Eloy - Rarities (1991)

                                    

 

This is a very nice compilation of Eloy tracks, but is not altogether as the title may suggest. Most of the songs already being available on various albums. We do however have one or two little gems in here not to be found elsewhere, most notably the song "Let the Sun Rise in Your Brain" which is in typical Eloy space rock mode with some excellent flute breaks in Jethro Tull vein. There's also a different version of ' Child Migration" and a longer version of " Wings Of Vision " and also has some single versions of other well known songs.

Rarities is more for the Eloy completist, but is nevertheless an excellent compilation in itself by germany's premier space-rock outfit!
SC&ME

Good compilation of Eloy tracks here, ranging from 1973 to 1984. But Rarities may be a little daring as a title; in fact, only 60 % of the record is rare. So I will focus on these novelties.
The first half of the disc is hardly composed of A and B sides that cannot be found on official albums/lives. It opens energically with the psychedelic hard rock instrumental Daybreak, carved in the same stone than Floating. On the Road sounds very Deep Purple-ish with its omnipresent organ and is very catchy. The best rarity here is the cosmic mini-epic Child Migration (different and as less as good as the track of the same name from Colours). The song begins trippy synthetizer to go on with high-pitched vocals and powerful guitars, definitely worth the trip. The calms reappears with Let the Sun Rise in Your Brain, relaxing musical piece featuring beautiful flute playing. On the contrary, Wings of Vision is not much welcomed in this compilation it is a little bit cheesy.
The second half of the compilation is merely composed of top tracks taken from Eloy's classic 80s albums (Colours, Planets, Time to Turn and Metromania), with the lengthy version of Wings of Vision.
Not the best place to start with Eloy, but surely a good investment for Eloy and space rock fans.

  "Eloy" didn't release any new studio album between 1988 and 1992. It was maybe the kick for their label to release these "Rarities".
Several songs do have an historical interest but not more. It is the case of "Daybreak" as well as "On The Road". Good old "Eloy" songs. Fully psychedelic. Both were released on the remastered version of their debut album. The most interesting is "Let the Sun Rise in Your Brain". It is one of their few (if not only) "Tull" oriented songs. This flavour is provided with a good fluting break. IMO, it is one the best number from this complilation.
I also lilke very much "Through a Somber Galaxy". The great guitar solo is fully Floydian and it was one of the very few good songs from "Time to Turn". This version has been edited slightly (almost one minute). There are two additional songs from this abum as well but they are really painful : "Wings of Vision" and the title track "Time to Turn" (even featured twice here)! These single (or extended version) won't do any good.
Their album "Colours" which I didn't really appreciate will provide the core of this album. Four numbers actually : "Child Migration ", "Horizons", "Silhouette", and "Sunset" which was one of my fave from this average album.
This collection of songs is by no means of deep interest. Just a couple really deserves any attention. Two starsReviews from Progarchives.com

Songs / Tracks Listing

  1. Daybreak (3:39)

2. On the Road (2:30)

3. Child Migration (4:03)

4. Let the Sun Rise in Your Brain (3:28)

5. Silhouette (3:30)

6. Horizons (3:20)

7. Wings of Vision (3:50)

8. Sunset (2:56)

9. Time to Turn (4:33)

10. Through a Somber Galaxy - 5:16

11. The Stranger (3:59)

12. Wings of Vision (12'' version) (4:14)

Porcupine Tree - Voyage 34 (1992)

 

One of the greatest of all Porcupine Tree albums. A pure gem of spaced out rhythmic cosmic music which flows together beautifully. 

                                                                            SC&ME

Apart from Steve Hillage, what was big in the sixties and seventies, less so in the 1980s, but then fully embraced by the emerging underground squat-rave movement of the 1990's...? Have you guessed it yet? Yes, of course, I am talking about LSD. An incredibly-potent chemical that has essentially influenced virtually all the good music ever(maybe over-egging the pudding a little here, apologies), this once-legal drug changed everything back in the 1960s, paving the way for the counter-culture movement that bore such influential groups as Jefferson Airplane, The Grateful Dead and Pink Floyd whilst also helping to ferment revolution, progression and new ideals that revolutionised society. Not bad for a tasteless, odourless liquid often served in either sugar cubes or on blotting paper. Discovered, quite accidentally, by Swiss chemist Albert Hoffman during World War 2, LSD has gradually become less-and-less popular over the years, matching the declining quality of popular culture with scary authenticity. However, those who still like to tune in, turn on and drop out still exist, and Steven Wilson, founder of top British prog outfit Porcupine Tree, was obviously one of them. This album, which is split into four parts, recounts an LSD trip from exciting beginning to awe-inspiring end, a brilliantly-conceived, 1960's-style narrator helping us along our journey. Part-ambient, part-progressive, at times almost dancey yet always utterly engrossing, 'Voyage 34' may not be for everyone yet that, it seems, is exactly the point. Few people truely love LSD - many are terrified of it - but there is no denying what an incredible, conscious-altering substance it actually is. This album is the perfect foil for understanding this strange little drug, and those with an interest in all things psychedelic are urged to investigate. But remember folks, drugs are bad! STEFAN TURNER, STOKE NEWINGTON, 2014 

Originally intended to be included on the "Up the downstair" album, this 30 minute piece was omitted from that collection and released instead as a 12" single. The track was split in half due to the limitations of vinyl, this becoming "parts 1 and 2".

While primarily a lengthy instrumental work firmly rooted in the psychedelic sounds of Pink Floyd, the various motifs which make up the piece are interrupted by dispassionate narration. This tells the unfolding tale of an LSD trip by someone called Brian, his experiences being increasingly disturbing.

Musically, this is essentially a vehicle for Steve Wilson to put together some fine lead guitar work in a succession of riffs and occasional solos. Part 2 is less dynamic and thus less effective than side one, the emphasis being more towards the after effects. The narrative becomes increasingly troubled, and the music more ambient with trance overtones.

While "Voyage 34" is now considered to be of its time, I still find it to be a highly enjoyable listen, especially Part 1. Admittedly, it lacks the tightness of modern day Porcupine Tree, but the persistent rhythms and overall ambience are, in their own way, rather alluring.

Incidentally, the title of the "Up the downstairs" album is taken from the narrative of part 1, where "Brian" is devastated to meet himself coming down an up staircase. 

Voyage 34 is a brave step into the unknown. Steven Wilson's unique blend of Psychedelic Prog, Trance and Spoken Word is a swirling love/hate affair that plays out as a pathetic fallacy for a personal LSD trip, either beautifully relaxing and easy or frustrating, annoying and scary. Although the main theme of Pink Floyd's The Wall does lend itself well to this context, its overemphasised repetition a haunting background to the spoken testimonies of acid users in Phase II, its a shame Wilson couldn't come up with a riff of his own for such a mindbendingly experimental product. Even not viewed as a blotter paper induced nightmare Voyage 34 is a lush epic instrumental with some fantastically emotional lead guitar work. Hardly an everyday casual listen yet most fans of early Porcupine Tree should be able to appreciate this once in a while. Reviews from Progarchives.com

 Songs / Tracks Listing 

1. Voyage 34 - Phases 1 / 2 (30:04)

Ozric Tentacles - TECHNICIANS OF THE SACRED (2015)

For me probably my favourite Ozrics album, and i didn't think i would be saying that, but they have come up trumps on this one.Everything seems to gel much better, musically with a plethora of excellently integrated synths/effects and just the right amount of guitar without becoming too overwhelming. Maybe i like it the most because it's probably their most spaciest tripped out outing so far. Hope they keep it up!
SC&ME

This is an album that I liked immediately--for the familiarity of the sound that is so uniquely that of OZRIC TENTACLES--but that has taken me quite some time to get familiar with. That seems to be the problem with these modern artists who release 80-plus minute long albums (Dave Kerzer, Sanguine Hum, Barock Project, Nightwish, IOEarth, Sylvan, are a few of the others who have released long playing albums this year, so far.), it takes quite some effort to listen through and to thoroughly get to know them compared to a 45-minute long release. Anyway, the patience and time invested in getting to know Technicians of the Sacred has been well worth it. This has become my favorite Ozrics release since Jurassic Shift. While all the albums I've heard have been nice, none have really possessed that magic touch that compels me to return time and again. And, while the Ozrics sound, style, and magic is pretty generic (it is often difficult to distinguish individual tracks by title--this owning to the fact that they are an instrumental band), yet almost every song on Technicians has had a way to worm into my brain, to get me engaged and then to build, shift, add, twist and turn enough to keep me interested--and, often, smiling! These guys certainly have an unique way of creating sound combinations. I cannot think of anyone quite as eclectic and electronic as them and yet they are always grooving me with their bass and drum rhythm tracks. Always! Plus, their unusual combination of spacey, "Nature" electronic walls of sound with odd and unexpected world instruments never ceases to astound me. And these guys have been doing it for 30 years! BUT they have NEVER done it better than they have on this album. Hail Technicians of the Sacred! The stars have aligned in such a way that Ozric Tentacles have created a masterpiece (of their own genre of music)!

Favorite songs: 11. "Zenlike Creature" (9:54) (10/10); 9. "Smiling Potion" (7:12) (10/10); 3. "Far Memory" (7:12) (10/10) 4. "Changa Masala" (6:05) (10/10); 10. "Rubbing Shoulders with The Absolute" (8:36) (10/10); 8. "The Unusual Village" (6:21) (10/10); 7. "Epiphlioy" (11:50) (9/10); 2. "Butterfly Garden" (5:04) (9/10), and; 6. "Switchback" (10:13) (9/10).

This is an album that is hard to find flaw with as it is all pretty engaging and highly creative (even witty) stuff. 4.5 stars rated up for its unique style and high level of consistency. Check it out for yourself. You may be surprised! Review from Progarchives.com

It's hard to believe that psychedelic space rockers the Ozric Tentacles are now thirty years and twenty studio discs (if you count those first six cassette releases) into their career! By the time of their terrific 1999 Album `Waterfall Cities', the band had begun evolving further than ever before in an electronic-driven direction, and it was a move that would affect their sound to this very day. But although the last few albums have hardly been poor (there seems to be some opinion that `The Hidden Step' from 2000 was their last truly great moment), there was a sense of repetition sinking into their music, perhaps even signs of a band just going through the motions a little, even though each album still had plenty of stand-out tracks throughout. But it's a welcome surprise to find that `Technicians of the Sacred' is their best release in many years, and this bold, confident and creatively inspired two disc musical statement has all the acoustic, electric, ethnic, world, ambient and psychedelic flavours expected of the band, as well as wholly embracing modern styles such as Goa and psy-trance to concoct a fascinating mix as always!

The title suggests that these two discs reflect the coming together of the technological modern and future age with the ancient, spiritual and meditative ways of old. Much of the first disc moves these cyber hippies the closest they've come to more purely electronic journeys, and there's definitely less histrionic guitar wailing than any other Ozrics album. Unsurprisingly, their soundworlds are constantly upbeat, spiritually blissful and still just a little schizophrenic!

As most Ozrics pieces end in a completely different place from where they begin, it's best to simply look at some standout moments instead of entire tracks. `The High Pass' is a pretty reliable Ozric opener that sounds exactly like you'd expect them to, all synth trickles and bubbling effects, pulsing beats and delirious electric guitar meltdowns. Tribal chants float around ripples of synths, a joyous trilling loop and slow-burning guitar in `Butterfly Garden', and `For Memory' holds blissful chiming guitar ruminations and gurgling beats. `Changala Masala' is a deep electronic psychedelic trance and world music race with slinking programmed bass and frantic guitar bursts (dig the manic throwback to their earlier track `Kick Muck' ever so briefly too!), after an almost oriental themed intro `Zingbong' morphs into one of those loopy reggae diversions that the band do so well, and `Switchback' delivers cascading and joyful synth melodies that could also get you dancing in between subtle moments of long ambient low-key stretches, and they even almost flirt with a kitschy J-Pop style in the opening!

Guitar is more prominent throughout the second disc, and in some ways represents the earlier era of the band more frequently. `Epiphiloy' harkens back to the dusty mystery and eastern bazaars of `Saucers' off `Strangeitude' where hypnotic acoustic guitar intertwines with gnarling synths, gongs, hand percussion, chimes and some biting heavier electric guitars to emerge as something of a modern classic from the Ozrics, and if the band can play it in a concert setting, it's sure to become a live favourite for many fans! Dream-like synth ambience glides through `The Unusual Village' with cutting little electric guitar spikes, and your mind grinds to halt with the lethargic and distorted groaning synths dropping mud-thick grooves on `Smiling Potion'. `Rubbing Shoulders with the Absolute' (now there's a title that electronic ambient musician Steve Roach likely wished he'd got to first!) has some lovely sedate and reflective moments due to glistening electric piano fingertips and washing Alpha Wave Movement-like synth caresses, and album closer `Zenlike Creatures' combines ethereal synth waves full of wonder and equally soaring and chilled guitars.

Even in the few less interesting moments, the album still sounds like addictive sonic ear candy all the way, and while it may not always hold their strongest or most memorable tunes, it's been a while since Ed Wynne and company have sounded not only so focused and determined to impress, but wanting to prove that they still have plenty of worthwhile music to offer and are more inspired than ever. `Technicians of the Sacred' is the Ozrics at their most vibrant, colourful and downright cool for some time, and it's great to have them back and finding their tentacled muse again!

Four stars - and bombard your senses by playing it louder for the best results! Who knows, it might even have you thinking it's one of the best and most addictive albums of the prog year! Review from Progarchives.com

The cover sure looks encouraging, some guy going by the name of Natan "MantisMash" was responsible for the cover and it's very much an Ozric cover. This guy sure has Blim's spirit in the artwork, those similar psychedelic colors (lots of yellow, orange and blue). The title I'm certain came from a book published in 1968 by Jerome Rothenberg, which happens to be entitled Technicians of the Sacred: A Range of Poetries from Africa, America, Asia & Oceania, which is as the book describes: poetry from indigenous tribes from around the world. Meaning it's the kind of book you could imagine Ed Wynne would read and likely felt this would make a nice title for the new Ozric release. Turned out Ed stated the title had to do with Mayan astrology, he made no mention of the book, but I'd be surprised if he didn't get the title of "Techicians of the Sacred" from that book.
The Wynne family included a returning Paul Hankin as well as Hungarian drummer Balazs Szende, and let me tell you this one just blew me away. It's literally the best Ozric release I've heard in a very long time, and easily the best with Brandi. This album has a more grand and epic feel than Paper Monkeys, with a more spacy vibe, and in fact perhaps one of the spaciest Ozric albums I have ever heard! Paper Monkeys seemed more rock-oriented, this one tends more heavily on world music, lots of Asian (Japanese, Chinese, Indonesian gamelan) and Middle Eastern styles, and some reggae thrown in (as they sometimes do, but used to do more frequently in their early releases). Of course, you still get treated with synths and Ed's trademark guitar playing. Lots of reminders of the Ozric past, but on some of the songs they actually try something new, such as electronic percussion that sounds different ("Zingbong" has some of that percussion that sounded like Jean Michel Jarre used on "Equinoxe V" or "Oxygene IV"), new synth textures I've never heard on an Ozric album before (I just love that gliding synth on "Zingbong"), and a strange experimental piece with strange sounding violin on "The Unusual Village". There's also strange female tribal chants on "Butterfly Garden" and "Changa Masala" while the latter also includes a quote from "Kick Muck". "The High Pass" has this grand intro, but they really get rocking.
Either I'm losing my mind, or I'm some fanboy, but I really think this is their finest release since their glory days, in fact I rank it up there with their best material ever! I know Brandi is on here, and the stuff the Ozrics done with her on board has been frequently dismissed, but for me, the truly stands tall with the classic. And in hindsight, the stuff they've been doing since Spirals in Hyperspace has been a bit inconsistent (usually some ugly techno experiment), each of those releases still had great material. Plus I found Paper Monkeys surprisingly consistent, which I felt was a turn in the right direction. Technicians of the Sacred really exceeded all my expectations, this is truly a masterpiece, although many might not agree, it sure sounds like one to me! It's a masterpiece if it consistently reenters my CD player! Progarchives.com

Oresund Space Collective - Good Planets Are Hard To Find (2009)

Not very different in overall scope from their previous official album though; but more maintaining the qualities of that one. Smooth transitions and evolvements is a key feature in these snippets of studio jams assembled into six tracks here; and if memory serves right there are less synths and keyboards involved this time around than on previous occasions. Also worth noting is the raga-inspired sitar that is the key element in the tracks opening and closing this excursion.

Still, a mostly bass and guitar dominated affair embellished with careful use of spacey synths and organ still makes for some trippy space music; where the main negative asset is that the segments where the band seems to be searching for a main direction still get to be a tad lengthy. Once in their stride they are impeccable though; and the last half of final track MTSST must be amongst the strongest material I've heard of this outfit.

If improvised space rock jams sounds like a good thing to you, this is a very good place to start exploring this particular brand of music. 

 

Songs/Tracks

   1. Good Planets Are Hard To Find (9:43)
2. Space Fountain (8:51)
3. Orbital Elevator (16:12)
4. Pf747-3 (19:36)
5. My Heel Has A Beard (6:01)
6. MTSST (19:28)

Total Time: 79:51 

 

Line-up / Musicians

- Tobias / guitars
- PIB / drums
- Thomas / bass
- Jocke / bass
- Luz / percussion
- Mogens / Hammond, synths
- Dr. Space / Synths
- KG / sitar, guitar, Hammond

Oresund Space Collective - Organic Earthly Flotation

This is way more relaxed than many albums beforehand, the groovy, partially jazzy vibe is nearly gone here, except on the closing Neptune Rising maybe. And indeed, the line up saw a major change, as there is the complete PAPIR crew involved this time, additionally Americano Daniel Lars, who had his first trip ever to Denmark for playing with the ORESUND SPACE COLLECTIVE. Only synthesizer wizzards Mogens and Scott (Dr. Space) are staying, acting restrained though, 'Organic Earthly Flotation' is yet another album which works more guitar laden.

Walking On Clouds manifests in two sections, originally developed by Daniel, that means you can't really say that the music is completely improvised. Backed by a solid rhythm branch this is smooth, cheerful, featuring nice inspired guitar interplay, partially enriched with spacey patterns as well as chirping synths. Not quite a spectacular album - as I'm familiar with the complete studio discography - but surely something to dig. 'Organic Earthly Flotation' again proves their ambitious approach to update the sound with every entirely new production. Review from Progarchives.com

Songs / Tracks  

1. Walking on Clouds (19:23)
2. Walking on Clouds (Pt.2) (6:17)
3. Carlos on the Moon (16:57)
4. Neptune Rising (5:08)

Total Time 47:45

Line-up / Musicians 

Mogens - Synthesizers
DR. Space - Synthesizers
Kristoffer (Papir) - Drums
Nicklas (Papir) - Guitar
Pär (Sgt. Sunshine, Carpet Knights, Hoofoot) - Bass
Daniel Lars - Guitar
Christian (Papir) - Bass on Neptune Rising

The Future Kings Of England - The Future Kings Of England ( 2005 )

 

Future Kings Of England's self-titled debut is a mesmerizing gem that almost everyone seems to have missed out on. And if it hadn't been for mr Mellotron Storm so would I. A big thanks there! The band released 2 more albums since this debut and while they continued a high quality standard, none of them touches me as much as this one.

Future Kings Of England are a band that has found a unique spot for themselves inbetween majestic post-rock and psychedelic kraut/space-rock. You will also find traces of the mind-expanding 68-71 Floyd era, but it never really sounds like the Floyd to me. The band has more in common to GYBE, be it with more attention to melody and without those extreme quite-loud "dynamics". Both are a plus as far as I'm concerned.

Most songs are quite long, and gradually build, rise and release tension while going through big multiple bars spanning melodies. Fans of minor-key guitar arpeggios and soaring spacious leads will lick their fingers clean on this one. The sound is very open and organic, a bit rough in the drum department but all instruments resonate loud and cleary.

With such a low number of reviews I would certainly dare to call this one low-rated, even though the happy few who have visited this beautiful album have all rated it very highly. Very recommended to lovers of instrumental post-rock and space-rock.Review from Progarchives.com

Songs / Tracks Listing

 

1. At Long Last... (1:01)
2. 10:66 (7:46)
3. Humble Doucy Lane (8:55)
4. Silent And Invisible Converts (7:29)
5. October Moth (3:48)
6. Lilly Lockwood (8:18)
7. The March Of The Mad Clowns (3:35)
8. Pigwhistle (14:00)
9. God Save The King (0:48)

Total Time: 55:30

Line-up / Musicians - Ian Fitch / guitar, xylophone
- Karl Mallet / bass, effect tapes
- Simon Green / drums, percussion
- Steven Mann / keyboards
- Anvar Valiyev / violin, narration 

Oresund Space Collective - Dead Man In Space ( 2010 )

Actually, these are nine live men on earth jamming, improvising and creating a trip to several places. What I love from Oresund Space Collective's music is how it introduces us into other worlds, one new song is one new world, and each and every of them has its own passages, its own lands in which we will imagine, discover, trip. I believe when music can produce these things on the listeners, then it simply succeeds, and that has happened with me.

This collective released in 2010 an album entitled "Dead Man in Space" which consists of four songs that make a total time of 63 minutes. As usual, they bomb us with some long jams that let us expand our minds and experience spacey trips. The best example is the first track which is a long 32-minute length song full of synthesizers, guitars and spacey nuances and atmospheres. Here, though we will find several minor changes, we will not find moments where the music dramatically falls or becomes anything new, no, here they create a very cool long jam that perfectly flows and does not bores at all.

In spite its long duration, one can easily listen to it without feeling the need of skipping it after some minutes, because it little by little traps you until you become part of it and cannot escape until the very end. There are always drums accompanying the prominent synthesizers, while the bass creates a sometimes soft, sometimes faster mood that is perfectly complemented by the almost non-stop guitar work. There are of course moments more interesting than others, but in general, this ambitious 32-minute song left me satisfied. In fact, I would honestly had enough with this long theme and another shorter one.

"Who tripped on the C(h)ord" is a ten-minute song with a more relaxed mood, perfect for the night or a tired day. The music once again flows without a problem, creating nice atmospheres, soft passages in which the listener can be doing any work needed, I mean, you can lie on your bed and rest, you can be working, doing homework, reading, etc. and the music will not harm you at all, on the other hand, it is your friend and works as a partner, it may be a positive distracter.

A new element is added in "Space Jam 2.2." where since the first seconds we can listen to a delicious rhythmic saxophone. Seemed that it would only appear in the introductory moments of the song, however it actually has a main role here, accompanying the "basic" instruments during the whole jam. Here we can also listen to an addictive and more participative bass, while as usual, the drums, synths and guitars create landscapes, spacey effects and a diversity of textures. A thing that makes this song different, is that here we can clearly appreciate different passages, some faster and more emotional than others, where the progression is evident, putting dynamism to the track, offering a quite interesting creation.

The last song truly contrasts with the previous, because it is only a three-minute improvisation that works as a closer, nothing more. Well, as you noticed I am like this album, which stands in the top (maybe second) of my OSC preferences. My final grade will be four stars.

Enjoy it! Review from Progarchives.com

Songs/Tracks

1. High Pilots (21:54)

2. Space Jazz Jam 2.2 (17:35)

3. Dead Man in Space (4:00)

Total Time: 42:29

CD release:

1. High Pilots (32::30)

2. Space Jazz Jam 2.2 (17:35)

3. Who Tripped On The C(h)ord? (10:35)

4. Dead Man In Space (3:02)

Total Time: 63:42

Line-up / Musicians

- Stefan / guitar

- Kaufmann / drums, percussion

- Dr. Space / synthesizer

- Thomas / bass (1)

- Jocke / guitar (1)

- Magnus / guitar, synthesizer (1)

- Pär / bass (2,3)

- Mogens / Hammond, synthesizer (2,3)

- Anders / saxophone, effects

Oresund Space Collective - Inside Your Head (2008)

I think if you liked their previous album "The Back Tomato" then you should like this one. The music here was actually taken from "The Black Tomato" sessions, as they had around 150 minutes of music left over. So once again lots of guitars and synths, and the bass and drums are also very prominant.

"Substantia Nigra" opens with bass, drums and guitar that build including frog-like sounds (synths). A full sound after 3 minutes. A very repetitive track. "Optic Chiasm" opens with funny sounds with synths. Guitar and bass follow. Organ before 6 1/2 minutes. The guitar is great after 13 minutes, just lighting it up. "Fornix" opens with a beat and synths. It kicks into a groove after a minute. Nice chunky bass on this one. The guitar starts to grind away too. Then it turns sort of trippy with drums, deep bass liines and synths.

"Aqueduct Of Sylvius" features synths that twitter as guitar joins in. Bass is next. Drums after 2 minutes. The guitar gets fairly aggressive. Intense later on. "Vermis" opens with spacey synths. Guitar 2 minutes in. A steady beat after 6 minutes as the guitar solos. Keyboards after 11 minutes and some great sounding bass after 13 minutes.

Keep in mind that we have up to four guys playing synths and three playing guitars, so we get a nice full sound on this album for the most part. Not as good as "The Black Tomato" so a low 4 star rating it is. Review from Progarchives.com

Songs / Tracks Listing

1. Substantia Nigra (10:23)

2. Optic Chiasm (16:36)

3. Fornix (12:53)

4. Aqueduct Of Sylvius (9:56)

5. Vermis (20:47)

Total Time: 70:35

Line-up / Musicians

- Tobias / guitar, effects

- Sebastian / guitar, effects

- Magnus / guitar, effects, synthesizer

- Dr. Space / synthesizers

- Mogens / synthesizers

- Ola / Fender Rhodes, synthesizers

- Jocke / bass

- Michael / bass (5)

- Søren / drums

The Future Kings Of England - The Viewing Point ( 2009 )

This is THE FUTURE KINGS OF ENGLAND's third studio recording. It's an all-instrumental concept album about this man who drives out to this place (the viewing point) with his car and looks out over the water and thinks. It's a place he used to go to with his family but now he's alone. There's something about looking out over the water that's been there for thousands of years that brings some sort of stability and comfort to a life that can often be far from it. I live near a beach that's on a bay that goes as far as the eye can see. And while I haven't really done any thinking alone in my car like we have in this concept, I love being on the beach walking or running. It's my favourite place. I have to give this band a ton of credit not only for their musicianship but for the fact that all three albums have been different from one another, and they're all amazing. A very talented group of guys.

"Go..." opens with the sound of a car driving up before the guitar and beat take over.This is psychedelic and laid back. A fuller sound after 2 minutes before it settles into this FLOYD- like beat after 2 1/2 minutes. Organ joins in too. Mellotron around 5 minutes. I love the guitar, this is so uplifting. A powerful sound 6 minutes in. Amazing tune. "Sea Saw" does not sound like THE FUTURE KINGS OF ENGLAND at all. It opens with this drum led rhythm before it turns heavy a minute in. A calm follows. Mellotron 2 minutes in with piano. The sound starts to build with theremin. Great sound 4 1/2 minutes in as it changes again with guitar and drums leading the way. "The Cool Hard Truth" is a short but gorgeous sounding tune. It kicks in around a minute then settles to that earlier sound.

"Time Flies Like An Arrow" is spacey and psychedelic to start with a slow beat and mellotron. Guitar comes in. The tempo picks up after 3 minutes with bass, drums and organ leading. A calm before 9 minutes then it kicks in heavier than before. Mellotron follows as it settles to a lighter but more emotional section. Incredible track. "Rain Later, Good" opens with the sound of this man listening to the radio in his car. Strummed guitar and beat with vocal melodies follows. Sounds like flute late. "The Viewing Point" opens with spacey sounds as a beat and bass join in. A change 3 1/2 minutes in as the music fades and sound samples arrive of him in the car. A new soundscape comes in around 5 minutes. It kicks in after 6 minutes then settles quickly. These contrasts continue.

I still feel their debut is the best by far followed by the second one. This album is still a solid 4 star album but lacks the heaviness I like from their earlier albums. I do like how psychedelic it is though. "Sea Saw", "Rain Later, Good" and the title track haven't grown on me like the other songs, but the other tracks are just killer.

Songs / Tracks Listing

1. Go... (7:36)

2. Sea Saw (7:17)

2. The Cold Hard Truth (1:37)

2. Time Flies Like An Arrow (13:16)

2. Rain Later, Good (2:48)

2. The Viewing Point (12:19)

Total Time: 44:08

Line-up / Musicians

- Ian Fitch / guitars

- Simon Green / drums

- Karl Mallet / bass

- Steve Mann / keyboards

Øresund Space Collective - Phaze Your Fears (2012)

One is defintely reminded here of some of the improvised jams that the band 'Man' or 'Porcupine Tree'  used to do with lots of guitars, except OSP are much more psychedelic and out there, which they certainly are on these two lengthy excursions , which also feature lots of swirling synths. Track 1 is the most psychedeic rock driven and powerfull piece, whereas track 2 is much more spaced out with lots of effects and a few vocal treatments.

If your a fan of space rock, say amon duul 11 , Grobbschnitt etc and the aforementioned band then i guess , l ike me, you will love this. Excellent stuff indeed. 

Songs / Tracks Listing

1. Phaze Your Fears (20:24)

2. Ear Meat (24:28)

Total Time: 44:52

Line-up / Musicians

- Stefan / guitar

- Kaufmann / drums

- Nick / guitar

- Jiri / bass

- Claus / guitar

- Mogens / synths

- Dr. Space / synths

- Johan / guitar

- Mathias / pedal steel, guitar

Eloy - Inside (1973)

This is the first truly progressive album ELOY recorded. Frank Bornemann certainly wasn't too happy with the political direction the band was heading on their first album. Of course original member Erich Schriever was mostly responsible for that, but of course, Frank Bornemann didn't think music and politics should mix. So Schriever was given the boot, and original drummer Helmuth Draht left too. So Fritz Randow came in for drums, Manfred Wieczorke switched to organ and Frank Bornemann now started to sing as well as play guitar. Bassist Wolfgang Stöcker lasted long enough to appear on this album.

So of course, all the left-wing political statements are now gone, in place of sci-fi oriented lyrics, with a spacier sound, more in the PINK FLOYD realm. The album consists of four extended cuts, beginning with the side-length "Land of No Body". Lots of PINK FLOYD references here, but parts of it also remind me of CAMEL. I just love that experimental spacy organ in the middle, it really trips me out. "Future City" sounds a whole lot like JETHRO TULL, but without the flute. Apparently certain FM stations in America were flattered by that, and so they played it ( Inside did receive an American release, on the Janus label - the German version was on Harvest, which is their first album for the label), of course, if "Future City" was ever played on American radio, it was on "progressive free form" FM stations (the FM format that existed before the rise of AOR in the mid 1970s). The album closes with the mellow "Up and Down". It wasn't sung by Frank Bornemann, but by Manfred Wieczorke, which comes to prove that he shouldn't sing (and he never did afterwards). Plus there's some narration that sounds like a German Bob DYLAN. And while the vocals are the weak part of the song, the spacy organ and atmosphere more than makes up for it. Great stuff, especially if you like that underground early '70s guitar/organ-driven prog.Revew from progarchives.com

Songs / Tracks Listing
1. Land Of No body (17:14)
2. Inside (6:35)
3. Future City (5:35)
4. Up And Down (8:23)

Remaster edition bonus tracks:
5. Daybreak (3:39)
6. On the road (2:30)

Total Time: 43:07

Line-up / Musicians
- Frank Bornemann / guitar, vocals, percussion
- Fritz Randow / drums, percussion, acoustic guitar, flute
- Wolfgang Stöcker / bass
- Manfred Wieczorke / organ, guitar, percussion, vocals

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The Mind of a Brother- Spacious Mind (1989)

Without a question one of today's most notable and highly hypnotic prog acts about the scene are Sweden's "The SPACIOUS MIND". Take note of these guys my friends they are simply bigger than life! "The Mind Of A Brother " marks the 4th CD released from these culturally cosmic inclined space rockers and stands on its own as another wonderful album. Not unlike "Organic Mind Solution" and "Cosmic Minds At Play" this album is full of what can only be described as a sonic mind blast. "Brother" is full of raging fuzz guitar solos, bongos and percussion, wild vocals, heavy sound bites and psychy backdrops. The SPACIOUS MIND are a wonderful mix of psych and progressive genres offering some absolutely stunning sonic breakouts. This album is not well suited for those long Sunday afternoon drives in the county , but instead is a great way to start your morning off right! Review from Prgarchives.com

Songs / Tracks Listing

1. The Prophet Am I
2. House in the Country
3. Interplanetarian Love Machine pt III
4. The Closer You Get to the Sun
5. Outlaw Mutation Boogie 

Line-up / Musicians

- Jens Unosson / synthesizers, electronics, atmospheres
- Henrik Oja / guitars, vocals
- Thomas Brännström / guitar, vocals, whistles, glockenspiel
- David Johansson /percussion 

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Sidhartha - Trip To Inner Self (1990)

Those who know me well, also know about my fascination and adoration of psychedelic music. Much of what I´ve reviewed here on PA reflect my wild out there leanings - those albums that melt away your brain like throwing a piece of lard on the barby. I guess these writings could lead you to believe, that I detest musical patterns and melody, but that is far from the truth. The truth, at least in these regions of music, is that my initial love of music was Pink Floyd. They were pioneers in terms of creating music that was both psychedelic but also very song based - meaning that the listener much of the time had story lines, choruses and returning melodies (Oh yes I hear you in the back: That´s not progressive matey!!! - well who bloody cares?, and yes it can in fact be progressive as well...). When I hear modern bands trying to emulate that kind of approach, I must admit to feeling a tad untouched, bored and I start looking around the room for the nearest Floyd album to get the real deal - the real fix.

Katjing! This album suddenly pops into the picture, and whilst drowning myself in contour less and eroding music - I suddenly hear strong melodies combined with a sense of nouveau Floyd soundscapes, that tickle my fancy like a midget alzheimers patient in a feather suit dancing the jig at the end of my bed. Rrrraaaauuww! Now you are probably thinking: Oh goody another copy cat band with loads of buttery Gilmour soloing.

I will put your minds at ease, and start by saying that you need not to worry: Of course there´s buttery Gilmour soloing....., but not like you´d think that is...

Siddhartha is a Turkish band, and even though I pride myself with having music from the far side of the globe, the only other album I have from this country, is by a symphonic act called Asia Minor. Compared to Asia Minor that perhaps wields the most peculiar of all English accents known to prog, you´d be hard pressed to hear where Siddhartha hail from, if it wasn´t for those small sneaky Arabian melodies that from time to time are played by an elegant sounding electric guitar. These are very effective sections by the way and furthermore constitute a small part of what makes this album so good: a multitude of different characteristics.

You´ll hear spacey synths steaming and oozing from behind the tracks like some sonic back draft from an invisible door. They are there, but then again not really. Just like those waves of sound you´ll get from a pensive Richard Barbieri, they exist like musical ghosts hovering ballet instructors. In the front of these surrealistic vacuums of sound, you´re treated to melodies led mostly by electric guitars(one track is with an acoustic). Using massive build ups, without ever getting in the vicinity of post rock, these guitars utilize swaying and fluctuating riffing that orgasm in - yep, you´ve guessed it: buttery Gilmour solos! But not quite, as this ax man is far more fiddly(in a good way though), and he relies on completely different musical ideas. In fact, I am quite sure the third track is a spacey psychedelic rendition of the melodic guitar refrain from Metallica´s Unforgiven, without being a rip off. That´s diversity for ya right there. As a natural musical eruption of these soft wailing guitars, you quite often also get another solo intertwining itself into the main line, and beautiful things are afoot - shooting you right out of your sofa and into the skies. This guy is a real treat, and the way he infuses his culture into the notes is masterful and subtle, just like a Persian ninja sneaking his hand up your skirt. Swish!!

What definitively shifts the focus away from the Floyd, and adds a deep bountiful and rawkous foundation - is an incredibly heavy drummer. This dude sounds like a cement mixer! He changes the face of the music, which by itself would be soothing and psychedelic, - and puts a hot poker up its backside. I could say something ludicrous along the lines of: This is a rocking Pink Floyd on steroids, and whilst being close to the truth, - it would also diminish what this band has successfully achieved, and that is to have created an astounding piece of psychedelic tinged song based music.

There are no duds on this album, and the farther you get into its bosom the more enthralling and alluring it gets. The soft bitter sweet vocals are another hit, which brings a fragility to the mix that is highly intoxicating and used very effectively in all the right places. Soaring male siren singing in a world of grunts, coarseness or whiny margarine.

Needless to say, that if you´re into Floyd and how they rolled in the mid 70s, you should need this like a parrot needs a pirate´s shoulder. Fans of Porcupine Tree and Vespero should definitely also try this album, as it conveys a way of developing and enhancing a form of music that once was monopolized by a single artist. Well not any more boyo! 4.5 original stars. Review fro progarchives.com

Songs / Tracks Listing

1. A Trip to Innerself (10:25)

2. The Explorer (6:51)

3. Desert (3:30)

4. Baroque (3:57)

5. Nervous Breakdown (11:51)

6. Beyond Destiny (9:33)

7. Distant Cry (6:42)

8. Black (8:45)

Total Time 61:34

Line-up / Musicians

- Özgür Kurcan / vocals, guitars 

- Ege Madra / guitars 

- Ulas Akin / bass 

- Volkan Yildirim / keyboards 

- Orkun Öker / keyboards 

- Kaan Sezgin / drums

- Nil Karaibrahimgil / vocals

- Kerem Özyegen / vocals 

- Neslihan Engin / keyboards 

- Berke Özcan / percussion

- Serkan Yilmaz / percussion

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Omega - Time Robber (1977)

Not quite as great as there "Hall Of floaters" ( i much prefer the hungarian vocals) but this is very majestic and melodic sounding on the whole, especially on the title song. You'll find hints of Floyd and PFM with nice guitar and moog sections throughout.

An excellent album from Omega.

Songs / Tracks Listing

1. Time Robber (12:43)
a) House Of Cards Part I
b) Time Robber
c) House Of Cards Part II
2. Invitation (5:42)
3. Don"t Keep Me Waiting (7:20)
4. An accountant's Dream (3:40)
5. Late Night Show (6:30)

Total Time: 35:55

Line-up / Musicians

- Janos Kobor / lead vocals, percussion
- Laszlo Benko / organ, Moog synthesizer, vocals
- Tamas Mihaly / bass, vocals
- Gyorgy Molnar / guitars, 12 string guitar, acoustic guitar
- Ferenc Debreceni / drums, percussion

Ozric Tentacles - Waterfall Cities (1999)

It seems a complaint many people have against the Ozrics is that they don't change much from album to album. I merely have three of their records: Strangeitude, Waterfall Cities, and Spirals in Hyperspace. All of these are very good in their own right, but what people say is true; the Ozrics really haven't progressed much sonically. But because they are a band so refined in their perticular style--adventurous, high- energy, often trance-reminiscent psychedelia--it really isn't something I can detract too much from a specific album rating. Sure, if we could apply a rating to the band as a whole, regarding progression and stylistic experimentation, the Ozrics would definitely not score very high. You may be thinking, and you would be in the right doing so, that because of the relatively little amount of progression throughout this band's none-too- small catelog there may not be much need to get more than a few records from them. I follow this line of thinking, but I'm a big fan of their music even considering their catelog, so I'm probably going to continue on and get more of their highly-regarded albums. But until you find out whether or not the Ozrics are your cup of tea, just check out some of their better albums.

Speaking of the Ozric Tentacles's better albums, I find Waterfall Cities to be the best of the batch that I have my hands on at the moment. Can I say why? I suppose it's the album where all of what I hold valuable in the Ozric's music comes to frutition. Strangeitude and Spirals in Hyperspace are both highly enjoyable, but this album just has more of what appeals to my ears: shimmering keyboard and ambient soundscapes, a driving but not overly "funky" rhythm section, guitar lines with a focus, and usage of ethnic and unfamiliar instrumentation that seems natural and fitting rather than forced. These create a fun, relaxing trip, not so much the "floating through space" sort of psychedelic trips, but rather more like a drive through a foreign, tropical paradise. I picture this as the soundtrack to that vacation i may take one day. It keeps mu spirits up in this mid-winter....

Well, being that the Ozric Tentacles's discography is seen as rather monotonous (in a good way, if that can be imagined), this will probably be my only review for an album by the band. I don't really feel like coaxing out a review that I couldn't properly expand upon, so here's my final say on the band: you can hardly go wrong with Ozric Tentacles if you're a fan of psychedelic, space music, or perhaps even jam and new age. They may not advance much in style from album to album, but the style they maintain is comforting and pleasurable. Waterfall Cities is their best album, but I'd wager you can't go wrong with just about any choice. OZRIC TENTACLES Waterfall Cities music review by stonebeard Review from progarchives.com

Songs / Tracks Listing

1. Coily (7:19)
2. Xingu (7:27)
3. Waterfall City (11:03)
4. Ch'ai? (5:03)
5. Spiralmind (11:40)
6. Sultana Detrii (9:17)
7. Aura Borealis (5:40)

Total Time: 57:29

Line-up / Musicians

- Ed Wynne / guitars, synths, tendril manipulations
- Seaweed / synths, whoopz, fizzles
- Zia Geelani / bass, snapiness
- John Egan / flutes, twirlings
- Rad / drum poundings

Ozric Tentacles - Waterfall City (Part 1)

Ozric Tentacles - Coily

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Eloy - Planets (1981)

Second album with the '80s lineup, and the first to record a concept, in this case about the Planet Salta and the inhabitants known as the Ikareens. Originally "Planets" was meant to be a double album, but EMI/Harvest didn't quite like the idea (especially in the early '80s when double albums went out of fashion), so the band was forced to conclude this album the following year (1982) with "Time to Turn". I could not be more surprised with "Planets", especially since the album has often been looked at in a negative light compared to their previous, "Colours". I find little to complain of "Planets", it sounds to me like the band was making a compromise of their new, direct approach they explored since "Colours", and the spacy sound they explored when Detlev Schmidtchen and Jürgen Rosenthal were in the band ( "Ocean", "Silent Cries and Mighty Echoes")

The album is loaded with great Moog and string synths, done in the '70s style, but since this was the early '80s, some new polyphonic synths (such as the Prophet 5, or something similar) was starting to surface, as demonstrated on songs like "Point of No Return" and "Sphinx". You can be certain the band was still reluctant to let the 1970s go. The album starts off with "Introduction" (nothing to do with another piece they titled "Introduction" from "Power and the Passion"). This is a purely electronic piece, proving that Hannes Folberth could have made some great electronic music solo, but he preferred to be in a band. Fine with me. The music then segues in to "On the Verge of Darkening Lights". Here's all the proof you need of the band merging their new sound with the old. It's still in a more accessible, direct fashion, but they included some great, spacy Moog solos that could've been done by Schmidtchen. "Point of No Return" is mainly a song-oriented piece, with polyphonic synths dominating. There's a heartbeat (likely inspired by "Dark Side of the Moon") that segues in to "Mysterious Monolith". I like the introduction part of the song, and the end part with the atmospheric synth solos.

The second half showed the band was oddly wanting to move back to the sounds of "Dawn". The reason for that was the presence of orchestra on all but one of the cuts. "Queen of the Night" is that prime example. It starts off with a piano ballad, before the band rocks out, then the string synth solo come in. In there are the strings that sound like they came off "Dawn". "At the Gates of Dawn" is a very pleasant instrumental number with spacy Moog and piano, with the strings, once again. "Sphinx" is the only piece on side two without the strings, and is truly one of the album's high points. Stuffed with great playing, I especially like the '70s synths found here. It then segues in to the final piece, "Carried On By Cosmic Winds", with some more great cosmic sounding synths. The orchestra comes in, once again bringing to mind "Dawn"..ELOY Planets music reviews and MP3   Review from progarchives.com

It was 1981, MTV premiered, DURAN DURAN released their debut album, GENESIS released "Abacab", YES ceased to exist, ASIA formed (but no album released until the following year, of course), and ELOY pretended all the unfortunate things to happen in the world of music never happened (like new wave, the emergance of MTV, and old-time prog bands going commercial or ceasing to exist), making "Planets" one of the better prog albums I've heard from the 1980s. Definately the album to start first if you want to try '80s ELOY.

Songs / Tracks Listing 1. Introduction (1:58)
2. On The Verge Of Darkening Lights (5:37)
3. Point Of No Return (5:45)
4. Mysterious Monolith (7:40)
5. Queen Of The Night (5:22)
6. At The Gates Of Dawn (4:17)
7. Sphinx (6:50)
8. Carried By Cosmic Winds (4:32)

Total Time: 42:01

Line-up / Musicians - Hannes Arkona / guitars, keyboards
- Frank Bornemann / vocals, guitars
- Hannes Folberth / keyboards
- Klaus-Peter Matziol / basses, vocals
- Jim McGillivray / drums, percussion

ELOY point of no return PLANETS 1981

Eloy Point Of No Return from the Album Planets

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Siddhartha - Siddhartha (1998)

4.5 stars.A big thankyou to Windhawk for adding this band to our site.SIDDHARTHA are a psychedelic band from Turkey who i became acquainted with some years ago through James Unger's(loserboy) web-site.In fact if you look SIDDHARTHA up on MySpace you'll see James' review of this album under the heading "Sounds Like". The songs were written and composed between 1993-1998.The dreamy male vocals are in English,and there is a female singer on one song as well.I think the lyrics to the first track really tells us what this band's music is all about. "Power of psychedelia lies behind it's ability to let you take a trip to your innerself,through experiencing new ways,discover hidden areas in your mind and feel the pleasure of illumination coming through music that's gently stroking your soul". The spirit of Krautrock is alive and well in this album.The music is relaxing,trippy and spacey but there are some passages where the band jams with intensity and the guitarist lights it up. "A Trip To Innerself" opens with spoken words as spacey sounds come and go.Drums and a fuller sound come in as the guitar cries out.It becomes fuller after 4 1/2 minutes with some outstanding guitar.A spacey calm before 6 minutes.Drums return and the tempo picks up after 8 minutes and the sound builds.Here we go! The intro to "The Explorer" sounds great with the bass and drums leading the way in a psychedelic haze.Vocals a minute in.Love the gentle guitar after 1 1/2 minutes.The guitar is ripping it up a minute later.Themes are repeated.Check out the guitar 6 minutes in! "Desert" is a cool track with intricate acoustic guitar melodies and reserved vocals.Great sound! "Kervin" has a good rhythm with organ.Guitar 1 1/2 minutes in trades off with the organ.The percussion is prominant 2 1/2 minutes in to the end. "Baroque" is such a beautiful track.Very intricate and melodic.It changes before 2 minutes to become heavier and darker.It gets pretty intense 3 minutes in and then returns to the original melody with a more prominant guitar line. "Nervous Breakdown" opens with psychedelic sounds that come and go.It settles 2 minutes in with spacey winds.It kicks back in before 3 minutes with some excellent drumming.The guitar is leading the way 4 1/2 minutes in.It calms down before 6 1/2 minutes before the guitar is at it again.Nice. Intense after 8 minutes with yelling and laughing before it settles with dreamy vocals.Gorgeous section.Organ 9 1/2 minutes in and then the guitar lights it up after 10 minutes and goes on and on.So emotional! "Beyond Destiny" has this slow swirling melody.The vocals before 1 1/2 minutes remind me of the Norwegian band THE USE OF ASHES.The guitar winds it out after 4 1/2 minutes.Piano later.Amazing track! Great lyrics as well. "Distant Cry" is a beautiful PORCUPINE TREE-like song with reserved vocals,piano and tasteful guitar.It does get fuller. "OM" is trippy and spacey with female vocals.Piano 3 1/2 minutes.Organ before 6 minutes as the sound builds.Some male spoken words come in briefly.It stops 9 minutes in and then a hidden track appears before 12 minutes.This one has an ethnic feel to it at first then it settles.Some prominant guitar and organ late. If i had to pick my top three they would be "Nervous Breakdown","Distant Cry" and "A Trip To Innerself".A must for psychedelic fans out there. SIDDHARTHA Siddhartha music reviews and MP3

Songs / Tracks Listing

1. A Trip to Innerself (10:29)
2. The Explorer (6:58)
3. Desert (3:34)
4. Kervan (4:28)
5. Baroque (4:00)
6. Nervous Breakdown (12:03)
7. Beyond Destiny (9:04)
8. Distant Cry (6:44)
9. Om (16:05)

Total Time 73:25

Line-up / Musicians

- Özgür Kurcan / vocals, guitars
- Ege Madra / guitars
- Ulas Akin / bass
- Volkan Yildirim / keyboards
- Orkun Öker / keyboards
- Kaan Sezgin / drums
- Nil Karaibrahimgil / vocals
- Kerem Özyegen / vocals
- Neslihan Engin / keyboards
- Berke Özcan / percussion
- Serkan Yilmaz / percussion 

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Eloy - Time to Turn ( 1982)

Probably the Eloys last true spacerock album before there music became much more heavy rock orientated.

ELOY Time To Turn music reviews and MP3

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Ash Ra Tempel - Ash Ra Tempel (1971)

The classic spacerock debut of germanys seminal krautrock band with Manuel Gottsching on guitar. Jut two long differently paced pieces. 'Amboss' being the more dynamic.

Songs / Tracks Listing
 1. Amboss (19:40)
2. Traummaschine (25:24)

Line-up / Musicians

- Manuel Göttsching / guitar, voice, electronics
- Hartmut Enke / bass
- Klaus Schulze / drums, electronics

Amboss 1/2 Ash Ra Tempel

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Hidria Spaefolk - DRSF-01 (EP) 2001

Excellent 35 minute EP of earlier material from the finnish spacerockers. It's also available as a free download from there website! Cool!

Altough the band has obvious Ozric Tentacle similarities they actually sound less like them here than on there later releases.

Songs / Tracks Listing 1. Amos Ame (9:30) 

2. Kafar-I (7:23) 

3. Sindran Rastafan (9:20) 

4. Gnomen (4:03) 

5. Marastronaut (4:57)

Line-up / Musicians - Kimmo Dammert / bass 

- Mikko Happo / electric guitar, digeridoo, posthorn 

- Teemu Kilponen / drums, percussion 

- Janne Lounatvuori / rhodes, synthesizers 

- Sami Wirkkala / acoustic, electric and midi guitar, jawharp, percussion 

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