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: http://www.rpursuit.com/GlassBros

Reviewed by Jeff Fitzgerald

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 at: http://spacemirrors.bandcamp.com
Visit the Space Mirrors web site at: http://www.spacemirrors.com

Reviewed by 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.

For more information visit the Chester Hawkins web site at: http://www.chesterhawkins.org

Reviewed by 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 web site at: http://www.billnelson.com
Visit the Cherry Red web site (distribution for Esoteric) at: http://www.cherryred.co.uk

Reviewed by Jerry Kranitz

Red Planet Orchestra is the UK based duo of Vincent Rees and Peter Smith, and We Breathe Together is their third album, following up from last year’s Aurora Symphony and Secrets of Eternity albums.

For this new set the duo continue their theme of deep space electronic excursions, with 5 mostly lengthy journeys. The 14 minute No Return To The Edge is a beautifully floating, slightly droning wave of orchestral space. The theme is minimal, developing only gradually, the focus being on creating an uplifting cosmic experience. The music is meditative, but there’s a powerful feeling of majesty, and a mild intensity, that rather than disturbing the calm adds to the variety of emotions in this otherwise slowly evolving piece. Shadows Of Earth similarly rides the crest of a peaceful space wave, but the mood is slightly darker. With the movie Gravity still fresh in my mind, I’m reminded of the moments where Sandra Bullock is slowly floating and struggling with what will become of her. This would have been great music for those scenes. We Are Forever is a little different, being a more energetic assortment of effects, atmospherics, and spaced out somber moods. I wish this had been developed beyond its 4 minute length. While listening to the 19 minute We Dream Together I was reminded of a trip to the Cincinnati aquarium last summer. They had a circular room, ringed with multiple separate jellyfish tanks, all with the most amazing lighting. This track reminds me of standing at each tank, watching the jellyfish slowly floating about in what seemed like an extra-terrestiral aquatic environment. Finally, the 26 minute Watching Tomorrow kicks the energy level up a notch, being a space-orchestral excursion, with soaring angelic strings, combined with delicately pulsating drone waves, like a depiction of an alien heaven.

In summary, the album as a whole is like a big cosmic ballet. This is music you fully experience by surrendering yourself to it. As you can tell from my descriptions it’s highly image inducing. Despite the meditative peace and relaxation, it continually sparked my imagination.

To stream and download all three Red Planet Orchestra albums you can visit: http://redplanetorchestra.bandcamp.com

Reviewed by Jerry Kranitz

The latest from Omenopus is quite different from their previous albums, and I’ll tell you right out of the chute that this is their best and most ambitious effort to date. The Archives is a sci-fi tale based on a story by Sherdian Starr, though much of the album is Lee Potts’ interpretation of Starr’s story (thanks to Lee for providing me with the details). The core trio behind Omenopus is Lee Potts, John Pierpoint and Bridget Wishart, and for The Archives they are joined by Sheriden Starr (who also records as Bangtheory), Sarah Panton on vocals, Gary Sheridan on vocals (who is also in 1912 with Pierpoint), and Jenna Graves and Sonya Lanchbury on spoken word.

I’ll summarize the story: At the end of a war between the Creators and the Controllers, the main character – George 4/7 – discovers five containers that hold a collection of records and information that enable him to piece together what happened. The 22 tracks on the album are segmented into 5 parts, each representing one of the containers. Spoken word narratives throughout the set are recordings George finds, some of which are secret recordings made by the daughter of the Creator, who is actually a sympathizer of the Controllers, and others are propaganda news reels.

The album is an epic in every sense of the word, continually shifting between music, song, spoken word sections, and loads of effects, making for a genuine sci-fi space rock tale. After an introductory segment we launch into I Am, which is like Hawkwind meets Goth-Metal, and this is the style that characterizes much of the music on the album. This is followed by the first of the recordings George discovers, starting with a narrative, but is quickly interrupted by, “shut them down”, and then “brace yourselves!”, and then CRASH! Unreasoning In The Whys rocks hard but also includes beautifully spaced out symphonic dreamy sections, punctuated by high intensity laser blast effects. I like the intense witch-like vocals as they acidly repeat, “Twisting words… into coarse… coloured lies!”. 13 Mirrors is a standout song, being another heavy driving slab of space rocking, Goth infused rock and metal, with great vocals, phasers-on-kill guitar leads, haunting atmospherics and a parade of effects. Watching The Mannequin Lady Through My Window is a swinging rocker that sings about Eloi and Weena, clearly referencing The Time Machine, and indeed a DVD of the 1960 George Pal classic is among George’s findings in the containers. Blind – Part 1 provides the listener with a breather, being a gently dreamy piano and soundscapes driven vocal track, though tension is still in the air as there are threatening alien effects scattered about, slowly building in intensity before launching into the space-Goth-metallic, electro robotic instrumental Blind – Part 2. The spoken word in Commandments 3 are clear references to Isaac Asimov’s Three Laws of Robotics. Stand Still is another highlight song, being a searing, acid-laced, space-metal rocker. And The Physician is Omenopus’ space-metal interpretation of the original Dr Who theme.

Ultimately, the only way to really experience The Archives is to give it an undivided attention, start to finish listen. It would be great for this to be on vinyl because it merits a lock yourself in the bedroom and gaze at the lyrics spin. Like the golden age of radio, the album is an audio sci-fi film for the ears and imagination. Fans of The Higher Craft’s The Quest into the Steppingstoneage album will love this, and Space Mirrors’ thematic albums come to mind as well. Highest recommendation.

For more information visit the Omenopus web site at: http://www.omenopus.com

Reviewed by Jerry Kranitz

Us and Them are the Swedish duo of Britt Rönnholm and Anders Hakanson. I’ve heard a few of their contributions to Fruits de Mer releases, the standout being their stunningly gorgeous pagan-folk Songs from The Wicker Man collaboration with Frobisher Neck. For their new single, Us and Them offer up two covers and one original.

I might upset some by saying that anyone could do a Sandy Denny song better than Sandy, but Us and Them take Denny’s By The Time It Gets Dark and do their delicately dreamy acid-wryd-Folk magic, adding additional, though still light, instrumentation. The flute and bells are lovely, making for a trippy romp through fields of flowers. And Britt’s vocals are simply beautiful; we’re talking melted hearts and minds. Ditto for Us and Them’s interpretation of Donovan’s Jabberwocky, which itself was a musical rendition of Lewis Carroll’s poem. For the flip side we’re treated to an Us and Them original, the nearly 7 minute Do I Know You, which is like a psychedelic lullaby from the space angels, and parts of it bring to mind a more spaced out take on the Genesis circa Trespass sound. Absolutely awesome and another band I’d love to see do a full LP on Fruits de Mer.

The single will be available late March, and as usual this is vinyl ONLY, no CDs or downloads. If interested you better hurry because Fruits de Mer releases sell out QUICK!

For more information visit the Fruits de Mer Records web site at: http://www.fruitsdemerrecords.com

Reviewed by Jerry Kranitz

Schnauser are a Bristol based band who are new to me, and here offer up two interesting choices for covers. I don’t think I’ve heard anyone tackle Yes for a Fruits de Mer release. Schauser take Astral Traveller, from Yes’ 1970 Time and a Word album, and are for the most part faithful to the original, including Jon Anderson styled vocals. For the flip side we’ve got a cover of Soft Machine’s As Long As He Lies Perfectly Still. Schnauser do a fairly proper interpretation of the song, but where the original two and a half minute song on Soft Machine’s Volume Two album ends, Schnauser are gearing up for an extended finale, taking off into a spaced out Jazz-Psych jam. Wow, quite some chops from these guys. I need to find more from Schnauser.

The single will be available late March, and as usual this is vinyl ONLY, no CDs or downloads. If interested you better hurry because Fruits de Mer releases sell out QUICK!

For more information visit the Fruits de Mer Records web site at: http://www.fruitsdemerrecords.com

Reviewed by Jerry Kranitz

I was introduced to Crystal Jacqueline last year via her first single on Fruits de Mer and her full length Sun Arise album, both of which included an intriguing variety of covers, including tunes by The Troggs, The Rolling Stones, Gordon Lightfoot, and a psychedelic take on Fly A Kite from the Mary Poppins movie that remains a candidate for one of my favorite re-interpretations of all time.

This new double 7″ features Jacqueline partnered with The Honey Pot, who released the excellent To The Edge Of The World album last year. We’ve got a cool cross section of covers here. Pink Floyd’s trippy-spacey-tribal Remember A Day is amped up with a fuller rockin’ Prog-Psych sound. The Honey Pot’s rendition of White Rabbit is a one-two punch knockout, starting off very much like the original, but then about halfway through blasting off into a monster rocker with symphonic keys and ripping guitars. Fleur de Lys’ garage-pop freakout song Tick Tock is given a wah’d dose of funky grooves, which sounds great combined with the stratospheric guitar solos and classic 60s organ. Mighty Baby’s Egyptian Tomb is similarly rocked up and includes more ripping guitar, which sounds fantastic within a bouncy pop-psych grooving context. For Curved Air’s Puppets, Crystal is faithful to the spirit of the original, but injects an orchestral feel that’s both flowing and quirky, and dispenses with the jazzy piano, and in my opinion is overall better than Curved Air. Crystal cranks out a cool rocking cover of The Electric Prunes’ I Had Too Much To Dream. And finally, we’ve got an original, penned by Crystal’s Honey Pot partner Icarus Peel. It’s Raining is a high energy pop-psych rocker with a catchy melody, awesome spaced out guitars, and powerhouse drumming. Nice.

The single will be available late March, and as usual this is vinyl ONLY, no CDs or downloads. If interested you better hurry because Fruits de Mer releases sell out QUICK!

For more information visit the Fruits de Mer Records web site at: http://www.fruitsdemerrecords.com

Reviewed by Jerry Kranitz

Schizo Fun Addict are new to me, though not to Fruits de Mer as they were the subject of the very first ever FdM single. For this new 7″ they tackle two cult classic movie themes – Suspira and Beyond The Valley Of The Dolls.

Suspiria will always be a special movie for me. I have fond memories of seeing it in the theater as a teen when it first came out, and it scared the ever lovin’ crap out of me. But it was far more than just a well done scary movie. It was different. The whole atmosphere was so strange, and the colors were so odd. And the MUSIC… the music was fantastic and so integral to the film. I was so taken by it I ran out and bought the Goblin soundtrack and it’s an album I periodically revisit to this day. Schizo Fun Addict take the core theme and strike a nice balance between being faithful to the original and making it their own. It’s more of a steady rocker, and I like the la-la-la harmonies. But they retain the freakout synths and in some ways take it even deeper into space. Very nice. For In The Long Run, from Beyond The Valley Of The Dolls, Schizo Fun Addict are musically almost exactly the same as the original, horns and all. The big difference is they’ve got great vocals. The original had HORRIBLE vocals, which destroyed an otherwise killer tune. Thanks to Schizo Fun Addict for righting that wrong.

The single will be available late March, and as usual this is vinyl ONLY, no CDs or downloads. If interested you better hurry because Fruits de Mer releases sell out QUICK!

For more information visit the Fruits de Mer Records web site at: http://www.fruitsdemerrecords.com

Reviewed by Jerry Kranitz