Zone Six / Vespero: The Split Thing (2012)

A truly international production, "The Split Thing" is an album divided between German space rock veterans ZONE SIX and Russian space rock band VESPERO. The former a rather loose band constellation with a history going back to the late 90's and with 8 CD and CD-R releases to their name, the latter a more structured group with a history that started back in 2003 and a total of 7 full length productions to their name. And in spirit with the international context of their joint effort, this CD was released by Swedish label Transubstans Records in the spring of 2012.

After investigating this production a bit, it is clear that we're dealing with two bands complementing each other fairly well in this case. They both share certain features: Both bands are all instrumental on this occasion, their compositions have a strong improvisational trait to them, and both bands are undeniably space rock in sound and style. But with some differences in expression that adds a nice touch to this disc.

Vespero are represented by three tracks that each clock in well before the 10 minute mark, and their excursions are marked by defined alterations in sound throughout. Rather than merely developing from one theme or lead motif over to the next one, this is a band that explore a theme or an idea, steadily developing it, and then moving on to the next one if they have an approach at hand that fits into the overall context or utilizing ambient interludes as they occasionally do to good effect on a few occasions. Otherwise their expression is one that employ the lighter parts of the tone range extensively, where careful guitar soloing combine with keyboard and organ motifs, while the flute is given room for details of a more careful nature. A dampened but tight rhythm section beneath cater for pace and intensity nice and efficiently. Generally Vespero choose to develop a theme from a slower careful start towards an energetic, high impact final phase prior to shifting themes, or to conclude the piece in question. Well made and well performed music through and through, lighter in tone and spirit than many other space rock bands but without ever loosing touch with the rock part of the proceedings.

Zone Six' contribution marks a distinct difference right away, as this is a monster excursion clocking in at just over 24 minutes. And unlike Vespero, Zone Six has the approach of one steadily developing theme towards a final conclusion. In the initial phase of their track here they have an intermediate phase where the first approach defragments and they jam along a bit until heading off into a new direction, this one sticking until the end. They don't utilize the more distinct shifts of their discmates, instead opting for a more directly improvised solution. Zone Six also employ a darker, gritter and harder edged sound with less room for keyboards, dominated by dark toned, compact and fairly gritty guitar riffs and backed by a rhythm section with a distinctly massive footprint. Synth effects and resonating guitar details cater for the space part quite nicely, and their gritty sound won't leave anyone questioning their rock credentials.

Of the two I found Vespero to be slightly more interesting on this occasion. While I generally enjoy Zone Six overall sound better, their piece here gets to be somewhat too long and uniform to make a markedly strong impression: Good quality space rock but without any elements to it that elevates it above similar efforts by others. Fans of the style and this particular expression will of course love this epic length space romp, and it isn't lacking anything in quality as such. Vespero's contributions are somewhat more varied in scope and expression, and they also leave room for finer details to appear. This adds a somewhat more refined feel to their undertakings, as well as arguably broadening the overall appeal ever so slightly.

All in all a good album for fans of instrumental space rock of the improvisational kind, and with two bands sporting somewhat different approaches to this type of music the scope and variation is broader than what standalone band productions of this kind tend to be as well. A good quality production that should please both avid and more casual fans of this style.

My rating: 75/100
Track list:
1. Vespero: Nüllus
2. Vespero: Clouds
3. Vespero: Lifeless Pillars
4. Zone Six: Babapapatantramanta

Various Artists: Trail Records - Five Years in Space 2007-2012

US indie label TRAIL RECORDS was formed back in 2007, and have since then delighted people in the know and a few lucky reviewers with two or three annual releases of psychedelic and space rock of the finest quality. Most of them compilations or reissues of albums that should have been better known when released first time around, but also with a few releases from better known bands and the occasional original production. All albums given a superb remastering by Trail Records in house expert, and supplied with original artwork that holds the same high standard as the music itself. The end result are CDs that documents visually and musically that this is art, in stark contrast to the bland audio entertainment and superficial image branding major record labels have tried to get consumers to buy in the last couple of decades. To commemorate their 5 year long history as purveyors of high quality psychedelic music, Trail Records have assembled what appears to be a promotional disc. "Trail Records: Five Years in Space 2007-2012" is the name of the entity, and it would appear that this production is not available as a regular commercial product. So if anyone wants ton get a copy of their own, you'll probably have to contact the label directly and ask if it is at all possible.

What we're treated to here is one select track from each of the label's releases, plus one track from a forthcoming production. And for fans of psychedelic rock and space rock this compilation is a treat, I can't imagine anyone who regards themselves as fans of these stylistic expressions that won't be captivated by at least a few of the tracks here. And I'd guess that quite a few would regard this as one of the most superior compilations in their collection.

Kiuila opens the ball with dampened, elegant psychedelic rock of the mystical variety, complete with tribal rhythms and eastern haunting instrumental motifs. Vespero continues with a piece just as elegant, this one an improvisational affair sporting echoing guitar licks, droning and surging keyboard effects and ethereal female vocals, transporting us carefully out into the beauty of outer space somewhere. Siddhartha continues the journey in space with their somewhat more mysterious, Eloy-tinged creation Black, and then Sky Cries Mary relocates us to a suitably appropriate dance floor on a nearby space station with their particular brand of dance friendly, accessible, melodic and energetic brand of psychedelic and space-drenched pop/rock.

Beyondomatic then transports us into a calmer locale with Starbong, providing pleasures of a lighter and more ethereal nature. Eastern Syndrome takes over the task of providing a soothing atmosphere with their darker tinged brand of mellow, melodic rock utilizing gentle psychedelic and space-tinged instrumental motifs to emphasize their melancholic general nature. Ole Lukkoye comes next, and now we're taken into a nightclub in space somewhere, with a relaxed, lazy atmosphere dominating the proceedings. Sky Cries Mary then returns for a dreamlike, hypnotic trip into the ethereal spheres again with their splendid live version of the lazy, melancholic Rain.

KRTL is given the task of waking the spacefaring party goers from their slumber with their energetic drum and bass patterns as the firm foundation in their brand of space rock, transporting us down to Earth again where we're taken on a trip In the Labyrinth, apparently a wooden area populated half and half by Celtic and eastern mythological creatures. And in a small, dark corner of the forest we encounter Barrett Elmore, whose story The Nixie is a dark-toned and haunting one that most likely will give some associations to a specific set of doors. A Chemical Breeze transports us away from the mystical realms again, with a majestic rise back into outer space, although this final part of the journey so far has a few bumps prior to reaching whatever location we're headed towards.

Oh well, I might not be much of a storyteller, but I do hope that the few paragraphs above have given a brief and hopefully positive impression of the twelve tracks that populate this sampler from Trail Records. And if anyone should be in doubt: This is a disc that comes as highly recommended as all other productions from this fine, indie label, a venture that hopefully will supply a steadily increasing audience with their fine quality productions for a good few number of years still. A fine sampler from a fine label, whose emphasis on art on all levels have been and still is impressive on all accounts.

My rating: 82/100
Track list:
1. Kiuila: Dle Yaman
2. Vespero: Figures
3. Siddhartha: Black
4. Sky Cries Mary: Want
5. Beyond-O-Matic: Starbong
6. Eastern Syndrome: Getto Over Vltava
7. Ole Lukkoye: Sleepy Herbs
8. Sky Cries Mary: Rain
9. KRTL: Soda
10. In the Labyrinth: Muscarin Madness
11. Barrett Elmore: The Nixie
12. Chemical Breeze: Chemical Breeze

Yggdrazil: Settimo Grado di Separazione (2005/2012)

YGGDRAZIL was, or perhaps still is, an Italian band, whose sole release so far is "Settimo Grado di Separazione". The album was originally self-released back in 2005, but has now been reissued by fledgling Italian label Psych-Up Melodies.

And it is a fairly challenging production we're given the chance to re-experience on this occasion. Not that the music is extraordinary inventive as such, but it has been made and produced in a manner that will make it a taxing experience for most listeners.

Basically there are two different aspects to this bands compositions. On one hand you have relatively dampened, melodic sequences, where a mildly resonating light toned guitars caters for the main thematic aspects, supported nice and steadily by bass and drums, where especially the former may take on some intricate and energetic runs time and again. The other half of this bands stylistic expression resides well within the metal universe, featuring quirky, dark toned riff constructions of a kind and character that should please fans of bands such as Tool.

What sets this band slightly apart, other than this Radiohead meets Tool kind of dualism, is frequent use of psych-tinged guitar details and a somewhat original compositional approach. This is a band fond of twisting and turning the compositions throughout, often making it hard to keep track of the proceedings, and this CD will take both time and dedication to get familiar with due to that. Especially as they also alter and twist the instrument palette in the vocal passages. And when the vocals both in delivery and mix have been given a rather dominant position, keeping track of ever altering instrumental manoeuvres at the same time as a lead vocalist with a distinctly insisting presence that has been given a placement in the arrangements is vying for your attention, then loosing track of events is something that is bound to happen sooner or later. It's only when you get to be highly familiar with this production that I guess you'll eventually discover how much or not you actually like it, the first few runs through it will eventually be an exercise in keeping track of developments more than anything.

At best this is an intriguing band however. The loose fragmented dampened piece Lizard, that eventually settles into a build-up for the following intense piece Gig, is among the finer experiences on the CD. And final track Separazione, where Yggdrazil calms down ever so slightly their ever twisting and turning compositional development, showcase the band at their arguably best.

The end result is a somewhat chaotic, psychedelic-flavoured production that I guess will be mostly of interest to fans of Tool and to some extent Radiohead, at least those amongst them who tends to enjoy fairly intricate and challenging musical endeavours. Existing fans might also note that this reissue sports just over 30 minutes of additional material. These are low-fi, low quality recordings however, and as such mostly of interest to avid fans who'd like to listen to more material from this band no matter the quality of it.

My rating: 69/100
Track list:
1. Conception of Time
2. Lizard
3. Gig
4. Every Man
5. By My Time
6. Specular
7. Separazione
8. Outtake 1
9. Outtake 2
10. Outtake 3
11. Outtake 4

Et Rop På Hjälp: Hur Svårt Kan Det Vara?

Swedish band ETT ROP PÅ HJÄLP was formed sometime around 2009, and have apparently been something of a feature on the Swedish live circuit. At least their debut album has been described by some as eagerly awaited when it arrived in late winter 2012, courtesy of Transubstans Records.

Be that as it may be, but it is a blazing romp of a debut album they have made themselves. As usual with artists signed to Transubstans their expression is a vintage oriented one, with a hard, compact bass guitar the central recurrent feature throughout. Most often combined with compact guitar riffs, the combination of the two clearly indicating that Black Sabbath has been an influential band for this foursome. Their choice of expression is one somewhat lighter and more uplifting in character however, personally I'd describe this as a blend of The Who and the aforementioned Black Sabbath, but of a generally uplifting, positive and vibrantly energetic nature. With steady and frequently sophisticated drum patterns catering for the rhythms department this is a tight and high energy total package, with excellent powerful lead vocals as an additional asset.

But there's a bit more to this that isn't captured by the above description, namely a substantial element of psychedelic rock. Light toned psychedelic guitar details appear on regular occasions throughout, and when the band hits an elongated instrumental feature psych-dripping guitar solos and extended runs are never far away. In addition, either the verse or the chorus part of each of the songs tends to incorporate a fair deal of psychedelic details. That the majority of the songs also incorporate tempo and intensity alterations does give this bands repertoire a distinct flavouring of progressive rock, and that they occasionally will hit off on a Santana-flavoured run strengthens this impression quite a lot.

By and large I found this album to be a truly strong and vibrant experience. That I understand the mostly acidic comments made in the lyrical department obviously an advantage, but even if disregarding that element this is a strong production I imagine should have a widespread appeal. A disc that comes highly recommended to fans of heavy psychedelic 70's rock first and foremost, and in particular to those amongst them who also enjoy listening to vintage Black Sabbath.

My rating: 93/100Track list:
1. Den Siste Altruisten
2. Den Europeiska Löken
3. Ärendet
4. Sagor (Och Ingenting Annat Än Sagor)
5. Vänförfrågan
6. Tvål & Alkohol
7. Följ Mitt Liv
8. Ett Rop På Hjälp
9. Josef K

Burning Saviours: The Offering (Förbannelsen Part II) 7'' (2012)

Swedish band BURNING SAVIOURS was formed back in 2003, and for the next five years they were an active live and recording unit, with three full length albums to their name prior to splitting up in 2008. Two years later they reformed however, now sporting a revised line-up. Since then they've been working with a project called "Förbannelsen", with a planned set of thematically connected 7 inch vinyl singles. "The Offering" is the second of four planned parts of this endeavour, and was released by Night Tripper Records in the summer of 2012.

A-side The Offering is a nice composition. A mid-paced affair with a snail-paced chorus, featuring a few instrument details borrowed more or less directly from what is likely a main source of inspiration, namely Black Sabbath. Apart from these instrumental touches the overall sound is one that owes quite a lot to Iommi's classic foursome from the 70's. Up to and including the nice, blues-oriented guitar solo. But the end sequence is another story entirely. Tied in with the lyrical topic covered I presume, we're served a dampened, delightfully ominous sequence where glockenspiel and a light-toned clean guitar jointly manage to create a brooding, fearful atmosphere. Haunting stuff, and highly effective to boot.

B-side Spirit of the Woods is a shorter, compact affair. Another composition made in the vein of 70's Black Sabbath, albeit not sporting any direct references as such apart from the overall sound and vibe. An elegant drums and bass standalone theme is a nice touch on this one, used three times in total and each of them as a transitional phase. To good effect I might add. A nifty combination of melodic soloing on top of wandering riff patterns and fragmented soloing on top of impact riffs another feature worth mentioning.

The vinyl single itself is, take note vinyl enthusiasts, literally a heavy package. The single itself a heavy slab, and contained within a stiff cardboard cover with beautifully printed artwork. When I was in my teens I used to buy protective plastic covers for such productions, so that I could attach the cover to the wall, displaying my precious works of art for whoever dared to enter my teenage cave. 25 years ago this is one of the album covers I would have displayed, and with a certain sense of pride I believe.

My rating: 70/100
Track list:
1. The Offering
2. Spirit of the Woods

The Baking Research Station / Cranium Pie: A Visit to Newport Hospital (2012)

Released in June 2012, "A Visit to Newport Hospital" is one of the steadily increasing number of releases by enthusiast vinyl only label Fruits de Mer Records. This production is one of their regular ones: A 7 inch vinyl single featuring remade versions of two compositions from ye olde age of psychedelic rock. Egg's A Visit to Newport Hospital and Arzachel's Queen St. gang are the classics given a contemporary visit on this occasion, by The Baking Research Station and Cranium Pie respectively.

And if this reworked take on A Visit to Newport Hospital is anything to go by, this isn't a place you'd like to visit unless you really, really had to. Opening with an introduction consisting of organ amidst fragmented sounds, voice and machine effects and a rather chaotic soundscape, this song moves on to a gentle organ and vocals theme that comes close to lounge music in expression, but with a resonating effect applied as well as most of the sounds from the opening sequences. The end result may be described as demented lounge music I guess, the kind of track you'd expect to find amidst the back catalogue of artists such as Magical Power Mako.

Cranium Pie's take on Queen St. Gang is a nice companion piece. Opening with a gentle organ given some eerie effects treatment it then stabilize for a bit, and a massive dark toned guitar dripping psychedelic undertones from here and down to Australia somewhere is added to the proceedings. Until a sudden shift replace everything with a dark drone beneath dampened voices and voice effects that is, and while we're given a revisit by the organ and guitar theme a bit later another interception follows, this time more freaked out in character with sounds and voice effects and even a dampened manic laughter that you might suspect comes directly from the deeper vaults of Arkham Asylum.

A very nice release for the right crowd, and as all 800 copies have been sold out by the label at the time of writing I suspect that the crowd in question is a good-sized one too.

My rating: 70/100
Track list:
1. The Baking Research Station: A Visit to Newport Hospital
2. Cranium Pie: Queen St. Gang

Switch Opens: Joint Clash (2012)

Swedish foursome SWITCH OPENS have been around for a good dozen years by now, although for the first 8 of these cycles they were known as Fingerspitzengefühl. Switching (sic) names in 2008, they have released two full albums under their current band name. "Joint Clash" is the most recent of these, and was issued by Swedish label Transubstans Records in early 2012.

I presume that this is a band that will have quite a few critics, hacks and music journalists scratching their heads ever so slightly when they are going to place this act and their music within a frame of reference. Doom metal and psychedelic rock are bound to be mentioned, the more avid and concentrated of the lot will surely mention post rock too, but as far as possible influences are concerned I suspect I'll not be alone in coming up short. Bands like Soundgarden, Electric Wizard, Hawkwind and even Celtic Frost came to mind for me, and I'll toss in Mastodon too on pure suspicion, but I'm not sure if any of them are direct sources of inspiration. Of course, those who are much more well versed in the metal scene than I am might find this task to be much easier, but personally I'll have rest on this list of possible indirect influences to establish a frail contextual reference.

But whatever you call the music and however you place them within a stylistic framework, the end result is an engaging and fairly innovative one. Thundering bass guitar is the key element throughout, creating a massive theme foundation on top of which a dual set of guitars hammer down riffs and the drums serves of energetic and frequently rather refined rhythm cascades. But that only cover half the story. The guitars aren't actually hitting into the dark and brutal riff universe that often, instead maintaining something of a vintage 70's hard rock and metal expression just as often. That is, when they aren't hitting melodic harmony solos with distinct psychedelic flavouring, textured post rock swirling solo motifs or otherwise engaged in adding a psychedelic sheen to the proceedings that is a trait as defining for this album as the downtuned and at times brutal bass guitar is.

And just about when you thought the band had revealed all their secrets, from the massive grunge and doom on opening track Square to the doom metal ballad going brutally psychedelic on the brilliant Pompous Pumping Heart to the gentler psych tinged going massive doom metal and back trek of Like Fire, then we're provided with The Reunion. Blending some variety of folk-tinged psychedelic excursions in the vocal parts with doom metal instrumental interludes, and then taking a sharp left turn and heading for outer space Hawkwind style, bringing us down to Earth again with a repeat of the opening instrumental doom metal theme. This elongated feature then followed by a frail, folk-tinged psychedelic effort which just happens to be the title track, briefly inserting some thundering moments prior to drifting out on a gentle, psychedelic breeze. It's a hell of an interesting journey, and the most inventive doom metal production I've encountered in quite a while.

Defining a target audience for this production is just about as difficult as placing this band within a frame of reference, so I'll limit myself to something of a repeat performance in this case. If psychedelic doom metal sounds like an interesting description, this is an album you might want to investigate. And I suspect that a good many fans of bands like Soundgarden, Electric Wizard, Mastodon and Celtic Frost will enjoy this disc, and possibly some of the more open minded followers of Hawkwind too.

My rating: 88/100

Track list:
1. Square
2. Mirror Man
3. Pompous Pumping Heart
4. Chemistry
5. Freak Sect
6. Like Fire
7. The Reunion
8. Joint Clash