Krautzone are a collective of German musicians from various space/psych bands who get together for improvisational jamming. Members include Sula Bassana (Electric Moon, Zone Six) on synths, Komet Lulu (Electric Moon, Zone Six) on drums, Modulfix (Zone Six, The Spacelords) on synths, Rainer Neeff (The Pancakes, Zone Six) on guitar, and Onkel on bass. Their debut album – Kosmische Rituale – came out last year and they now follow that up with two 11 minute Superkraut I & II tracks that comprise the A side of this split LP. Superkraut I is like one big extended buildup, with thunderous drumming laying the foundation for swirling, droning organ, stinging fuzz guitar licks and jamming stoned guitar, and bubbling synth effects. A freeform spaced out Stoner-Psych jam that feels like it’s working toward an explosion. I thought Superkraut II might be that explosion but instead it starts fresh, being a hauntingly trippy whirlpool of steady percussion, synth lines that are both hypnotic and disturbingly phased, eerie soundscapes, atmospheric guitar licks, spaced out slide guitar, and alien electronics. The opening track was a cool jam but this one has much more going on emotionally and in terms of thematic development.

Lamp Of The Universe is the solo project of New Zealand based musician Craig Williamson, who has also been in the heavy rock bands Datura and Arc Of Ascent. Craig’s entry is the 22 minute Doors of Perception, which is described as “a journey through the psychedelic landscape in 3 parts”. It starts off like a cross between early Tangerine Dream and the intro to Pink Floyd’s Wish You Were Here, but it’s far freakier, featuring intense minimal soundscapes, a spacey, mesmerizing melody, and a shower of electronic effects. Near the 8 minute mark the music transitions to a more traditional Lamp Of The Universe style, consisting of a dreamily shamanic Psychedelic concoction of acoustic guitar, sitar, pied piper synth melodies, and Craig’s lulling vocals. After a while the mood gets increasingly intense, with slow but ominous drumming and threatening acid guitar. And here it remains, marching moodily yet beautifully across a cosmic panorama toward the finale.

An excellent pairing of bands for this split LP. Note that the album is limited to 300 black vinyl and 200 silver/black marbled vinyl.

For more information visit the Headspin Records web site at: http://www.headspinrecords.nl
Visit the Krautzone web site at: http://krautzone.soundawesome.com
Visit the Lamp Of The Universe Bandcamp site at: http://lampoftheuniverse.bandcamp.com

Reviewed by Jerry Kranitz

I’ve long been familiar with Austin, Texas based My Education (who include ST 37 member Scott Telles). Theta Naught are a Salt Lake City based band who are new to me, though I see that they have collaborated with My Education on a previous album. Sound Mass II: Spiritual Docking is their new album and includes quite an array of instruments, including guitar, bass, drums, keyboards, viola, cello, vibraphone, pedal steel guitar, trumpet, and tapes.

The first three tracks play like parts of one larger piece, consisting of orchestral Drone-Psych-Prog. Viola handles the initial simple, repetitive, yet catchy main melody. The guitar shimmers, bubbles and wails in space and the pedal steel injects a trippy element of its own. The music gets increasingly intense as each track progresses, taking on a densely majestic feel, and sounding like a spaced out orchestrated Krautrock-Prog cross between The Spacious Mind, Pink Floyd and old Shadowfax. I love how each instrument seems to occupy its own singular world, while coming together for a cohesive full band sound. The drumming is thunderous, elevating the musical drama to Magma-like proportions. bAmF starts off less melodramatic and even a bit dreamy, with guitar that reminds me even more of The Spacious Mind. But when it explodes it’s like an acid-orchestral teeter totter balance between deep space Psychedelia and cinematic stateliness. Sammy’s Sounds, Saturday Night is considerably mellower, though no less majestic, with hypnotically dreamy pedal steel and viola, and along with the groove it brings to mind a Space-Psych take on the instrumental segment of Layla (yeah, THAT Layla!). As the title suggests, Dingerland cranks out a Neu!-ish Motorik vibe, though with a high intensity, spaced out Psychedelic kick and a monster rockin’ finale. Finally, End Masse is a heavy rocker that reminds me of a cross between mid-late 90s Circle and Korai Orom, with its powerhouse drumming and percussion that sometimes takes on a Latin feel. Overall this is a smokin’ set that blends Space Rock, Psychedelia and Prog Rock into something both familiar and different.

The CD is available through Amazon and the download through iTunes.
Visit the My Education web site at: http://www.myeducationmusic.com
Visit the Theta Naught web site at: http://www.thetanaught.com

Reviewed by Jerry Kranitz

The latest from Austin, Texas based veterans ST 37 features a dirty dozen of their trademark Space-Punk-Psych Rock and art damaged weirdness. The band come roaring out of the starting gate with the stoned Space-Punk and searing Psychedelia of Down On Us. Doppelganger is like Hawkwind’s Space Ritual done up ST 37 style, with its combination of bubbling and oscillating UFO effects, mind-bending guitar licks, acoustic guitar and densely stoned volcanic undercurrent. Dirty Little Homewrecker is a deep space Psych jam with freaked out electronics and fun voice samples. In Crowd is a cover of the Billy Page song that was made famous by both Dobie Gray and Ramsey Lewis. ST 37 take the spirit of the original and give it a swinging Space-Punk kick. Odd Ass Silence is a short freakout interlude before Girl Like you, a Psychedelic Space-Soul song with raw punky rhythms, caustic guitar melody, and bubbling cauldron effects, like some kind of cosmic acid trip R&B infused Punk tune. At 10 minutes this is the longest track of the set and includes a cool freaky sound experimental Space-Punk-Industrial segment. Baxty consists of stoned metallic Space-Punk with a killer guitar combination of Helios Creed devastation and Flamenco/Middle Eastern crossbred snake guitar. The viola is a nice touch too. Eroica Horn got me wondering if Chrome’s Alien Soundtracks had included a cover of the Beatles’ Revolution 9, it might sound something like this mind-fucked brain scrambler. Magnetic Amphibian Hydrated Gills is a twisted blend of drugged dissonance, Psychedelic Mariachi, Acid-Metal sludge, Amon Duul II Yeti styled freakouts, and saxophone led Free-Jazz-Punk corrosion. Feeding Friendzy features trippin’ on the old prairie Country-Psych and majestically stoned Dream-Pop. The Pit Out Back is a good time Space-Punk Rock ‘N’ Roller. And Doppelganger’s Doppelganger is a brief banjo shit-kickin’ and sound experimental finale.

ST 37 have been crankin’ since 1987 and it warms my heart to see a band that’s been around this long match and even better their best material. I’m Not Good is a smoker from start to finish. I hope the Cleopatra Records association helps get them some much deserved exposure.

The CD is available through Amazon and the download through iTunes.
Visit the ST 37 web site at: http://st37.com

Reviewed by Jerry Kranitz

Brain Pyramid are the French trio of Gaston Lainé on guitar and vocals, Baptiste Gautier-Lorenzo on drums, and Ronan Grall on bass. The band formed in 2012 with a shared passion for classic heavy rockers like Led Zeppelin, Hendrix, Black Sabbath and Blue Cheer, but also contemporary stoner rockers like Kyuss, Nebula, Earthless and Orange Goblin. Chasma Hideout is their first full length album.

Brain Pyramid synthesize their influences into a tightly wound Hard Psych Rock whole, but (like Earthless) can get far more spaced out than any of their predecessors. The opening song, Living In The Outer Space, consists of Hendrix via Kingston Wall Hard Psych that blasts off into space. Lazy is a similarly Hendrix inspired tune with a blazing jam finale and monster guitar solo. Landing On The Pyramid is nicely stoned and acidically spaced out. Lucifer is a little different, being a hauntingly stoned slab of Sabbath with synths Space-Doom. I love how the music alternates between wading through sludge with alien insects swarming around, before launching full tilt into a classic Sabbath rocking jam with the aliens hot on their heels. Twin Headed Giant is a high energy blend of spaced out funky swinging Psych and steamroller Rock. This is another one that reminds me of Kinston Wall. Into The Lightspeed features foot stompin’, balls to the walls blazing heavy Space-Psych-Rock. The organ is a nice touch too. The 11 minute title track closes the set and is pure space journey. It lays down a steady throbbing mind-melt vibe, with liquid Psych guitar, soundscape leads, sitar-ish drones, and leads that recall Ax Genrich stretching out on the early Guru Guru albums. As a whole it’s like an advert for steadily grooving, atmospheric, intergalactic Stoner-Space travel.

Damn, these guys rock hard and are tight as a knot with mercury bursting levels of energy. And the cosmic edge is a treat too. 70s Hard Psych Rock fans will pop-eyed drool over Lainé’s guitar work, which shine’s all the brighter against the solidly anchored rhythm section of Grall and Gautier-Lorenzo.

To stream, download and order the CD, visit the Acid Cosmonaut Records Bandcamp site at: http://acidcosmonautrecords.bandcamp.com
Visit the Acid Cosmonaut Records web site at: http://acidcosmonautrecords.blogspot.com

Reviewed by Jerry Kranitz

E GONE is the solo project of Swedish musician Daniel Westerlund, who is known for his band The Goner. All the Suns of the Earth is his first solo album and on first listen I was fairly baffled by what seems to be a confoundingly diverse set of 9 songs. But after the second listen I was intrigued, and a few more listens later I’ve decided that Westerlund has created something quite different. Take a stroll with me through the 9 tracks that make up All the Suns of the Earth.

Hexx is an electro groove tune that brings together multiple freaky elements. We’ve got high pitched 60s styled organ, tablas, bubble bubble toil and trouble electronic effects, and a combination of West Coast Psych guitar, sitar, and banjo, like some cross breed experiment between Indian swamis and Appalachian hillbillies. It would be downright insidious if it didn’t sound so cool. Westerlund wastes no time shifting gears on The Drug Behind The Drug, which is a dense stream of space-waves, noise-drones and effects. I start to feel like I’m on a stylistic merry-go-round with the singer/writer Americana Folk song The Poor Of Heart. Blind Tribe is a freaky tribal effects laden groove tune with an electro Stoner-Psych edge. Hanumannerism is a sitar, tablas and dark droney keys celebration of trippy Middle Eastern flavored Psychedelia. Traveler, You Will Sing returns to the traditional Folk song motif, adding a bit of a Celtic vibe. At over 9 minutes, Hazel Motes At The Plastic Vortex is the one lengthy stretch out track of the set. It starts off as cosmic pagan Folk-Psych, with brain throbbing drones, eerie spaced out synth melodies, and slowly meditative tribal percussion, along with a Wyrd/Folk hillbilly vibe that eventually morphs into a purely space electronic excursion. I think this and Hexx nicely encapsulate everything that All the Suns of the Earth is about. This track bleeds seamlessly into You Will Sing, which develops into a subtly beautiful cinematic and somewhat Shoegazey piece, with dreamy spacey organ and guitar melody. Finally, Fever Child closes the set as a simple but lovely Pagan Folk-Psych tune.

In summary, All the Suns of the Earth is an album that requires unhurried mastication and digestion. Over multiple spins I came to appreciate the diversity of Westerlund’s interests and, especially, the way he creatively brings that diversity together on some of the album’s tracks. I’ll need to explore more of his work.

For more information visit the Sunrise Ocean Bender Records web site at: http://www.sunriseoceanbender.com
Visit the E GONE web site at: http://e-gone.org

Reviewed by Jerry Kranitz

Though new to me, Incredible Good Fortune is the third album by Californian Space and Prog rockers 3rd Ear Experience. The band are a dual guitar, bass, drums, synths and vocals quintet, with numerous guests on keyboards, saxophone, flute, djembe, percussion and guitar.

If you like lengthy stretch out tracks these guys deliver the goods. The 19+ minute Tools opens the set. After a brief intro the band go full flight with a 70s Hard Rock pulse, but with prominent cosmic synth action launching the music into orbit. I love the hip shakin’ rhythmic pulse and throb rocking bass. Classic 70s organ soon starts a funky soulful jam along with the guitars as the synths continue to bubble, pulsate and soar. Around the 10 minute mark the sax joins in and we’re in full blown heavy duty Space Rock that swings mode. The thematic gears continue to shift as the pace eases into a souful sax solo, wailing along a floating, meditative cloud of electronic space. Only in the last 5 minutes are there any vocals, which remind me of Beyond-O-Matic’s Pete Fuhry, and leading into an explosively majestic, space rocking finale with screaming sax and acidic, sailing Psych guitar.

The 18 minute One is next and starts off in freeform freaky electronic space mode, before launching into a hard rocking drive similar to the rhythmic pulse heard on Tools. Aside from the feel of the rhythmic drive we’re getting more into Hawkwind territory now, with hypnotic Middle Eastern vibe vocals, razor sharp guitar licks, churning, everywhere at once electronics, and classic Prog keys. The fun continues on the 17+ minute Parsley, which features high intensity Space Rock with a Prog infusion, plus blitzkriek guitar chords and monstrous licks, pulsating synth throb, chanting vocals, and a nearly non-stop sense of incessantly brain draining swirl. The pace initially mellows, though the general vibe remains intense on the 8 minute White Bee, which consists of hypnotically swirling and drifting soundscapes, haunting gliss-like guitar, African/Caribbean percussion, heavenly chants, and dead ringer for Gilli Smyth narration. And it all works up to a crushing finale that’s like Gong’s Master Builder gone Acid-Space-Stoner-Metal. Finally, the 11+ minute Shaman’s Dream is a volcanic Space-Prog rocker that closes the set. It’s a crushing cosmic rocker with elements of Hawkwind, Ozric Tentacles, and what I’ve come to recognize as the trademark 3rd Ear Experience Hard Rock core.

Jeeeeez, didja get the number of that truck?! I feel like I had the wind knocked out of me. It’s like Hawkwind, The Spacious Mind and Ozric Tentacles, all rolled into one and given a solid 70s Hard Rock backbone and a healthy dose of Prog Rock. On a Holy Shit scale of 1-10, I’ll give this sucker an 11. HIGHEST recommendation.

The CD can be purchased at CDBaby (CLICK HERE), Amazon (CLICK HERE), and Just For Kicks (CLICK HERE)
The digital album can be purchased from iTunes, Amazon, Rhapsody, Spotify, and most other download services.
The vinyl LP will be available mid-November from Space Rock Productions at: http://spacerockproductions.com

Reviewed by Jerry Kranitz

Electric Bird Noise’s follow up to last year’s Desert Jelly could not be more different from its predecessor. Whereas Desert Jelly was a varied set of Space Rock, Krautrock and early 80s Post-Punk and Synth-Pop, Kind Of Black consists of 11 solo guitar ruminations and soundscapes, or what Electric Bird Noise, which is South Carolina based musician Brian Lea McKenzie, refers to as “elevator music for art galleries”.

Most of the pieces are brief, in the 3 minute range, with track titles consecutively numbered – One, Two, Three, and so on. Tracks 1-8 seem to follow a theme of mostly pure solo guitar. The album opens with minimal patterns which are melodic and pleasingly dissonant. There’s a cinematic feeling of tension, conjuring up images in my mind of a Cabinet of Dr Caligari or some similar silent film soundtrack. This theme continues for the first few tracks before becoming dreamily surreal. Six continues though we start to hear what sounds like spacey Gothic synths accompanying the guitar. But this may be all guitar, as only guitar is listed in the credits. Seven returns to the feel of the first few tracks, but later gets wildly intense and eerily and lysergically surreal. Eight reminds me of Belgian guitarist Roger Trigaux, like a stripped down ethereal take on his guitar style (which I’m sure is unintended on McKenzie’s part).

The remaining tracks consist of spaced out soundscape explorations. Nine starts off dark and subtly sparse, suggesting cold, black space, but it’s also got trippy Psych guitar colorings too, soon developing into a swirling cosmic vortextual mass. At over 7 minutes this is the longest track of the set. Ten continues this theme. Eleven really does sound like synths and guitar, but I’m quite clueless when it comes to the technical aspects of instruments and always marvel at what can be accomplished. It’s pure sound exploration, with incessant pulsations, drawn out whining that sounds like cosmic whales singing, spacey horn blasts, and acidic feedback licks.

In summary, it took me a few listens to warm up to Kind Of Black, probably because Desert Jelly was still fresh in my mind. But I’ve heard enough Electric Bird Noise over many years to know that one should always expect the unexpected from McKenzie, and in terms of image inducing, aural canvas guitar meditations, Kind Of Black is an enjoyable, and perhaps even challenging listen.

For more information visit the Silber Records web site at: http://www.silbermedia.com

Reviewed by Jerry Kranitz

Veteran Aural Innovations readers will know Book of Shadows, which includes ST 37 founding member Carlton Crutcher. Their latest is a 4-way split cassette with three bands who are new to me.

Book of Shadows contribute four tracks which for them are relatively short. The first two were recorded by the trio of Carlton, Sharon Crutcher and Aaron Bennack. Invocation of the Archangels is a dreamily melodic synth and bass driven tune with ghostly chant vocals by Sharon. It’s very song-like and even catchy. I like it. Pressing Sweet doesn’t flow quite as smoothly but I like the playful guitar and whooshing synths, augmented by Sharon’s space whispery chants. No Source of Power in the Bushes adds Lori Varga on theremin for an experimental space exploration built around a number of guitar patterns. The last Book of Shadows track, Spirit in Boo’s Eye, is improvised and adds Eric Archer on guitar and electronics. This is really cool, having a lo-fi Pink Floyd feel and a rolling One Of These Days rhythmic pulse, but with a spaced out experimental edge.

The rest of side 1 consists of two 10+ minute tracks by Harridans Of The Harvest. I did a Google search which turned up nothing revealing as to who these folks are. Unabashed is an experimental, minimal, spaced out soundscape and effects exploration. It has an interesting combination of electronic patterns, atmospherics and efx’d voices, making for a haunting yet alien vibe. Corn Dolly Lover is different, starting off as a drugged avant-chamber music piece with what sounds like guitar and bass. We’ve got a strangely repetitive off-key melodic pattern, over which freaky drunk psych guitar solos, plus efx’d vocal narration that I can’t quite make out, and later introduces grungy electronics and acoustic guitar. The overall vibe is both dark and whimsical. Interesting and strangely intriguing.

Side 2 starts with a 22 minute piece by Nectar Of The Moon. The tape notes list a Bandcamp site (nectarofthemoon.bandcamp.com) which includes several albums and says they’re from Nepal (really?). The music consists of slowly evolving electronica that is robotically orchestral and deep space drone/ethereal, with moods ranging from highly intense to playfully spirited. These guys do a good job of blending contrasting moods and bringing together elements that could easily result in chaos but instead make for a challenging listen and sometimes harrowing ride.

The label web site says that 14 Graves Of Interest are from Blackpool and describes their contribution, the 19 minute Acid, Blonde as Rainbows, as “the first of their sinister tributes to ’70s/’80s trash horror movie wonderment”. Sinister indeed. And definitely on the more avant-garde end of the horror soundtrack spectrum. The music progresses through a variety of themes, from noisily turbulent, to bowels-of-the-space-station sci-fi, alien tribal, space-industrial, and some bits that bring to mind lo-fi John Carpenter. Well done.

For more information visit The Golden Gronk web site at: http://thegoldengonk.wordpress.com
Stream samples and order at the Shack in the Barley Productions Bandcamp page: http://shackinthebarleyproductions.bandcamp.com

Reviewed by Jerry Kranitz

Reversed Nature are the Greek quartet of Michael Andresakis on guitar, Tony Tsiminos on bass, Lefteris Voutsas on drums, and Dimitra Tzimourtou on vocals.

The 10 minute title track opens the set, consisting of exploratory spaced out Psychedelia with trippy yet soulful vocals from Dimitra. The music has a raw jamming quality and gets intensely stoned-in-space heavy, and even gets a bit sludgy at times. When the guitar chords chug away slowly but incessantly while Dimitra chant-sings it gets downright hypnotic, in a strangely crushing way. Out Of The Limbo (also 10 minutes) drops the stoner elements and focuses on Psychedelic sound exploration and atmosphere creation, early in the piece sounding a little like the more ethereal moments from Architectural Metaphor’s Creature of the Velvet Void album. In fact, Dimitra’s vocals sound like a more soulful Deb Young, though also have a Gilli Smthy space whispery feel. I don’t see it in the musician credits but there certainly is some synth work here and good use of effects, making for a cosmically haunting journey. Mother Mary And The Chicken Snakes continues down a similar path for most of its 15 minutes, though near the end the band shift to trippy spaced out tribal mode, quickly working up a stoner rocking dirge with swirling UFO effects. Finally, Understudio Jamming Session is a short but cool grooving Space-Psych-Stoner jam that closes the set. Pretty decent jamming spaced out Psychedelia.

For more information visit the Cosmic Eye Records web site at: http://cosmiceyerecords.blogspot.gr
Purchase the LP from the Cosmic Eye store at: http://www.musicbazz.com/products
Stream and download at the Reversed Nature Bandcamp site at: http://reversednatureband.bandcamp.com

Reviewed by Jerry Kranitz

Hot on the heels of the In Dub EP, which consisted of Dub enhanced remixes of tracks from various albums, Steve Palmer is back with a new full length Blue Lily Commission album. Except for guests on two tracks, Steve created these cosmic constructions himself, utilizing an arsenal of analogue and digital synths, bass, flutes, saz, xylophone and percussion.

I love the mind-bending Space-Prog keys on the title track, which soar, hum and drone, at times reminding me of Eloy. And the percussion clatters and jangles at a steadily off-kilter yet grooving pace. Saz P’zaz lays down a deep space rocking flow, with its phased and pulsating pied piper cosmic synth melody, sounding like a cross between some 60s movie soundtrack and a lysergic Turkish bazaar. And speaking of pied pipers, Flute One and Flute Two are brief interludes that feature a hypnotic flute melody over floating waves of electronic space. Alan’s Psychedelic Supper starts off as pure floating dreamscape, with lightly jamming sitar by Alan Brown. Then near the 5 minute mark it starts to rock out with a cool grooving shimmer, and the sitar and synths take off into a spaced out ethereal tour of the most alien of Arabian Nights. Bamboo Ballyhoo includes additional synths by Mooch alumnus Garry Lewin. The music beautifully blends synths and flutes, and has an eerily mesmerizing symphonic vibe but rocks out too. And the rockin’ continues on the closing track, Culture 3, with keys that sound like Rick Wright gone deep into the cosmos. In summary, this is Space Rock at it’s most magic carpet ride spellbinding.

Lots of Blue Lily Commission and Mooch albums are available for digital purchase from http://www.musiczeit.com
CLICK HERE to go directly to the Culture 2 album

Reviewed by Jerry Kranitz