In 2008, Steve Palmer threw Mooch fans for a loop with the release of 1967 1/2, the first of three albums (followed by 1966 and 1968a) of songs inspired by 1960s psychedelia. In a recent five-favorite-Mooch-albums post I submitted to Steve’s blog, I commented that these three would go together well as a triple album set. The latest Mooch album – Stations Of The Sun – returns to the song format, though this time the inspiration is, as the promo sheet says, 70s Folk/Rock/Progressive territory in the style of bands such as Renaissance. The theme of the album is summer solstice 2013, with the 11 songs covering the pagan wheel of the year: eight festivals (two solstices, two equinoxes and four Celtic cross-festivals), plus two songs for the Oak King and Holly King who symbolically battle every solstice, and a final song covering the whole year.

Steve plays all guitars, bass and virtual synths/keyboards on Stations Of The Sun, with drums and percussion by the irrepressible Erich Z. Schlagzeug. Vocals are handled by two newcomers to Mooch, and I’ll tell you right out of the chute that their contributions are to be credited for much of the flavor and character of the album. Beck Sian is a native Australian living in Wales whose Ye Olde Silent Inn album Steve recorded and co-produced last year. And Shelagh Teahan is a Midlands, England based classical singer who contacted Steve after he put out a call for pagan musicians when planning Stations Of The Sun.

Beck and Shelagh have very different vocal styles, both ideal for this music. The Yule Garden is a mystical Folk-Prog song with acoustic guitars, light percussion and flowing orchestral keys, and Beck’s beautiful Folk styled vocals. Equinox and A Samhain Mask both consist of chamber ensemble Folk with a medieval twist, and Beck’s vocals have a sort of Broadway show tune quality. Come-A-Maying is similar, conjuring up images of barefoot maidens in flowing dresses and flowers in their hair dancing about in a field. This one has some great instrumental passages and acoustic instrument interplay. The Holly King & The Oak King has a Renaissance (the band) vibe, being a Folk-Prog song with intricate instrumentation and arrangements. Fred Barleycorn is a little different, having a bit of jazzy swing during the vocal sections that Beck and Steve trade off.

Shelagh’s vocals have a one-women-choir feel that I love. Imbolc Chant has a traditional sound, with slow dance rhythms, and makes me feel like I’m participating in a medieval village faire. Summerland is another song with a chamber music cum medieval show tune feel. The Oak King & The Holly King is a spacey, dreamy, orchestral Folk-Prog song that’s one of my favorites of the set. And there are two songs with both Beck and Shelagh that are treasures of vocal contrast and cooperation – Looking Inward, and then Wheel Of The Year, which is the album closer and one of the most uplifting songs of the set, making full use of the two women’s vocals. In summary, Stations Of The Sun is a captivating set of beautiful songs, and I’m glad Steve decided to once again explore this side of Mooch.

Digital distribution for Stations Of The Sun is through iTunes, Amazon, and Spotify.
CDR copies are available directly from Steve Palmer upon request. They come in hand-printed, recycled card sleeves, with printed art inside. Steve operates on a pay-what-you-think-it’s-worth basis, and any offer above the cost price + postage will be accepted. Email Steve at dekray@yahoo.com
Visit the Mooch blog at: http://moochmusic.wordpress.com

Reviewed by Jerry Kranitz

Computerchemist is headed up by multi-instrumentalist Dave Pearson, an English musician currently residing in Hungary. In 2011 Pearson met Budapest based drummer Zsolt Galántai through Facebook and the two decided to meet and see if any musical magic was possible. Pearson was so impressed with Galántai’s ability to play his music that he came up with the idea of creating Berlin School music with the addition of real drums and guitar, and, as Pearson describes, “strange time signatures to boot”. The time signatures used, very few in 4/4, are the inspiration for the title of these two albums. Pearson set various click tracks, encouraged Galántai to solo, and recorded it all. They ended up with a variety of “sequence-locked” drum sessions, and Pearson feels that Galántai in a way composed each of the tracks on Signatures because the music was built around his drumming. Signatures I and II are fully 70 minutes of music each and separated by what Pearson considers the lighter and darker tracks. So there you have a little insight into how the albums came together.

Signatures I opens with Caterpillar Pirouette, which features an interesting combination of sequenced and cosmic Prog keyboards, and indeed the rhythmic pulse and patterns of the drums add muscle and spice to the music. All together it’s like a blend of Rubycon/Phaedra era Tangerine Dream and Eloy at their spaciest, with Steve Hackett sitting in on guitar. Dobdub is next, and, as the title suggests, has a Dub pulse. Though the drums bop along steadily in a jazzy style, it fits in nicely with the Dub vibe. There’s also a haunting violin sounding melody and sparse keys that create a passionately somber mood, and I like the contrast with the energetic drumming and electro-grooving Dub. The nearly 16 minute Zsoltmatic-10 is the epic of the set. It starts off very much like mid-70s Tangerine Dream, until around 4 minutes when the drums kick in and work in tandem with the sequenced keys to create a swinging rock groove, nicely augmented by slow but intense guitar soloing. Killer Space-Prog with a Tangerine Dream meets Pink Floyd feel. Corporatosaur has a pleasant principle melody and spacey orchestral keys, but is also backed by slightly avant-garde sequenced patterns, like Pearson might be exploring his inner Philip Glass. It isn’t until much later that the rhythm section kicks in, the bass having a potent hypnotic drone, and the guitar ripping out killer licks for the finale. Six Phase Mains is a keyboard heavy Space-Prog piece with mind-bending guitar licks and solidly anchored by the drums. Convection Of The 9 continues this theme but with a kind of symphonic Ozric Tenatcles feel. Broken Daliuette is a little different, being a quirky, melodic, avant-space-pop tune that, like most of the music on Signatures, takes on a rhythmic turbo charge when the drums kick in. Landform 2012 closes Signatures I, and is an updated version of the title track from the 2007 Computerchemist album of the same name. This is one of the pieces presented to Galántai when he and Pearson first met, and is listed as bonus track, which in the case of the Signatures albums means the only tracks played in 4/4. At 4 minutes it’s also one of the shortest, but packs a punch all the same, being an expansive slab of symphonic Space-Prog.

So those are the “lighter” tracks. Signatures II opens with Strangeness In 13, which has a piano melody that gives it a Gothic flavor, backed by orchestral Melloton-ish keys, beautiful emotive guitar licks and steady drumming. Goodbye, Moszkva Tér is a cool grooving space rocker with fiery guitar soloing throughout. The drums, keys and sequenced patterns jam along steadily while the guitar trips along, and all having to dodge meteor shower space electronics. Floor Zero features a cool and strange combination of symphonic, spaced out Prog and electro-robotic rock, along with ripping cosmic jazz-fusion guitar fills. We’re deep into Prog territory on Commution, with heavy guitar driven rock that sounds like Steve Hackett’s early solo albums, plus a dash of Adrian Belew tossed into the licks. The music is continually shifting gears, transitioning to ominously quiet Gothic piano interludes, tickling-the-ivories jazzy swing segments, and Keith Emerson styled keys, always returning to the main high powered theme. LOTS happening on this track! High intensity Space-Prog is the order of the day on Forgotten Memory, with buzzing and whirring electronic waves, multiple layers of keyboards, and spaced out guitar licks. Smeem starts off as a cool combination of darkly intense bass/drum rhythms and ambient guitar exploration. Then the guitar does a 180 and veers into smoldering Bluesy rocking, soon adding distinctly Rick Wright flavored keys, and now we’re in a Pink Floyd realm with freaky electronics and rhythms like you’ve never heard on a Pink Floyd album. The Needs Of The Many is an eerie but rocking Space-Prog piece that sounds like it could be the soundtrack theme to a sci-fi flick. And, finally, Bongo In 4 is another track with a cosmic Pink Floyd flavor, featuring Space-Blues guitar jamming over a steadily rocking rhythm section and jazzy grooving keys. Later the music veers away from the Floyd style and a violin sound takes over from the guitar for a tug-at-the heartstring melodic passage, backed by robotic keyboard rhythms and rockin’ drumming.

Wow, there is so much happening on this challenging and difficult to describe 2 1/2 hours of music. Galántai’s drumming often contrasts sharply with the main musical themes, making for some classic Progressive Rock rhythmic gymnastics that are a hallmark of what the Signatures sets are all about. And, musically, many disparate elements contrast and cooperate in ways that make the music stand up to repeated listens. In short, if you dig heavy doses of Space in your Prog, check these out.

For more information you can visit the Computerchemist web site at: http://computerchemist.bandcamp.com

Reviewed by Jerry Kranitz

Glowpeople do indeed create music that glows. I have a minor neurological anomaly called synaesthesia. What happens is that stimulating one sensory or cognitive pathway will lead to an involuntary experience in a second sensory or cognitive pathway. In my case, I ‘see’ music in colours. No chemical enhancements required. And let me tell you, when I listen to the music on Glowpeople’s debut album, Things, I see some very beautiful colours. They are like the lights I would imagine illuminating some psychedelic jazz club in the heart of a European city, from long ago. Bright, dazzling colours infused with moody shadows and grey wisps of smoke. It’s both stimulating and calming at the same time.

Glowpeople began as a UK based collective of musicians back in 2010, finally coalescing into the stable line up that plays on this album: Chris Hill on trumpet; Mark Burgess on guitar and effects, Chris Cordwell on keyboards, bleeps and loops; Nick Raybould on drums and percussion and Robot on bass guitar. Their Ozric Tentacles meets fusion era Miles Davis approach works in all the right ways. Each track, from the funky 4-minute workout of Resound in H Flat, to the lazily swirling moodiness of the 9-minute Metaphorical, has its own distinctive feel. But there is this great psychedelic playfulness that ties it all together. Glowpeople don’t possess the same manically intense energy of an Ozrics performance, they do possess a striking energy of their own. That energy is just directed in a different way. The music’s very rhythmic nature can be almost trance inducing. Add to that the smoky, late night trumpet playing of Chris Hill, and the waves of psychedelic sounds and effects, and you have music that may just invoke a little of that synaesthesia I mentioned. No chemical enhancements required.

I’ve heard the term ‘psychedelic jazz’ bandied around a lot over the years, often to describe music that doesn’t sound exactly psychedelic to my ears, or maybe I should say doesn’t look that way to my eyes. But the music on Things is, indeed, music that I can apply the term to with great enthusiasm. Give this album a spin and get into the glow.

For more info, visit: http://glowpeople.wordpress.com

Reviewed by Jeff Fitzgerald

California based Djam Karet are back with their first all new studio albums since 2005’s Recollection Harvest. AND next year will be the band’s 30th anniversary. These guys have produced a stellar body of work in the past three decades.

The new album consists of a single 47 minute track that is appropriately titled The Trip. The piece opens with rushing wind and multiple bleeping UFO effects. After a 1-2-3 count we hear a pleasant acoustic guitar plus spacey keyboard melodic passage, which turns out to be a brief introductory bit as we find ourselves in deep space intensity mode with cavernous soundscapes and classic Djam Karet guitar effects. Around the 12 minute mark the music transitions to a darker, moodier atmosphere, which seems to be building up to some serious rocking out. The tension lifts with a heavenly keyboard melody and howling guitar effects which string us along for a while before developing into a structured song segment and, ultimately, the rocking out I knew was on the horizon. It’s steady paced and the one guitar has a Bluesy, passionate Dave Gilmour feel, and the keyboard that soon joins recalls Rick Wright; yes, very Floyd-ish in this section. And when the big explosive rocking out hits it feels like a stoned, orchestral Pink Floyd. Lots of really great guitar solos! Around the 28 minute mark the music shifts gears again, returning to mood and atmosphere creation and we’re treated to some tasty drifting through space sensations colored by freaky electronic effects. Oh yeah… I’m looking out the window of the spacecraft at a star filled infinity. Then at the 38 minute mark the band launch into a monster rocking jam with classic Prog keys, ripping guitar solos and some chunky metallic guitar. Finally, a reprise of the opening acoustic guitar and keyboard melody signals that the trip has concluded and we have landed safely.

Djam Karet have always covered a variety of territory, including progressive rock, hard rock, space rock, psychedelia and ambient/soundscape explorations, and it all comes together on The Trip. The promo sheet references both Krautrock and Pink Floyd, and, indeed, throughout the set Pink Floyd was very much in evidence, as was the earliest Tangerine Dream, though long-time fans will recognize it all as trademark Djam Karet.

For more information you can visit the Djam Karet web site at: http://www.djamkaret.com
A few years ago I did an all Djam Karet special on Aural Innovations Space Rock Radio which is still available to hear. CLICK HERE to access the playlist page and scroll down to show #248 to get a 2 1/2 hour taste of this remarkable band.

Reviewed by Jerry Kranitz

A couple years ago I reviewed two CDs by Squeegeed Clean, an Australian Avant-Jazz inspired Psychedelia-in-Space combo led by the duo of Funkmeister G and D.J. Urinal Cake, a couple of rascals whose exploits I’ve been following since I started receiving submissions in the early Aural Innovations days by their band Vocabularinist. Their latest is a 7″ split single with Distant Trains, a solo project, and apparently only the latest of many, from Des Moines, IA based Chuck Hoffman. The single is available on clear vinyl in an edition of only 50.

The Squeegeed Clean side consists of one 4 minute track, Not the normal pigs, but the zombie pigs from down below. How’s that for a title? This is raw edged psychedelic free-jazz with blaring horns, tribal percussion and weird effects, like the results of a Sun Ra master class for creative hometapers. To get a more detailed description of what these guys are about, CLICK HERE to read my review of their first two full length CDs.

The Distant Trains side consists of 3 tracks, adding up to nearly 5 minutes. Hoffman starts off by taking an old time educational film voice sample and backing it with grungy metal guitar and drums. This is followed by completely whacky cartoonish music, like John Zorn dropping acid and scoring new music for old Hanna-Barbera toons. Hoffman seems to do another 180 degree turn, transitioning to a stoned, noisy metal dirge, only to launch right back into the freaked out cartoon music. Lots of fun in less than 5 minutes!

To hear the single and get ordering information, visit the Squeegeed Clean Bandcamp site at: http://squeegeedclean.bandcamp.com
Visit the Squeegeed Clean Facebook page at https://www.facebook.com/SqueegeedClean
Visit the Chuck Hoffman at http://centipedefarm.com and on Facebook at https://www.facebook.com/DistantTrains

Reviewed by Jerry Kranitz

Quttinirpaaq are an Austin, TX based noise/drone/sludge-psych combo led by Matt Turner, the band being named after a Canadian national park.

Side 1 of this vinyl LP opens with a 1.5 minute blistering noise-sludge dirge that brings to mind Keiji Haino playing guitar with Throbbing Gristle. Malvert follows, starting off as a menacing but cool grooving industrial dance-floor rocker with periodic bouts of spacey electronic freakiness. Ex-Batts laces itself with more sludge. I like the combination of drugged stoner vibe, chaotic noise, and vocals that sound like early Chrome meets The Residents gone totally noise-fucked. After a brief interlude of space electronics Quttinirpaaq launch into a cover of George Brigman’s DMT. I’d never heard of Brigman but a little Googling revealed him to be a musician from Baltimore who released a self-financed LP called Jungle Rot in 1975. So off to YouTube I went to hear DMT and darned if George Brigman wasn’t an unsung contemporary of Chrome, fitting well into the punk-industrial with a spaced out psychedelic edge mold. Quttinirpaaq’s take on DMT is a heavy rocking slab of ear-slitting acid drenched psychedelia, industrial horror-show and Chrome. Bad Ronald follows, being a rhythmic bit of off-kilter noise, samples and effects collage that would make for some avant-garde dance fun. And Becombs is a short, noise-laden stoner psych blast that wraps up side 1.

Side 2 consists of three longer tracks, starting with the nearly 8 minute Lohlands. If you like noisy, here’s-yer-brain-on-drugs, but totally rockin’ industrial psychedelia, then you’ll dig this for sure. I really like the use of effects on this track. Les Rallizes Denudes is a band that’s referenced in the promo sheet and I’d say that the raw, chaotic, but passionate power of the Les Rallizes Denudes music I’ve heard is very much in evidence here. Golden Needles lays down a rhythmic, danceable, industrial groove, accompanied by a steady wave of static that functions like an irritating drone, plus warbling Poltergeist voices and other freaky effects. Finally, Horsehead Bookends starts off as a meandering experimental noise, drone, guitar feedback, and effects exploration, but then near the 3 minute mark launches into the heaviest space-noise-sludge assault of the entire set. Keiji Haino quit Throbbing Grislte and joined Sunn O))).

In summary, there’s quite a bit of variety on No Visitors, and while it’s aggressive music to be sure, it’s far more accessible than a lot of the relentlessly dense sludge-fests I’ve heard. If you like your psychedelia on the noisy side, dig Chrome and Les Rallizes Denudes, or my early Chrome meets The Residents analogy resonated with you, check out Quttinirpaaq. Note that the LP comes in an edition of 300 copies pressed on 180 gram dark red vinyl.

The LP can be purchased through the Quyttinirpaaq Bandcamp site at: http://quttinirpaaq.bandcamp.com.
Like most Bandcamp sites it includes a download and the music is available to stream on the page.

Reviewed by Jerry Kranitz

HydroElectric are a Massachusetts based quartet that play guitar driven hard rock with a space rocking edge. The band consists of Monte Newman on guitar and vocals, Rikk Desgres on bass and vocals, Paul Picard on drums, and Paul Eggleston on keyboards. Yup, that’s right, Paul Eggleston from Architectural Metaphor.

Turn To Gray sets the tone for the album with chunky guitars, vocals and pounding drums, but also shooting star space synths. It’s good heavy rock with a space rock injection, and I like how even though it’s a tightly composed 4 minute song the band stretch out into instrumental passages and guitar soloing. Cut Me Down opens with keyboard atmospherics before launching into a 70s styled hard rock song that strikes me as a cross between Monster Magnet and early Blue Oyster Cult, plus organ and more space synths. Sleepwalking and What You Deserve are two more 70s styled rockers that I enjoyed. The pace slows on Heroic Dose, though the intensity level remains high, with haunting organ and some of most kick ass guitar soloing of the set. Edge Of The World is the longest song of the set at 7.5 minutes. It opens with JFK’s speech talking of the nation’s commitment to landing a man on the moon. The music is slowly grooving, with strumming acoustic guitar and atmospheric keyboards. After a couple minutes heavily fuzzed guitar briefly kicks in, and soon after the music develops into a spaced out jamming song with a stoner vibe. Very nice. And speaking of stoner vibe, Put You Away picks up where Edge Of The World left off, before launching into a Monster Magnet styled rocker with the addition of Paul jamming hard on organ, plus another stinger of a guitar solo. Doctor Who, not surprisingly, given the title, is keyboard dominated, sounding very much like an old time sci-fi TV show theme, though it’s all still heavy rocking. And War Inside My Head closes the CD with what is probably the most metallic song of the set.

Without the keys and synths, Space Dirt would be a damn good but fairly straightforward hard rock album. But with the keys and synths we get something far more interesting. The bad news is that HydroElectric disbanded late last year. However, their web site is still active and the CD is available.

For more information you can visit the HydroElectric web site at: http://hydroelectricmusic.com

Reviewed by Jerry Kranitz

Chatham Rise are a Minneapolis based quintet who play a dreamy, melodic, Shoegaze brand of space rock. Last year’s debut was the No One EP, and now they’ve released their first full length, a self-titled 8 song vinyl LP and digital download that includes 3 of the 4 songs from the No One EP. Chatham Rise may not be doing anything dramatically different but they definitely excel at gorgeously mesmerizing melodies and multiple guitars creating a sense of gently floating cosmic drift. Among the standout tracks is Gone, with its sitar and Indian influenced injection that will sweep you away on a paisley colored cloud. Autopilot and Fall In are the heavier rockers of the set. But overall this is a put on the headphones, close your eyes and drift away full album experience. My office at work has a big window with a pleasant view of a residential neighborhood. I had to stop listening to this album on the job because I kept gazing blissfully out the window in a near trance.

For more information you can visit the Chatham Rise Bandcamp site at: http://pictureinmyearrecords.bandcamp.com/album/chatham-rise
If you’re in the Minneapolis area over 4th of July weekend (2013) there will be a bunch of psychedelic bands playing, including Chatham Rise, The Volta Sound, Highspire, my friends from Floorian, and more. Check it out at http://first-avenue.com/2013/BATHYSPHERE

Reviewed by Jerry Kranitz

Telstar Sound Drone are a Danish band that formed in 2007, released an EP, a 7″, and now their first full length album. One of the reasons it took so long to complete the album is that two members serve double duty in the frequently touring Baby Woodrose, which also gives you a hint as to what you might expect from the music on Comedown.

The band come tearing out of the starting gate with Through The Back Of Your Head, a hefty slab of hard rocking and ultra-trippy psychedelia, with dual guitars and spaced out effects. Satellited is next, with one guitar ripping out razor sharp licks while the other injects a surf-like edge and the bass throbs relentless in your head. The 7+ minute Feels Like A Ride is the longest song of the set. After a 2 minute intro of swirling flying saucer effects and slowly rumbling guitars, the vocal portion begins, the entire song being a floating outer space psychedelic journey. These guys really make good use of multiple guitars, with rhythmic strumming and heavily space efx’d guitars working in tandem. Feels Like A Ride bleeds smoothly into the acoustic guitar plus deep space soundscapes of Now See How, which has a vibe like the Hawkwind song Space Is Deep. We’re rocking hard again with the heavy driving, guitar screaming Evaporation. Lost Our Love has a killer combination of brain-frying efx’d UFO guitar, bubbling liquid trip guitar and a garage rocking edge, as well as a sweetly catchy melody. And the similarly tripped out Cabin Fever closes the album, giving the listener a chance to catch their breath.

In summary, I LOVE this album and it will easily make my Best of 2013 list. Telstar Sound Drone are heavily 60s influenced but they incorporate heavy doses of space rock into the music as well. Think of a cross between Baby Woodrose and Vibravoid.

Comedown will be released May 27th on vinyl LP and download. Note that the first 500 copies of the LP will include a CD of the entire album.

For more information visit the Bad Afro label web site at: http://www.badafro.dk
Visit the Telstar Sound Drone web site at: http://www.telstarsounddrone.com

Reviewed by Jerry Kranitz

The Quarkspace Spacefolds series of all improvisational jams continues with its 12th edition. As with the previous several Spacefolds, the new album features the original Quarkspace lineup of Darren Gough on guitar and bass, Chet Santia on bass, guitar and loops, Jay Swanson on keyboards, synth and loops, and Paul Williams on drums, synth, keyboards and loops.

The album opens with Remember The 614, on which Jay Swanson’s piano takes the lead for a melodic song that swings, with Darren adding a dose of swagger with his stinging Bluesy guitar solos. 614 is the Columbus, Ohio area code and I’m guessing the track title refers to Paul Williams’ move to Louisville, Kentucky last year, the last member to leave Cowtown, making Quarkspace officially a formerly Columbus-based band now. A Poor Man’s Diamond follows a similar theme, with Jay jamming away in his trademark majestically melodic style. Darren goes for the grooving tasteful solo on this one, and Chet’s bass jams along nicely too, contributing far more than mere backbone. I was thinking that we’re in slightly different territory for Quarkspace and then noticed the promo sheet reference to “a fresh take on influences from San Francisco to Alpha Centauri“. Sure, maybe a touch of San Francisco in these first two tracks, but still distinctly Quarkspace. Speaking of Alpha Centauri, Return of the Son of Quarkallax goes into deep space, picking up exactly where Quarkallax from Spacefolds 11 left off, being nearly 10 minutes of cinematic, high intensity space-prog with a bit of classic Berlin school electronics. The Flu for Christmas features guitar, piano and bass sharing lead melody duties. San Francisco meets Alpha Centauri comes to mind on South Pass, a spaced out jam with fun freaky loops, ultra funky bass, cool wah’d guitar licks, and ooooh-weeee-ooooh synths. More beautifully tasty soloing from Darren can be heard on the acoustic infused Blue Sky Aerodrome. Old Floyd Walks A Rugged Path has a cool grooving space jazz vibe, with both Bluesy and acidic guitar plus great cosmic synth and keyboard sounds. The Near Frame features more dreamy yet rhythmic melody focused jamming. On iCowboy, Paul jams away on drums and Jay grooves along in the background while the alien electronics, keys and soundscapes take control. And Jeptha’s Sleepy Waltz is a laid back groover that makes a nice closing track.

I do believe Quarkspace are coming up on a 30th anniversary in the next couple years. The interplay between the musicians absolutely makes the music on this set, demonstrating how so many years of playing together can lead to improvisational telepathy. And it really makes me miss the concert era of the mid-90s through early 2000s when Quarkspace live performances were frequent. Spacefolds albums always sound like they could have been composed and their live performances were the same way. Quarkspace would play the songs they had written and rehearsed, and transition just as smoothly to jams that audience members could easily think were part of the songs. Ah, but I’m getting lost in memories.

For more information you can visit the Quarkspace web site at: http://www.quarkspace.com
The album is a digital only release and is available from iTunes, Amazon, eMusic and other music services.

Reviewed by Jerry Kranitz