nearly 10 minute Not a King, which is spacey, tribal, atmospheric, and darkly Psych-Jazz-Fusion rocking with a bit of an ethnic flavor. I love the ambient but rocking guitar solos played against the screaming soundscape keys and bubbling freaky effects.

In summary, I'm really impressed with the way Kalutaliksuak bring together so many styles and influences, because ultimately they are a band that defies description and just have to be heard to get a sense of what they're about. Highly recommended.

For more information visit the R.A.I.G. website. All R.A.I.G. releases are also available for streaming and download at the R.A.I.G. Bandcamp site.

Civilian Zen — Live Voids EP

(self-released 2014, Download)

Jerry Kranitz

The Live Voids EP is a free download combination of studio track and excerpt from Civilian Zen's appearance at the September 2013 Hastrek Festival in Derby, UK. For this performance the band consisted of Keith Hill on vocals, guitar, programming, FX and audio generators, Ralph Wordenweber on drums and percussion, and mark Andrew on bass and vocals, plus Rich Om guesting on audio generators and FX.

This is the most out there Hawk styled space rocking I've heard from Civilian Zen yet. Void (intro) could have been titled Welcome to the Civilian Zen Space Ritual. It's a cosmic buildup of staccato rhythms, whoosing and howling space waves, freaky electronic effects, and mission control voice samples. Quest For Vision is a spoken word piece backed by wild alien effects that recalls Robert Calvert.

Careful With That (austerity) Axe takes the core Careful With That Axe riff and otherwise sends it hurtling it completely into their own realm, making it a heavy rocking space jam exploration and managing to out freakout Pink Floyd in the process. Very cool. And Sphere Of Destiny is an easy paced space-metal song. All too brief but very cool so check it out as it's a free download. Keith told me a while back he's working on a new full length Civilian Zen album so I hope this is a taste of things to come.

Stream and download at the Civilian Zen Bandcamp site.

Kev Ellis — Space Cadet

(self-released 2014, CD/Download)

Jerry Kranitz

I've long been acquainted with the music of Kev Ellis, from the Psychedelic Blues and Space rocking Dr. Brown, to the Bubbledubble and Sonic Arcana Space Rock projects, his contributions to Spirits Burning, and the Trev & Kev duo with the late Trev Thoms.

The appropriately titled Space Cadet is Kev's first solo album under his own name. Guiding Light features rocking Space-Blues, with harmonica jamming to cosmic synths and electronic effects. Maybe it's the harmonica but some of this is like a more spaced out version of Dr. Brown, which is absolutely ok with me. Celebrate The Day has an 80s UK festie psych vibe, with a cool rockin' groove, pulsating soundscapes and a spaced out pagan feel. I like the mesmerizing drones, bubbling electronics and wildlife sounds in the trippy grooving Resting Heart. Super Cosmic Space Age Baby is a riot, being a fun bouncy Space-Punk song. If the Ramones ever recorded a Space Rock tune, this would be it. Emerald Eye is a dreamy trippy Bluesy grooving heartfelt love in space song. I really like the dirty drunken Space-Blues of Sunrise Pagan Bop. Time Reflection is a cool floating space electronic driven yet rhythmic and cosmically melodic instrumental. Ancient Flight gets us into heavier Space Rock territory, and again brings to mind Dr. Brown in space, with a rocking rhythm section, swirling space electronics, atmospheric waves and Bluesy harmonica. Wrapping up the set is Morning Raga, which conjures up images of a Gong-like pagan trip around the campfire, with tribal percussion, searing drones, whirring, pulsating, rhythmic electronics and mesmerizing vocals.

Space Cadet is a fun and varied set and I hope Kev gets a good response so he does another one soon. It's available in CD and download editions, but if you want the CD you better hurry because there are only 100 of them.

For more information visit the Kev Ellis Bandcamp site.

Spoke Of Shadows — Spoke Of Shadows

(Firepool Records 2014, FR005, CD)

Jerry Kranitz

Spoke Of Shadows is an all instrumental collaboration between drummer Bill Bachman and multi-instrumentalist Mark Cook. I've been acquainted with Cook through his two albums with Herd Of Instinct and his Warr guitar contributions to some Djam Karet tracks. After the two Herd Of Instinct albums, Cook wanted to take his music into new directions. After some initial recordings, a meeting with Bachman and the discovery of shared musical passions led to the debut self-titled Spoke Of Shadows album. The CD consists of 12 tracks, with Bachman on drums, Cook on Warr guitar, ADG fretless bass, guitar and keyboards, plus guests on guitar, flute, piano, and Djam Karet's Gayle Ellett on Mellotron and Rhodes.

King Crimson is a powerful influence, though Spoke Of Shadows take that inspiration in a variety of directions. Among the highlight tracks is Dominion, which creates an atmosphere of high intensity Doom-Prog, and within that context weaves a varied path that recalls Discipline-era King Crimson alongside Red-era riff rocking, plus intricate Warr guitar patterns and cosmic orchestral keys. King Crimson is at the forefront on Harbinger, but there's much more going on, as in addition to Frippoid guitar we've got a monster rocking shred solo and some Jazz-Fusion guitar, plus a beautiful flute and Warr guitar duet for the finale. I like the doomy intensity of Tilting At Windmills and the way it alternates between Metal charged King Crimson attacks and orchestral-Prog breaks that can be both airy and quirky. And Dichotomy has a head spinning array of guitar and Warr guitar leads.

But there's also a dreamier Ambient-Jazz and orchestral Prog side to Spoke Of Shadows. I love the cool Jazz and Mellotron combination on One Day, and the rocking guitar leads, fretless bass and flute solos against a flowing orchestral backdrop on Images. The Space-Ambient-Prog-Jazz, King Crimson-ish guitar and funky freaky effects are a treat on Persona. I love the flute, fretless bass and Mellotron combination on the ambient jazzy Splendid Sisters, wrapping up with a lovely sense of floating dreamy drift. Among my favorite tracks is Pain Map, which starts off with Ambient-Jazz and a cool rolling funky groove, plus a parade of varied sounds in the guitar solos and crunchy metallic bursts, eventually developing into a Metal infused slab of heavy but atmospheric and still grooving Prog jam, and then closing with a dark chamber ensemble and UFO efx'd finale. My other favorite is Drama Of Display, with its freaky synth work that brings to mind an Ambient-Jazz-Prog morphing of King Crimson and Ozric Tentacles.

Most of the songs are in the 2-5 minute range, though there is a lot happening in these brief statements. In both composition and execution the music is complex, but evolves such that it flows smoothly, and it's not uncommon to feel like I had experienced multiple movements in a 4 minute piece. In the Prog world, turn-on-a-dime transitions can be mightily impressive in compositional and instrumental proficiency terms, but Spoke Of Shadows largely eschews abrupt transitions, making it all happen quickly but sleekly, so that I typically would simply become aware of theme shifts rather than swerving along hairpin curves. An impressive marriage of multiple musical worlds.

The Spoke of Shadows website spokeofshadows.com is no longer active. The Firepool Records information is gone as well. Bute there is a Spoke of Shadows Bandcamp site that has a later album.

Djam Karet — Regenerator 3017

(HC Productions 2014, HC017, CD017)

Jerry Kranitz

Djam Karet's 17th album is a 30 year celebration of this band that formed in southern California in 1984. Throughout the years Djam Karet has covered a variety of territory, including Progressive Rock, Hard Rock, Psychedelia, and ambient/soundscape explorations. All these elements came together on their last album, 2013's The Trip, which consisted of a single 47 minute journey. For Regenerator 3017, which includes all the original band members, we have Djam Karet in full blown 70s inspired Prog mode, though there are spacey psychy bits to be enjoyed as well.

Prince Of The Inland Empire sets the tone for the album, having a Canterbury-Prog and Jazz-Fusion feel, augmented by beautifully tasteful and melodic guitar solos and killer sounds of the 70s keys. Living In The Future Past is similar but heavier on the Jazz-Prog-Fusion side, and includes cool grooving Rhodes and luscious spacey Mellotron. Desert Varnish starts off sedately floating, and then develops into a spacey Prog instrumental, and we're treated to impassioned acidic rocking guitar licks, spacey keys, soundscapes and alien effects. The freaky effects continue on Wind Pillow, along with awesome melodic and spaced out guitar leads on this blend of classic Prog, Fusion and Psychedelia. Lost Dreams demonstrates how a simple peaceful grooving vibe can be so exquisite when you have the combination of scrumptious guitar and keyboard sounds and rip your heart out melodies. Ditto for the dreamy sauntering melodic Empty House. And On The Edge Of The Moon is at once the most intense and most majestic track of the set.

Wow, 30 years is serious longevity by any measure. What's kept me excited about Djam Karet all this time is their ability to follow an exploration like The Trip with a 70s Prog influenced but distinctly Djam Karet experience like Regenerator 3017. The promo sheet describes the album's intent as, "we wanted to create a melodic album with a classic sound." I'd say that nails it. The combination of monstrous melodies and classic sounds are striking. 30 years and going strong. You ROCK Djam Karet...

For more information visit the Djam Karet website and the Djam Karet Bandcamp site.

Glass — Palindrome

(Musea Records 2014, FGBG 4935)

Jeff Fitzgerald

Gritty, raw and earthy are not usually words associated with progressive rock. So it was strange to me at first that these words would come to mind while first listening to progressive rock group Glass's new album, Palindrome. They are apt descriptors, although they don't quite tell the whole story. The album is quite a unique listening experience.

I'm almost tempted to drop the word 'rock' from the progressive rock tag here, because the music on Palindrome doesn't really rock in the traditional sense. It has some rock influences, but it is steeped much more deeply in jazz and experimental and even folk idioms than those usually associated with rock, even progressive rock. It does certainly draw from the Canterbury school of progressive rock, a sub-genre that the members of Glass have made no secret to loving (many of the luminaries of this sub-genre have previously appeared on Glass albums and on some of the individual members' solo efforts). But even that particular school often diverged far enough away from what was rock music that it developed something else wholly unique and unheard before. And that's sort of what Glass is doing here; because really, Palindrome sounds like no other album out there, not just in the progressive rock genre, but in any genre of music.

The opening track, No Sanctuary, is about the closest thing on the album you're going to get to a 'typical' Glass track (if there is such a thing!). It's a grand and symphonic opening statement heavily featuring an 1849 Whalley Genung pipe organ recorded in the First Presbyterian Church of Port Townsend. But even here, something is different. The sounds are recorded very dry, in the sense that they are not laden with effects. They're raw and organic, even minimalist in nature. The music itself is simple, yet powerful. The short second song, Satori, despite its title which might suggest something more contemplative, is a jaunty little song that may be as close to pop music as Glass gets. But if the concept of Satori means an awakening, then this is indeed an awakening to the fact that something very different is going on here.

Much of the music on Palindrome is far more minimalist than is usual for the progressive genre. It's frequently cyclic or repetitive. It's like Terry Riley jamming with Joe Zawinul. It's also often improvisational; the band went into the studio with very little planned out as to what they were going to do, and just began playing together with the kind of telepathic-like communication that musicians that have been playing together for forty-some years possess. But it's also got that raw and gritty feel to it too. Just dig that heavy fuzz bass on Hughtopia or the simple, folksy acoustic guitar on The Water is Always Moving On, or even the buzzing, analogue synths of the album's very experimental centrepiece, the 20-minute long Arrhythmia/Linger Longer. "Listen to your mind," Jerry Cook, the band's drummer intones as the music shifts from the traditionally Glass-like symphonia of the first part into a sonic mindscape of cymbal taps, pulsing electronics and hazy, dream-like musical meanderings that is equally disorienting as it is mesmerizing. This track is my personal favourite on the album.

The rawness and simplicity of the music is often tempered with overlaying moments of symphonic beauty, as with the breathtaking Mellotron sounds on The Rain Song, and the combined swells of organ and Mellotron on Wake for Owsley (a tribute to LSD guru Owsley Stanley, who had passed away just a few weeks before the recording of the album). The latter is particularly exemplary of this combination, for underlying the lush swells of symphonic sound are some really kind of crazy, madly strummed fuzzed out bass guitars that shift rhythms in odd ways that sound almost like mistakes were left in on purpose. It's this loose, go for broke style that sets the album apart from other Glass albums, but also from the genre of progressive rock in general. Gritty, raw and earthy, Palindrome is an inimitable listening experience that once it gets a hold on you, won't let go. So it's best to do what the musicians did when recording it. Just go with it. You won't be disappointed.

For more info, visit the Glass page on the Relentless Pursuit website and check out the Glass Bandcamp site.

Space Mirrors — The Golden Path EP

(self-released 2014, Download)

Jerry Kranitz

The Golden Path EP is not the new Space Mirrors album, but rather a 10 year anniversary digital download only collection of re-recorded songs, previously unreleased outtakes and demos from the early years. It's also, in terms of length, not an EP as it includes over 70 minutes of music.

The Dune Trilogy, originally on the 2006 released Memories Of The Future album, is the re-recorded track. The new version is as heavy as the original, which is no surprise as Alisa has increasingly incorporated Metal influences into Space Mirrors. And this new version does so while staying firmly in the space rock arena. But what makes the new version most interesting to me is the distinct character of the musicians in the current Space Mirrors lineup. Earth Gods Dance is an outtake version of the title track from last year's The Other Gods album. Sands Of Dune is very different, being a 13 minute deep space synth instrumental soundscapes and effects journey that harks back to Alisa's pre-Space Mirrors Neutron Star days.

Having followed Space Mirrors since the beginning, the demo tracks were of particular interest to me, getting to hear rarities from the days when the project was primarily a collaboration between Alisa and Australian musician Michael Blackman (who released several very good albums as Alien Dream). The 2002 tracks are the earliest, being eerily haunting cosmic explorations that preceded the first album, The Darker Side Of Art. Crossroads, also from 2002, and Underworld is Cold, from 2003, though still electronic and keyboard driven start to incorporate Rock elements. These early tracks also display the cinematic flair that would characterize Alisa's later theme oriented albums, like the current Lovecraft inspired Cosmic Horror trilogy, and Alisa's "book soundtrack" Psi Corps side project. Shadow Race from 2004 is an early example of Alisa's leap into the Metal world. Shadowride, also from 2004, is similar but straddles the Metal/Space Rock axis in the way that makes Space Mirrors so compelling among contemporary space rockers. As I listen to these tracks I marvel at how far the project has developed over the years.

The Golden Path is for seasoned Space Mirrors fans who will appreciate the holdover until Cosmic Horror III is ready, and by purchasing it will help Alisa raise funds for Cosmic Horror III, which is one of her stated motivations for this release.

To stream and download The Golden Path and other Space Mirrors albums, visit the Space Mirrors Bandcamp site. Visit the Space Mirrors website.

Chester Hawkins — Semisolids

(Intangible Arts 2014, IA016, CD)

Jerry Kranitz

Washington, DC based musician Chester Hawkins first came to my attention through his recordings as Blue Sausage Infant, a project he decided to retire after 28 years and now continues to record under his own name. While Blue Sausage Infant was Hawkins' own project, from one album to the next it could include a variety of guests. Semisolids is (I believe) Hawkins' first post-BSI release, and all tracks were improvised live with no assistance from collaborators.

The set opens with Iodine. A low end rumbling drone lays the foundation, over which multiple layers of electronics are added, including throbbing waves, playful flittering sounds, intense rising and falling streams, laser beam effects that slide along like alien caterpillars, and strange anguished cries. It's not so much an excursion than a Kosmiche adventure into sound development and bringing sounds together in interesting ways. The Brood is similar, though does develop into more of a cosmic journey, and I like how Hawkwins strikes a balance between cold minimalism and peaceful meditative drift.

We've also got some rhythm oriented tracks. On Nematode, Hawkins lays down a rhythmic pulse that conjures up images of a strange off-kilter dance for robots. Parallel rhythms are added for an electronic "band" effect, and is soon led by a cold but pleasant "almost" melody, surrounded by an atmospheric spaceship landing vibe, which all struck me as something like Kraftwerk meets The Residents. Plasmid is similar but a bit more overtly melodic, though in a still playfully robotic syncopated fashion, and I like how the basic melody is surrounded by a frenetic parade of meteor shower effects, soaring, and often screaming synth lines, and rumbling noise drones. The rhythms continue on Isle Of Dogs, an eerily spaced out groove tune.

The promo sheet compares Malattia del Sonno to Italian horror, and indeed this darkly thematic piece sounds like The Excorist and Suspiria themes glommed together and shot into space. Though not Italian horror, Slender Loris has a darkly foreboding and deep space thematic feel, and the general vibe of a horror/sci-fi blend that would make primo soundtrack material. I like the proggy keys and surging electronic effects at the end. Proximity Fuze sounds like a roundup of everything we've heard on the album so far. It's simultaneously atmospheric, thematic and rhythmic. It's energetic yet floating. It's a canvas of sound that zips along down a rickety yet linear path. The volume and intensity level continually build, until reaching a feverish pace of winding anguished space waves and a steadily syncopated dervish-like pattern. Lots happening here; one of my favorite tracks of the set. Finally, From Away includes some of the harshest noise of the set, but like much of the album is balanced by contrasting soundscapes and effects. Another darkly thematic piece, parts of which sound like being in a forest on some distant planet, populated by alien wildlife.

In summary, Semisolids is a banquet of contrasting elements, employed in cooperative and interesting ways. For an extra fun experience, put on the headphones and listen while reading the wild cut-up style text in the digipak.

The Chester Hawkins website at chesterhawkins.org is no longer active but the Intangible Arts Bandcamp site has a lot of albums, including this one.

Bill Nelson — Getting The Holy Ghost Across

(Esoteric Recordings/Cocteau Discs 2014, 2-CD, originally released 1986)

Jerry Kranitz

Bill Nelson isn't what I would describe as space rock or psychedelic. But his 1970s band Be Bop Deluxe certainly had sci-fi and futuristic themes. And there's an ambient/soundscape quality to much of his solo work. I followed him closely from the Be Bop years through the mid-80s and then lost track of him until last year when I learned of a new book biography, which I picked up and enjoyed. Cherry Red's Esoteric label, in conjunction with Nelson's own Cocteau Discs. has reissued Nelson's 1986 Getting The Holy Ghost Across (aka On A Blue Wing), which is probably the first, or one of the first, of his albums released after my attention was diverted in the 1980s.

Nelson is an elegant lyricist, and during the Be Bop Deluxe days was an equality elegant and lyrical guitarist. Nelson intentionally stepped away from the guitar hero role and went on to use the instrument more as a textural tool, like an audio paintbrush. The first hint of things to come was the last Be Bop Deluxe album, 1978's Drastic Plastic, evidence that Nelson had been influenced by the music flourishing in the initial post-punk explosion. And his next album, Bill Nelson's Red Noise, is in my opinion long overdue for recognition as the post-punk classic that it is.

After Red Noise, Nelson's solo output, both albums and EPs, came at a steady clip, featuring a variety of songs, experimental work, and theater production scores. Getting The Holy Ghost Across is very much in line with where Nelson was at in this period, being a set of 80s electro driven pop songs that draw on an intriguing mix of styles. Contemplation is an 8+ minute ambient electro-pop song with lusciously efx'd soundscape guitar licks, quirky, yet body swaying rhythms and seductive melodies, like some kind of New Wave Torch song. Theology blends 80s electro-pop with the robotic quirkiness of Kraftwerk, and then projects it into a cinematic dream world. Wildest Dreams is a space-age swinging song with a Caribbean inspired flair, but also violin, horns, and beautifully disorienting efx. Lost In Your Mystery includes Oriental and jazz elements, all within a spacey dreamy indiosyncratic brand of New Wave romance and quirky but seductive rhythms. We've got the spacey electro jazz-pop of Age of Reason and the electro jazz-funk of Because of You. And The Hidden Flame is an electro grooving pop tune with a catchy melody that is far above anything heard in the major hits of the day.

The 11 track bonus CD includes all the songs from Nelson's Living For The Spangled Moment and Wildest Dreams 12" EPs. Standouts includes the "wild mix" of Wildest Dreams, which has passionate vocals from Nelson, killer bass, and freaky psychedelic effects at the end. I love the funky electro jazz-pop of Heart and Soul, Living For The Spangled Moment, and Finks and Stooges of the Spirit, the latter of which includes brief rockin' guitar leads. More beautiful leads can be heard on the electro-pop Word For Word. There are also some interesting instrumentals. Feast of Lanterns is a spacey dual acoustic guitar piece. I like the spacey atmospheric vibe of Night Birds. And Self Impersonation is a cool grooving psychedelic electro-pop instrumental with tasteful guitar leads.

If Nelson missed the early 80s MTV boat, it's probably because as accessible and catchy as so many of these songs are, there's still a freaky factor that drives them excitingly off the beaten path. He utilizes elements of electro dream-pop, Kraftwerk quirkiness, romanticism, lounge jazz and ambient/soundscape atmospherics and effects to create his own brand of innovative 80s pop. The bass throughout has a beautiful fretless sound. Combine that with Nelson's creativity and proficiency with the guitar and an exquisite lyrical flair and you've got a set of songs that are musically challenging, yet completely accessible to all.

For more information visit the Bill Nelson website. Visit the Cherry Red website (distribution for Esoteric). You can find a lot of other albums on the Bill Nelson Bandcamp site.

Kikagaku Moyo — Kikagaku Moyo

(Cosmic Eye/Sound Effect Records 2013, EYE 007/SER 018, LP/Download)

Jerry Kranitz

Kikagaku Moyo, which is Japanese for "geometric patterns", is a Tokyo based quintet who formed in 2012 with the intent of recreating the spirit of the early 70s Japanese Psychedelic underground. Their first self-titled album was released as a download in May 2013, and co-released later in the year on LP by Cosmic Eye and Sound Effect Records in a limited edition of 350 (150 colored and 200 black).

The album opens with the totally trippy and pagan Acid-Folk-Psych Can You Imagine Nothing?. The combination of acoustic and electric guitar and sitar on this tune will make you swoon. Add in the light tribal percussion, high pitched wind melody and female vocals and you'll be dancing slow motion through a paisley colored forest with the birds chirping, woodland creatures pattering about, angelic maidens, and... ummmm... sorry, got a bit caught up in it. But don't get too relaxed because the next song - Zo No Senaka - is much heavier, setting down the acoustic guitar for some spaced out Psychedelic Stoner rock 'n roll. I like how the sitar jams along with the electric guitar, even as the guitar is whacking out searing fuzz lines and acid-wah'd leads, and the alien Theremin zipping about is a nice touch too.

Tree Smoke returns to more mellow territory, with a mesmerizing combination of lovely liquid Psych guitar and flowing sitar leads. Near the halfway mark the pace picks up a bit and the guitars start to rock out harder and we're treated to some melodic acid leads. I like how we're spirited back and forth between the harsh stoner blasts and the warm comfort of the trippy hypnotic flow. Lazy Stoned Monk feels like a 5 minute buildup to something that never comes, though I do like the schizophrenic sensation that's both mellow and tension laden. Finally, Dawn is a cool combination of Folk-Pop-Psych, harsh Acid-Stoner riffage, and cosmic grooving Indian influences, ultimately blasting off into a totally stoned but trippy rocking jam.

In summary, I like the way Kikagaku Moyo bring together mellow Folk-Psych and heavier Stoner-Psych influences into the same songs. The contrast between the meditative and harsher elements is strange, welcome, and it works. I see that they're touring the US soon but the shows are all to the West. I'll be keeping my eye on this bunch.

For more information visit the Cosmic Eye Records website. You can stream and download this and other albums at the Kikagaku Moyo Bandcamp site.