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May 2019 = |
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the Spacious
Mind |
Amgala
Temple |
V/A Exemption CD |
Duir |
Weyes Blood |
Jeff
Horsey |
Vespero |
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The
Spacious Mind - The No.
4 Or 5 Gravy Band LP / Oh, The Fragmentary
Marches Of Bells, Greens & Dolls EP
Essence
Music
Brazilian imprint Essence Music is a
cottage industry “comprised of a duo of fellow
music addicts, art enthusiasts, print producer
and craftsman, who are connected with sounds of
a darker nature, yet never bound to any defined
and closed genre or limits to artistic
expression.” Sounds like the perfect label to
welcome back after a lengthy five-year absence
the latest esoteric psychedelic sounds of
Terrascope/Terrastock favourites The Spacious
Mind, and they’ve pulled out all the stops on
this one! Exquisitely housed in handmade
packaging, Essence’s releases are geared towards
“people who love the glorious joy of buying,
collecting and actually supporting music.” They
understand the value of that tactile sensation
vinyl enthusiasts have long championed over
antiseptic, clinical approximations of that warm
vinyl sound. In fact, collectors and completists
have their choice of the quickly vanishing 180gm
version in a hand-screenprinted die-cut package
with a poster and fold-out innersleeve, or the
super-deluxe “Special Edition” (99 copies) on
orange vinyl (with black splatter), complete
with a collage-based canvas/board with
hand-painted artwork all housed in a
hand-painted tri-fold sleeve with real
cinnamon-based inks and fragments. And you also
get a 4-track bonus CDR EP, “Oh, The Fragmentary
Marches Of Bells, Greens & Dolls” housed in
a custom screen-printed and hand-painted sleeve.
I’m salivating just describing it… Hell, you
might just want to buy it to look at it!
But
this one-of-a-kind packaging complements rather
than distracts from the treasures within. The
album proper includes three lengthy brain-frying
acid jams (including the monumental side-long
‘Creekin’ At The Goose’) that re-established the
Swedish psychonauts as one of the supreme
psychedelic projects on this or any other
planet.
The
album launches with the band finally laying down
a studio version of long-time live favourite
‘The Cinnamon Tree’ (versions are available on Take
That Weight Off Your Shoulders - Skellefteå
28/02/03, Club Rothko 050905, and the live DVDs from Trästock, Skellefteå, Sweden, July 18, 2003 as well as the Rothko
performance). It still stalks around the room
like a shamanic call to arms, with sleepy,
whispered vocals, tabla-styled drumming, bells,
and haunting slide guitar runs that give it a
ghostly aura. The hypnotic beat, exotic
instrumentation and ephemeral atmosphere creates
an eerie, ritualistic vibe that fucks with your
head and your emotions.
‘You
Don’t Know It But You are’ is even spookier,
with percussive effects scratching at your brain
while rocketship guitars rumble in the
background preparing to launch your brain into
the outer reaches of the sonic solar system.
This one is more atmosphere than an actual
“song” per se, and as such probably comes across
best in a live setting.
But
once you flip the album over for the 19-minute
‘Creekin’ At The Goose’ you may have to hold on
to yourself, loved ones and anything else you
hold dear to prevent them from exploding into
psychedelic hyperspace with this collision
course for spontaneous mind combustion. Straight
out of the gate we feel like we have interrupted
an insane chemist mixing mind-expanding
chemicals in the eye of a shit storm of
electrical mayhem. Or maybe that’s just our
friendly neighbourhood guitarist wrangling the
shit out of his guitar neck, blood, gore, and
guts spewing in all directions. This “Goose”
sure is up shit’s “creek”!
Following
a few minutes to retrieve our brain cells off
the wall, the band settle (if one could call it
that) into a heavy groove of screeching guitars,
throbbing bass lines and skin-crawling skin
pounding that will surely cause all and sunder
to welcome the Mind back with open arms (and
skulls).
As
for the special half-hour bonus EP, the four
untitled tracks are presented as segments (Parts
I-IV) of an extended jam, focusing on the more
freeform element of the band’s oeuvre. ‘Part I’
eases into the room like a ghost emerging from
the shadows in the corner, and we peer through
the mist to make out the source of those furtive
ambient ramblings. Wobbling synths, far-off
guitar scrapings, and almost industrial-like
noises approach (think Faust/Einstürzende
Neubauten soundtracking the basement scene from
The Blair
Witch Project). This is as avant garde as
we’ve ever heard them, but, curiously, we want
more.
‘Part
II’ is cut from the same cloth – wobbly
atmospherics reminiscent of Durutti Column
building to a rocketship-up-the-arse explosion
of pyrotechnics. ‘Part III’, the shortest
segment continues on in a web of eerie
guitarscapes and otherworldly ambience (think
2001: A Space Odyssey monolith scene over ”space
child” psychedelics), and the concluding ‘Part
IV’ brings it all back home from outer space
emptiness to inner space contemplation.
Our
dear friends Acid Mothers Temple & The
Melting Paraiso U.F.O. are one of the few bands
who shatter brains and expectations like this;
but they seem to release 15 albums every year.
The pseudonymous B.C. Wolff’s liners hint that
this may be a rare corralling of all members at
the same place at the same time, so do yourself
a favour and grab this while it’s still
available at less than house-mortgaging prices!
(Jeff Penczak)
Postscript: the label promises
a repress of the first run of this fabulous album
"very soon" - Phil
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AMGALA
TEMPLE
– INVISIBLE AIRSHIPS
(LP/DL
on Pekula
Records)
Amgala
Temple is yet another fine Norwegian band from
this emerging incubator of sound.
Invisible Airships is an impressive debut
and an impeccable instrumental album of the
space rock, prog and jazz and persuasions.
The band consists of musicians Amund
Maarud (guitar), Lars Horntveth (bass, synths),
and Gard Nilssen (drums) who all bring
experience from other bands with varying
backgrounds of rock, jazz, blues, and other
genres. On
the five tracks on Invisible Airships, Amgala
Temple stretch out and play melodic space rock
with plenty of variation, imagination and
brilliant musicianship.
What
I especially like about the album is the way all
the tracks are melodically inscribed throughout
with a sense of mystery and wonder, which sets
them apart from most of their contemporaries.
The
lengthy opener “Bosphorus,” weighing in at
12:20, sets a watery introductory guitar theme
by Maarud, before Horntveth and Nillsen drive an
expansive, rhythmic middle section.
I can’t tout Gard Nilssen’s drumming on
this record highly enough.
Rarely does a drummer make you sit up and
take notice of his contribution to a record to
the extent that he does.
Space rock albums can have a way of being
vehicles for the guitarists to jam their little
fingers away. But
on Invisible Airships, while Amund Maarud is an
excellent player, this is clearly ensemble work,
and all the better for it.
However, Maarud comes out swinging in
Bosphorus’s heavy finale.
“Avenue
Amgala” starts with Horntveth and Nilssen laying
down a funky jazz-prog beat, and Maarud’s
effects-laden guitar coasts over the top.
Again, the feeling is a bit mysterious,
giving way late to a driving rock section,
before returning to the original theme.
“Fleet
Ballistic Missile Submarine” is a favorite.
The nine-minute track takes all manner of
left and right turns.
The song begins with a tip-toeing game of
cat-and-mouse between submarines.
The pings are simulated by the bass and
guitar, with a mysterious burbling organ theme
floating on top.
At last, someone makes contact and the
chase is on. The
chase section is packed with as much suspense as
any movie, with all three members giving
standout performances.
Maarud’s guitar work is extraordinary,
and finishes with a sonar-like flourish.
On
“The Eccentric,” Maarud plays some imaginative
pedal steel, leading to some hyper-intensive
interplay between Horntveth’s synth and
Nilssen’s drumming.
You will come out of listening to this
album a huge Gard Nilssen fan.
The
expansive finale “Moon Palace” begins with spacy
synths and effects, courtesy of Horntveth.
Again, there’s an air of mystery that
permeates the atmosphere.
Horntveth lays down a hypnotic bass
groove, and gradually the three build up an
extended jam. The
jam builds slowly, with Maarud and Nilssen
eventually reaching a fever pitch.
The tide waxes, wanes, and waxes again to
a heavy crescendo, with a spacy coda echoing the
intro.
There’s
a lot of good space rock out there right now,
and Amgala Temple rises to the top.
This debut is chock full of great
playing, imaginative writing and some incredible
mind-melding by the three superb talents.
It’s an enjoyable journey from start to
finish. Finally,
the stunning cover art by Jens Jorgen Carelius
Krogsveen and Age Peterson deserves a prize, and
hey, it won one - a Visuelt gold prize.
(Mark
Feingold)
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TOSHIMARU
NAKAMURA,
RHODRI DAVIES, DAFYDD ROBERTS
ANDREW LESLIE HOOKER & ANGHARAD
DAVIES - EXEMPTION FROM MEANING
(CD)
Described
on
the cover as “an object score based on Japanese
items held in Aberystwyth university's ceramics
archive featuring no input mixing board,
prepared harp,violin and modular synth”, this
collection of experimental noise was inspired
by, built around the visit of Japanese Noise
veteran Toshimaru Nakamura. A study of the
excellent sleeve notes from Ed Pinsent reveals
that basing a score around ceramics did not sit
well with all the participants although the end
results certainly conjure up the elemental
forces involved in creating a ceramic piece.
Given the alchemical bent of organiser Dafydd
Roberts this makes the event a success although
you suspect all did not run with the harmony
perhaps hoped for, indeed maybe it is this
tension that helps the music reach such
greatness, emotion flowing through the noise.
Opening track “Katuse Ibata_c1244” is a
25 minute piece that begins in intense fashion,
the sound of an angry sea, elemental and
sometimes overwhelming, crackling and roaring
from within, the musicians seemingly finding the
eye of the storm halfway through as the music
becomes calmer and more distant, the sound of
creatures washed up on the shore. Of course, the
calmness slowly intensifies, a squealing drone
swooping in to claim control creating a harsh
wall of noise that reeks of decay yet is washed
with a sense of beauty and renewal, the noise
slowly fading until you are left with a ripple
of calmness.
Writhing in slow motion, “Ryoji
Koie_c1243” is a more ambient affair, single
tones and restrained noise taking thirty minutes
to expand and recede, the music created by the
duo of Nakamur & Rhodri Davies, each
listening to the other, allowing them to weave
their threads of sound into a meditative piece
that works beautifully at low volume, a distant
call from a faraway star.
Featuring the violin of Angharad
Davies, “Pilgrim_c843” is a relatively short
piece, 16 minutes of scrapes, rumbles and tones
that scurry and crawl beneath the earth.
Throughout the track there is tension between
the sounds bringing vitality to the music
drawing the listener in.
Accompanying the CD is a booklet
containing detailed notes and images from the
event making this a very inviting package,
although the release date has not yet been
confirmed, contact Dafydd for further news and
try this link for details of upcoming events. https://listentothevoiceoffire.com/
Whilst this album is a difficult
listen, there are great rewards to be had if you
are prepared to really listen (to the voice of
fire) and it stands as a fine record of a
historic event that will never be repeated. Contact:
Dafydd at drdafydd.roberts@gmail.com
(Simon
Lewis)
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DUIR
– SODDEN DOGS and BLIND, WINGED HORSES
(CD from duir1.bandcamp.com )
Well this is a surprise, a double CD 30 song set from
Duir, of whom I knew nothing about until now but
it has quite blown me away. It ticks all of the
boxes, a decent concept, well played and
arranged songs, some fine playing, narrated
sections, megaliths and Norse gods.
This is the second album by the band and it follows
on from 2007’s “The Stout Guardian At The Door”,
so they are hardly prolific. I must now seek out
a copy of this debut. The band comprise of
Stephen Coalwood aka COMPUTER coalwood, plus
Terry Welbourn aka welbourn TEKH and Simon
Brighton aka TEMPLAR brighton. Edgar Broughton
makes an appearance on guitar, synth and vocals.
From listening quite a few times to this
outstanding album, it would appear the COMPUTER
coalwood composes and plays most of the music,
welbourn TEKH supplies a lot of the narration
and lyrics and TEMPLAR brighton composes and
plays guitar. The album is a celebration of the
quirks, charms and folk memories of the county
of Lincolnshire. It covers the topography, the
myths, the customs and life around this county.
Terry has an interest in megaliths and has
visited over 1000 sites and even written a book
about them, much like Julian Cope with whom he
shares a mutual appreciation of archaeologist
T.C. Lethbridge, even forming a band with him in
2003 called The Sons Of T.C. Lethbridge.
This is a sort of concept album, in which the Norse
trickster god Loki, sails across the north sea.
He is searching for ancient megaliths and along
the way gets drunk in a forest, waking confused
and with no idea of location, sees all sorts of
strange things but is sobered by the discovery
of a body hanging from a nearby tree. I can’t go
into all of the songs as there are so many but
the music is a mix of prog, rock and folk all
expertly played. The album begins with ‘Larking
Around At The Bowthorpe Oak’ an instrumental
about this 1000 year old tree. ‘Ran-Tan-Tan’ is
about the persecution of wrongdoers, who for
three nights are roundly abused; this
persecution ends with the burning of a straw
effigy. ‘A Song For Ethel’ celebrates (with an
ethereal instrumental) author Ethel H. Rudkin,
who published an almanac on Lincolnshire
Folklore. ‘Midnight Mask’ sees saxophone and
violin added to the proceedings. ‘Blowing Up A
Gale’ has synth by Edgar Broughton, a hint of
fuzz guitar by TEMPLAR and violin played by
Steve Daulton. The first disc ends with ‘Albert:
The Death Of The Corn King’ played in its
entirety by COMPUTER coalwood.
Disc two opens with ‘Swaddling The Drake Stone’ an
instrumental rich with wheezing Mellotron. The
title track ‘Sodden Dogs’ is sung and played by
COMPUTER, with additional vocals by Ruby McKee.
‘I Dream Of Shony’ narrated by welbourn, has
seagulls, lead guitar, more Mellotron and drums
by Tom Parratt. ‘Fen’ sees Edgar back again,
this time on e-bowed guitar and vocals. ‘Riding
The Stang’ in this song the unfortunate
Ran-Tan-Tan victim, is whipped and paraded
through the town, shame, shame. ‘Events At The
Halfway House Inn’ Loki is back and witnessing
mayhem in said Inn. ‘The Sandbagger’ is an ode
to Loki, realized on guitar, drums, bass and
keys. ‘Ghosts At Moggs Eye’ is a song about a
beach fringed by a petrified forest, it provides
some nice grit with added synth and atmospherics
by Steve Bothamley. ‘Stenigot Whispers’ is
excellent prog folk, with cloaking Mellotron and
strings. ‘John Dee: King Of Crows’ introduces us
to the sixteenth century mathematician and
astrologer, the song features tubular bells and
plenty of crows. ‘Mid Afternoon At Horseshoe
Point’ is a fine instrumental. ‘The Drift’ ends
the album on a high point, beautifully played
and sung.
I urge you to go out and get this album; it is one of
the finest things that I have been sent since I
have been reviewing records for Terrascope. (Andrew Young)
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WEYES
BLOOD
– TITANIC RISING
(LP/CD/Cassette/DL/T-Shirt
on Sub
Pop Records)
Weyes
Blood, aka Natalie Mering, brings us her fourth
album Titanic Rising.
It’s a big, bold release of beautiful
baroque psych, pop psych, whatever you wish to
call it. Wering
has a drop-dead gorgeous alto voice; you know
the old adage about singing the phone book?
Yeah, that kind.
Her ethereal voice, along with its sense
of melancholic longing, compares with Karen
Carpenter, Joni Mitchell, Marissa Nadler, at
times, Enya, and Kate Wolf (a folk artist few
will probably know, but check her out).
Titanic Rising swells with a
bigger-than-life 70s style production, courtesy
of Wering, Foxygen’s Jonathan Rado, and The
Lemon Twigs’ Michael D’Addario (and he and
brother Brian contribute heavily to the
instrumentation).
Titanic
Rising deals with trying to find love and
meaning in our troubled times, with the Titanic
a metaphor for the sense of dread we tend to
live in of disaster looming, be it from climate
change or the actions of our own hubris.
There’s barely a song that doesn’t
include some sort of imagery of being submerged.
Even the album cover is a picture of
Wering in a bedroom…under water.
She is also admittedly a fan of the 1997
movie, and movie imagery figures large in the
album as well, both in the lyrics and its
widescreen cinematic production.
Opener
“A Lot’s Gonna Change” begins with an organ
sounding underwater on that big ship, but
quickly the production swells to strings and a
wall of sound. Mering’s
melancholy message is of lost childhood
innocence, and having to be strong amid the
heartbreaks of life as you grow.
“Andromeda”
is a straightforward song about taking the
plunge in a romance and revealing your
vulnerability; “I’m still a good man’s
daughter/let me in if I break/and be quiet if I
shatter.” The
song features a very pretty, old-school slide
guitar for embellishment that would’ve done
George Harrison proud.
“Everyday”
is jaunty, pop candy redolent of Macca, The
Mamas and Papas, and The Beach Boys.
The sentiment is of the “I’ve been hurt
before, please be gentle” variety.
The sunshine pop makes the song an
outlier among the ethereal splendor of the rest
of the album, and is clearly done with
tongue-in-cheek.
With
“Something to Believe” we get another beautiful,
bursting adagio production, with more tasteful,
sad slide guitar, as Weyes Blood reaches out for
meaning and understanding. “Movies” begins with
a Ghost Box-style synth pattern before expanding
inevitably into a larger production.
The song is a take on the well-trodden
furrow of songs about how films give us an
unrealistically glamorous depiction of real
life. The
twist here is that unlike in those other songs,
Wering admits that despite the fantasy, she
still loves the movies and wants to make them
her own.
In
“Mirror Forever,” Wering wonders whether her
partner and her are well suited to each other,
and dreads a collapse.
She overdubs harmony vocals, and you’d be
right to assume that if one Wering voice is a
thing of beauty, then two or three are just that
much better. “Wild
Time” is my personal favorite. The title refers
not to a party, but rather how “it’s a wild time
to be alive.” Certainly
is. On
an album soaking in a blissful hot tub of 70s
West Coast sound, “Wild Time” really puts it all
together – musically, lyrically, vocal
performance, production, and the album’s themes.
“Picture Me Better” recalls the schmaltzy
torch songs of kd lang and Patsy Cline, with an
over-the-top string arrangement.
There
are two very brief instrumentals:
The title track at the halfway point, a
spacy piece full of underwater atmospherics, and
the closing, “Nearer to Thee,” played by a
string quartet, and a reference to the song the
Titanic’s band purportedly played while the ship
went down.
Titanic
Rising is a wistful, elegiac, mature work by a
rising star. If,
like me, you’re a sucker for a beautiful voice
singing lovely melodies backed by a lush,
overflowing garden of a production, surrender,
Dorothy. I’d
melted into a puddle before the album was half
over.
(Mark
Feingold)
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JEFF
HORSEY – RATTLESNAKES AND HEARTSTRINGS
(10” EP from Hookah Records www.hookah.org.uk)
Very much in the style of the story songs of Townes
Van Zandt and Bob Dylan comes this excellent 10”
extended player from Cornwall’s Jeff Horsey who
is somewhat of a journeyman musician, playing
shows all over the world especially Australia.
Specializing in the blues, Jeff is a songwriter who
sings, plays slide guitar and harmonica. For
this 4 track EP, one side is dedicated to a 10
minutes version of Rattlesnakes. Featuring his
daughter Josie Ghost on Farfisa was a good move
as this epic song is enlivened by her drifting
organ, ala Country Joe And The Fish. The song is
very much like a mini film script and is worth
the price of admission, over a steady rhythm,
Jeff half sings and half narrates this desert
fable, aided by Josh Lewitt’s stinging lead
guitar, which is very prominent in the mix,
exactly how it should be. At times quite
psychedelic, the song has plenty of harp and a
terrific slide solo towards its climax.
Side two begins with the old Dylan chestnut ‘I Want
You’ more acoustic in nature but still with
drums. This is followed by another one of Jeff’s
original songs ‘Heartstrings’ which is very much
in the country blues style, plenty of acoustic
slide guitar. The EP ends with Jeff’s version of
the classic Noah Lewis song ‘Big Railroad Blues’
an acoustic country blues song which
starts with the whistle of a locomotive,
some chicken song harp, light drums and
slide guitar. The album cover is a delightful
desert scene by John Hurford.
(Andrew
Young)
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VESPERO
– HOLLOW MOON
(LP/CD/DL
on
Tonzonen
Records)
Hollow
Moon
is the latest outing from Vespero, the superb
veteran prog/space/psych rock band from
Astrakhan, Russia.
The album brings to mind many bands such
as Gong and King Crimson, but really, there’s
NOBODY like Vespero.
While an instrumental album, Hollow Moon
is a sci-fi tale of a trip to the moon, but seen
through the lens of visionary writers from
antiquity. According
to Vespero, their inspirations included Francis
Godwin’s “The Man in the Moone” from 1638, whose
imaginative verse graces the album’s web site,
plus H.G. Wells, Jules Verne, and Russian sci-fi
fantasy novels from the 1950s (which this author
would love to see in translation).
The
album
also makes me think of early works of cinema,
such as Georges Melies’ 1902 classic, “A Trip to
the Moon.” Indeed,
like Melies, who was originally a stage
magician, and brought his magic craft to the
special effects in his pioneering films, I think
Vespero have a bit of the magician at heart.
You can hear it in their imagery-fueled
music, filled with surprises and incredible
showmanship.
Hollow
Moon
shows how much Vespero have grown over the
years, as both writers and musicians.
While they could have played Hollow Moon
as straight guitar stoner rock in their sleep,
Vespero never takes the easy way out.
The songs are full of twists and turns,
and include, besides basic guitar, bass and
drums, expansive synths and effects, saxophone,
violin, mandolin and all manner of other
instruments.
The
album
opens with the eerie synth ambient piece
“Watching the Moon Rise.”
Vespero’s music tends to send your
imagination spinning, and this track again
reminds me of far distant cinema, with images of
misty clouds passing in front of the moon in a
sepia tinted shot, while Earth dwellers dream of
voyaging there.
Indeed, the album would make for a great
soundtrack to early silent sci-fi classics such
as “Metropolis” or, staying with the Russian
theme, “Aelita, Queen of Mars.”
The
voyage
proper begins with “Flight of the Lieutenant”
and it’s prog at breakneck speed.
Ark Fedotov’s and Alexey Klabukov’s
synths and Alexander Kuzovlev’s guitars weave
their way around Ark’s brother Ivan Fedotov’s
insistent drum beat.
The song, like many on Hollow Moon,
features rolling tempo changes, & at any given time a snapshot might
reveal a time signature of 9.72/π,
or some such. It
makes me wonder how they get through it without
resorting to 150 takes.
The tour de force also features violin
from Vitaly Borodin and saxophone from Pavel
Alekseev.
“Sublunarian”
features
some lovely acoustic guitar, cello and
violin-based jazz fusion.
An interlude leads to some terrific sax
playing, before another transition brings some
tasteful nylon guitar to see the song out.
On “Moon – Travants,” Kuzovlev plays some
great guitar solos over a Mellotron,
interspersed between a clockwork-type rhythm
piece. “Mare
Ingenii” brings a brief respite from the mayhem,
a pretty, jazzy piece featuring Borodin’s violin
and Kuzovlev’s guitars and mandolin.
“Feast
of
Selenites,” at nearly 11 minutes, is the album’s
longest track. The
song takes you through a labyrinth of styles and
tempos, heavy, light and everywhere in-between.
On the standout track, all Vespero
members have their moment to shine and show the
band’s prog mastery.
“Watershed Point” is another airy,
melodic, brief synth interlude, which recalls
the opener “Watching the Moon Rise” in style.
“Tardigrada’s
Milk”
features sublime violin, followed by some
accordion from Vitaly Borodin, which morphs into
a full-blown acoustic String Cheese
Incident-type jam in which Borodin’s accordion
is joined by Kuzovlev’s mandolin.
Vespero’s versatility on instruments and
styles is just amazing.
After another furious all-encompassing
workout, “Space Clipper’s Wreckage,” the album
concludes with “Watching the Earth Rise,” a
metallic sheen ambient piece laden with synths,
accordion, violin and effects.
Bookended with the opener “Watching the
Moon Rise,” our journey is complete.
If
the
designers of the rides and the environment at
Disney World are called Imagineers, Vespero is
equally deserving of this title.
There are few bands who can spin a
musical tale this creative and make it pop in 3D
like they can. Hollow
Moon is a kaleidoscopic trip to the future as
seen from yellowed maps from the past, another
triumph for an incredible band.
(Mark
Feingold)
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