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Sunday, May 1, 2016

WorldService Project - For King & Country

WorldService Project are a 5-piece band from London that launched back in 2009. They consider; Dave Morecroft on Keyboards and Vocals, Tim Ower on Saxophone, Raphael Clarkson on Trombone and Vocals, Arthur O’Hara on Bass Guitar, and Harry Pope on Drums. They released their debut album, Fire in a Pet Shop back in 2013 and this year, they released their new album on the label, Rare Noise Records entitled, For King and Country. Now I’m very new to the Rare Noise label and the moment I’ve heard WorldService Project, I knew something special that had come to my ears.

I first heard their music a few days ago on a new episode of Sid Smith’s Podcasts from the Yellow Room and was completely hooked into hearing one of the tracks from his episode. I have to admit, Sid has a very good ear when it comes to playing amazing and unearthed music that have brought my wish list even bigger the size of Mount Rushmore. And I knew that right away, this is something I need to check out, and I went ahead and bought the album and it’s a real kicker!

This is a combination of Experimental, Punk, and Jazz rolled into a gigantic smoothie with a dosage of Jalapeno Peppers and big amounts of Tabasco sauce to make it a spicy smoothie to drink. I love the styles of Frank Zappa, Radiohead, Diablo Swing Orchestra The Music Man, Canterbury Scene, Rock In Opposition movement, and Robert Wyatt. The five-piece really know their stuff when it comes to unexpected and blaring eruptive sounds that is like a battering ram hitting the giant brick wall at the right momentum.

From the blaring sing-along galloping styles of the Spaghetti Western and Musical voyages with unexpected time signatures to Flick The Beanstalk with an epic roar from the horn section. And then it becomes a Free-Jazz midsection instrumental piece before the shrieking record-scratching saxophone that resembles at times Captain Beefheart’s Trout Mask Replica and the late great Lol Coxhill.

Followed by the intensive drum section that Harry Pope does as he and Morecroft go into uncharted territory on Fuming Duck, recalling the chaotic beauty they bring as the cavernous and ominous yet spine-tingling chill of Murano Faro brings forth the styles of film composer Danny Elfman as if this could have been used for Tim Burton’s 1989 classic, Batman.

There are some experimental and reverb delay throughout the speed of the tempo of the drumming, water-layered keyboards, spooky horns, and intense bass work gives WSP the jump to light-speed with all the power and energy they bring to the spaceship. Suddenly the mood transforms into an electronic take of both Robert Wyatt, Radiohead’s Kid A-era, Art Zoyd and Present with their approach of the RIO Movement on Son of Haugesund before getting into the mosh pits with a joyful Punk-Jazz Rock twist of a Swing meets Zappa time change that goes to a mid-tempo to all the way fast for a car to 900 miles per hour to Go Down Ho’Ses.

Their homage to Henry Mancini’s Peter Gunn Theme meets obscure jazz-prog group Mogul Thrash which featured John Wetton of King Crimson, is quite an interesting taste and with a darker epic vibe at the very end to show what hell is like, that had my arm hairs go up at the right moment for Chamonix. WorldService Project shows how much they can take the Mancini approach and give it a little twist for some mind-blowing madness that is off the wall! Mr. Giggles is their take of their homage to Faith No More’s Mike Patton and his time with Mr. Bungle.

Wah-wah saxes, the mind inside of an insane person as we see how much crazier and nutty through his insane laugh. I always imagine this could have been used in the Ren & Stimpy short, Space Madness and imagine Ren Hoek going bonkers over the obsession of his love of beloved ice-cream bar. This could fit right with it. And (pardon my French) this the “Holy Shit!” moment that I enjoyed and more is waiting for me.

Requiem for a Worm is the calm after the storm. Tim and Raphael head into a mourning section through the Sax and Trombone, almost to send a chilling yet warmth finale to give a final push of the Worm’s funeral with a beautiful and haunting end that will make you wonder what will happen next.

Again, I’m new to RareNoise Records and Italian guitarist Eraldo Bernocchi and Music nut, Giacomo Bruzzo who are the masterminds behind the label, just put me on a roller-coaster ride with WorldService Project. I have listened to this about six times now and I can’t get enough of this! If you love Punk, Jazz, and the Rock In Opposition movement, then delve into the mind of WorldService Project’s For King & Country.

As the narrator says to begin for Commander Hoek and Cadet Stimpy as they experienced Alien worlds for their space episodes, "Okay Space Cadets! Prepare to hurtle thru the Cosmos!"

Saturday, April 30, 2016

Purson - Desire's Magic Theatre

Purson have never disappointed me. This year they have released their second album on the Spinefarm Records label entitled, Desire’s Magic Theatre. Inspired by the Rock Operas of Sgt. Pepper and The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Rosalie Cunningham and her fellow comrades show no sign of stopping.

From hearing them on the Rise Above Records sampler, Poisoned Apples along with their 2013 debut The Circle and the Blue Door, the new album is a real spine-tingling yet amazing follow-up to show that the band have the power and the glory to keep the train going.

The opening title track begins with train horns and audience applauding before the band kick into gear with an essence of Roxy Music meets Alice Cooper with a shuffling groove a-la ‘70s Glam Rock style! It then all of a sudden delves into the psych folk in 3/4 time signature of a dooming and dreamy waltz and then Rosalie sings her heart out in the lines “Down in a spiral/Where start meets the end/Tongue tied/I just comprehend/Language that mainlines to the brain/BABBLE ON BABYLON!”

I nearly cried because I was thinking to myself, “This is the music I’ve been expecting to hear something really good!” And I was right! I love the twist between the essence of Sonja Kristina meets Peter Hammill in her vocal styles in the way she sings in that section. The instrumental part has an eruptive keg from ‘60s organ, powerful guitar lines, and the improving jazz section finale of the cross between the Moody Blues and Jethro Tull, gives it a surreal end before seguing into Electric Landlady.

It is a nod to Jimi Hendrix and of course the Canterbury group, Caravan which mention the line “In the Land of Grey and the Groan.” it erupts with blaring guitar rhythm and riffs with spooky keyboards, ghost-like vocals, dreamy midsections, and crosses between the Beatles, Sabbath, and the Syd Barrett-era of Pink Floyd thrown into the mix with a hypnotic wah-wah guitar solo that George Hudson does.

Dead Dodo Down deals with the corruption and the deal with the devil and not trusting a word they say on TV and not knowing the truth and not buying a single word they say. The music again features the nightmarish and dystopian atmosphere on what is to come while The Sky Parade channels the mind of the Abbey Road-era, Fairport Convention, Van Der Graaf Generator, King Crimson, and the Atom Heart Mother Sessions thrown in.

I love the dooming militant acoustic intro and featuring ascending melodies with an intense rhythm section that has a swirling punch into heaven before ending with an abrupt silence. The Mellotron comes in with a dreamy pop and the essence of Barrett is in there as Rosalie goes inside the mind of the Madcap genius and pulls the brainstorming ideas with The Window Cleaner.

The stomping rhythms and horn sections for The Way It Is, captures the time of the golden-era of the 1970s and the late ‘60s with more adventurous tones as they back into the voyages of Space as to meet Mr. Howard with a captivating section filled with drama, excitement, and on the edge of your seat on what this character is going through with the crimes he committed. It is like something straight out of Jethro Tull’s A Passion Play and The Pretty Things S.F. Sorrow as the character witness what he has done and the music nails it down to a punch on what the penalty will be for him.

I Know is back into the styles of the early Beatles with the 3/4 waltz acoustic ballad in the styles of This Boy and you can feel the chills and beauty to take a break from the hard rock sounds and into soaring clouds to a dance. Then, we come to the 7-minute epic, The Bitter Suite.

This is where you turn this up to maximum volume on your headset. And you can close your eyes and picture an underground theater with three acts and seeing where these characters singing through the pieces. It’s almost as if both Terry Gilliam and Alejandro Jodorowsky had worked together to create this story with the band telling the music in where they would go forwards to and closes the curtain for the Theatre.

The bonus tracks feature two acoustic versions of I Know and a gothic acid-folk version of The Sky Parade followed by Unsure Overture. This time George Hudson takes over on the vocals and he and Rosalie share the vocals between each other and this gives George a chance to shine. I always imagine Rosalie will one day give the band members a chance to write their own material one day. Spooky organ intro, stomping drum section by Raphael Mura, and the haunting cello section by Anna Scott, it is a driven down the highway sing-along song. 

This is my fifth time listening to Desire’s Magic Theatre. It is another return of the band’s music and they know they have accomplished another job well done. And enjoy the adventure as the late great Bette Davis from the film All About Eve says, “Fasten your seat belts, It’s going to be a bumpy night!”    

Tuesday, April 26, 2016

Robert Wyatt - '68

My love of the Canterbury scene thanks to the Romantic Warriors documentary series, just made me open the door up more to see what the bands and artists were doing. Robert Wyatt is one of them. In 1968, the Soft Machine had completed their second tour in the United States after supporting the Jimi Hendrix Experience. When the tour was done, Wyatt headed into the one of the studios in both T.T.G Studios and Record Plant studios to record in both Hollywood, California and in New York City from October to November of that year.

Cuneiform Records released this unearthed material back in 2013 and it’s a real gem of hearing Wyatt not just playing drums, but playing Piano, Organ, Bass, and Electric Piano. When you listen to the ’68 recordings, even though there is some surface noise on here, you can close your eyes and being at those sessions and watching Wyatt improvise with help from people such as Hugh Hopper and Mike Ratledge, and the late great Jimi Hendrix who plays Bass on one of the tracks on the album.

Slow Walkin’ Talk which features Hendrix’s Bass thumping and car-driven lines, carries a bit of the shuffling Blues between Piano and Drums whilst in the styles of a jazzier version of Highway Chile that gives it a catchy groove. I could imagine both Wyatt and Hendrix were smiling and having a great time recording this composition.

Chelsa which he and Soft Machine alumni Kevin Ayers wrote, features Ratledge’s soulful Hammond Organ as Wyatt sings through wonderfully and would one day revisit the track with his group Matching Mole as it would be reincarnated as Signed Curtain on their first sole self-titled debut album in 1972 after his departure with the Soft Machine on the album, Fourth.

The 18-minute Rivmic Melodies are sections of the first side of The Soft Machine’s second album. Featuring drum patterns, double-tracking vocals, spoken dialog, and piano reverb with a delay effect. It feels like Wyatt was doing a score for one of the paintings for Salvador Dali, Hannah Hoch, and Oskar Fischinger with elements of the Avant-Garde sound and Musique Concrete with a structured and chaotic blare.

The closing 20-minute Moon in June is an earlier version of what would later be on the Soft Machine’s Third album. The second half of the piece was recorded in mid-1969 in England as he, Hopper, and Ratledge take this version into experimentation, walking blues, confession singing, and then heading back into the psychedelic twist thanks to the fuzz-tone switch for the last 11-minutes.

Wyatt improvises with his vocal arrangements and the intense drum patterns and the screeching effect from both Hugh and Mike is like a work-out that increases the volume level. The crescendo section comes into place and then it changes into a smooth and haunting movement as the Organ goes into an ambient cavernous section that will send chills down the spine.

Experimental, Canterbury, Avant-Garde, Musique Concrete, Pop, and Jazz, it’s all here. Wyatt really delves into the ocean of unbelievable results that will give you an understanding on what he would bring to the tables for interesting and mind-boggling results. For any fan of Soft Machine and Robert Wyatt, this is a must have to sink into and Cuneiform Records have unleashed an amazing hidden treasure.   

Sunday, April 24, 2016

Eyes of Blue - In Fields of Ardath

This is Eyes of Blue’s second album released on the Mercury label in 1969 and reissued by Esoteric Recordings last year. After the release of their debut, Crossroads of Time in that same year, the Welsh group got recognition for Lou Reizner and composer Quincy Jones as they got to work with the composer who would later do film scores such as In Cold Blood, In the Heat of the Night, and The Italian Job whilst getting recognition with his work with Frank Sinatra and Michael Jackson.

Eyes of Blue worked with Quincy on a film in 1970 called Toy Grabbers which had different names including Mother, The Seduction of a Nerd, or Up Your Teddy Bear which is released on Something Weird video and on Troma Entertainment Films back in 2005. It is often considered the worse film starring Julie Newmar, Wally Cox and Victor Buono. One of the songs that was featured in the film is the lullaby, militant, dream-like mellotron beauty Merry Go Round.

It has this acoustic-organ melody and background vocalization with a heavenly choir atmosphere before John Weathers’ galloping drums set the tone of the carousel of dreaming into this child’s dream of riding into the spinning wonders. There’s the homage to Jimi Hendrix’s Are You Expereinced?-era with backward tapes, swirling grooves on The Light We See while their tribute to Django Reinhardt of the classical jazz beauty of Souvenirs.

It goes through various intersections that Ritchie Francis does. From the scratchy record effect as it heads to the acoustic melodies before the clean electric guitar improvisations and then organist Phil Ryan and Ritchie fade off into the sunset for a wonderful send-off. But their homage to Graham Bond, is still growing strong with the Cream effect for a haunting Blues Rock voyage of their dazzling cover of Bond’s composition, Spanish Blues. Phil is having the Bond effect in him to head into town that gives him complete free-rein.

The blaring yet shuffling take of an earlier version of David Bowie’s Aladdin Sane-era meets Family’s Music in a Doll’s House-era twist comes kicking the door down with a bulldozer at the right momentum thanks to the intense Harmonica punch with an dooming midsection of Mellotron, Organ, and Guitar like something terrible is happening before back into the roar of After the War.

After the release of In Fields of Ardath, Mercury dropped the band as Lou got them a new deal with the Pegasus label and recorded their third album entitled, Bluebell Wood. But they didn’t use the Eyes of Blue name because Lou originally wanted to call them Bloody Welsh, but stuck with Big Sleep instead. The band broke up and they went on to various bands from Wild Turkey to Gentle Giant.

I have listened to In Fields of Ardath five times now. It is a perfect understanding on where the band could have continued on if they had moved forward. The 16-page booklet features interviews with Ritchie Francis and John Weathers about the making of the album with liner notes done by Malcolm Dome. It includes the single bonus track, the soul-blues rock groove of Apache ’69. It did receive a few radio airplays but disappeared without a trace.

Even though Lou thought it would be a hit, which for me, it could have received some recognition but I think the marketing was not done properly. The band recorded the album in about five days and while it did well, you could understand why they were ahead of their time and the label never gave them another chance.

The booklet also features pictures of the band, promos including the Speakeasy, Langland Bay Hotel, the movie poster of Up Your Teddy Bear, screencap of their appearance of the movie, Connecting Rooms, Middle Earth, and a 45 RPM’s of their singles. Not to mention the original foreword notes by Quincy Jones. If you love Gentle Giant, The Graham Bond Organization, Cream, and Wild Turkey, you will delve into more of Eyes of Blue’s music with this amazing reissue Esoteric have put out.

Thursday, April 21, 2016

Maglev - Overwrite the Sin

I’ve always have a soft spot for the Netherlands in the history of the Progressive Rock/Metal scene with bands such as Supersister, Within Temptation, Earth & Fire, Trace, Ayreon, Focus, and Golden Earring. They always have my ears lit up when it comes to both Jazz, Hard Rock, Orchestral, Story-telling, and Adventurous rock as they take me to other worlds on where they would take the Progressive genre and head into those journey’s that is like opening a new book and seeing what is about to happen.

One of the artist from the Netherlands that completely blew me away is an artist name Joost Maglev. He has been writing music when he was a young man and throughout out his grammar school years whilst playing Bass Guitar in various projects. About 14 years ago, he started to record his own music and released his first mini CD entitled, Prelude in which he wrote, sing and played various instruments.

He played not just Bass, but Guitar, Keyboards, and Drums. A virtuoso in the making since he got the ball rolling and then he released his first full-length album back in 2005 entitled Voluntary, and then another mini-album Undeaded Blood in 2008. His influence range from Tim Smith of the Cardiacs, Valensia Clarkson, and Yono Kanno. He is a very busy man when it comes to projects. This year in 2016, he released his first full-length progressive rock album called, Overwrite the Sin.

I’ve always wanted to discover more of the Prog genre. So I remember watching the Album trailer on YouTube and I was on the edge of my seat. I ordered the album straight away from the Kinesis Progressive Rock store website. There are five tracks that clock in between 8 and 9 minutes, and with one clocking in at 12 minutes. I remember putting the album on my little old portable CD player and then, my eyebrows and jaw dropped right to the floor.

It’s this combination of late ‘70s/early ‘80s Album Orientated Rock (AOR), Symphonic, Prog-Pop, Electronic Dance, and Metal thrown into the mix. It’s a strange mix, but it works well to blend it in together and closing your eyes and imagine it is 1975 all over again. Alongside Joost, he brought along Pianist Robby Valentine, Violinist Myrthe van de Weetering, Guitarist Sebas Honing, and backing vocalists Emmy Van Gemert and Scarlet Penta.

Confined starts off with a gentle acoustic/string quartet ballad in the styles of Kansas’ Point of Know Return-era for the first 4-minutes before kicking into overdrive with the elements of Power Metal thrown in and it’s a speeding rhythm punch that Sebas heads into intense riffs and soon to be sing-along sections in the chorus. The lyrics hit with what they have done and the damage they cost in themselves by making them their own worst enemy and the music itself hits like an eruptive bang with an explosion at the right time!

The electrifying and dance-like yet thumping and pounding melodies of Judith, which I think is the character on the front cover of the album done by Emmy herself. Electronic Rock and a cross between ABBA meets Queen’s golden-era from 1974-1976 period, shows Joost writing a mini-opera about her on her obsession with her looks and how she controls and the love of the person’s feelings for her, is disturbing, but it can rock like a shining diamond.

Not to mention that Operatic movement and then back into the forefront to close it off. You gotta love the lyrics of “Thunder strikes! Radioactive Sky!/An arrow through my head/We mourn the fallen 2-14/It betrays! But what does it betray?/A trace of care or love/I’m looking at the smile on your face/But after a second or two: disappear!” You could tell that the guy is really in love with this woman.

Opener, Play the Game starts off with the ‘80s futuristic dystopian atmosphere with synths setting the heavier and melodic ascending tones before delving into the styles of Kayak meets Styx’s Pieces of Eight-era meeting a modern version of Electric Light Orchestra’s Eldorado in the chorus and you could imagine the AOR sound blends well to capture the eruptive way to start it off. Joost knows his influences spot on and he is not messing around, he’s got the chops down!

Song of a Dead Bard begins with a waltz-like acoustic intro before heading into the balladry momentum featuring a Mellotron and the movement through three people into the mini-opera format, features gentle piano and guitar with soaring melodies that you can imagine essence of The Beatles thrown in. And Scarlet Penta’s vocals as the first person, is like a flower ready to burst.

The way she sings is chilling and emotional and I was really amazed of how she nailed the part in the suite and not just the she sings, but getting inside the character’s head and she’s asking the person to sing about as a spirit and thanking them for everything they have done. The closing 12-minute, The Hand of Time is a bitter-sweet finale to close the album off.

The Queen influences along with City Boy, flow in as Sebas goes into the mind of Brian May and feature calming ballad structure followed by more of the climbing rhythm movements that it’s a way to end it up climatic curtain call to a roaring applause before delving into effects of people talking, helicopter noise, and steam pumps. Overwrite the Sin is almost like the mini-Rock Opera style that Joost has written on here.

He is also with the Prog-Metal band Equisa which features Sebas Honing also. But I’m getting ahead of myself. It is soon going to be one of my favorite albums of 2016 and there’s going to be a lot of competition on what will be album of the year for the end of the year. It captures the power and the glory that Joost brings into his songwriting and I hope he continues to do more.

If you love bands like Queen, City Boy, ABBA, Ayreon, and Kansas to name a few, then buckle your seat-belts and enjoy the album adventure of Maglev’s Overwrite the Sin.

Monday, April 18, 2016

Ampledeed - Byob

Ampledeed are one of the most mind-blowing Progressive Rock trio’s to come out of California that released their second album this year entitled Byob. I’ve always wanted to check their music out for a good while and I’ve heard some samples of their music and was completely blown away right from the very start. From the moment that my earbuds went into my ears, I knew straight away I had to buy some of the music right from the get-go.

The band formed back in 2011 that would perform late night jam sessions at Cal Arts College in Southern California which consider Aaron Goldich, Max Taylor, and Luis Flores. They would perform in various sections between the practice rooms, dance studios, art studios, or the main gallery in where the trio would get away to play obscene loud music and work on their skills. They released their debut album back in 2013 entitled A is for Ampledeed.

And soon, they received word-of-mouth and attention the prog community here in the States and around the world in different regions. As I’ve mentioned before, I’ve heard some of the samples of the music and I ordered it straight away from the Kinesis website. There are 11 tracks on here and it clocks in at 58 minutes. And from the moment I put the CD on for Byob on my old portable CD player, I knew it this was going to be one of my favorite bands right from the get-go. The album’s title means Bring Your Own Booze (BYOB)

Canterbury, Prog-Pop, Ascending Melodies, and at times Symphonic, it’s all there! And man can Ampledeed bring the music to a standstill. I can hear the twist between early Genesis, early Floyd, and Harry Nilsson through flowing beauty structure on Garden Gnomes. I love what Luis Flores brings into his guitar as he gives the soundscapes in the midsection in the realms of Dark Side of the Moon that comes to mind with a hope to see the light at the end of the tunnel.

Opener, Triple Cancer Moon is a combination between male and female vocal arrangements in the styles of MoeTar’s music as tempos get mid-fast thanks to the keyboard styles between Organ and Synth. It changes as they go into time-changing rapid yet fierce midsection instrumental part as it goes through a speeding various momentum on where they would head into next.

It feels like we are inside the patient’s mind on what they are going through and the music and lyrics sets the tone of what is happening to them. At the end, it gets darker with heavy guitar riffs and synths setting to see what will happen next through the difficult time signatures in an ominous tone.  

My Plane sounds like a thumping piano rock up tempo groove in the styles of the Beatles Sgt. Pepper-era while I Wil Not Wait which features Ally Taylor on vocals, nailing those beautiful arrangements as the piece has some of the Canterbury elements thrown in there in the style of Egg’s Dave Stewart in which both Taylor and Goldich pay homage to.

But it’s On My Mind the Gap for Kids in the Hall of Fame by Fame in which Max Taylor goes into this soundscape on the Rhodes with a surreal eerie atmosphere. The closer Muffin Man, in which they pay tribute to John Howard’s Kid in a Big World-era with it’s late ‘60s psychedelic-pop and glam-like intro before delving into an orchestral adventure that show gentle and wonderful brainstorming ideas with the pop approach that nail down on what is on here.

I love what is on here. They bring onto the Kitchen table with the Progressive and Psychedelic approaches very well and I highly recommend checking their music. If you love bands like the Beatles, Genesis, Harry Nilsson, and MoeTar, Ampledeed is the band to explore through the cosmos.

Friday, April 15, 2016

Golden Void - Golden Void

Golden Void are from the San Francisco Bay Area that launched back in 2010 by Earthless guitarist/vocalist Isaiah Mitchell. Alongside Isaiah, the band considers Camilla Saufley-Mitchell on Keyboards and Vocals, Aaron Morgan on Bass, and Justin Pinerton on Drums. The band carry the psychedelic, spacey, and doom approach with a hypnotic bliss that will send take you into different areas that will make the eyebrows go up. So be prepare to experience a sonic adventure that will make you engage a jump to sub-light speed.

I first became aware of Golden Void’s music when Sid Smith, mastermind and expert of King Crimson who does the blogsite, Postcards from the Yellow Room and Podcasts from the Yellow Room did a review on them (their second album, Berkana) for the Going Weird website last year. And I’ve heard some samples of the band’s music, and I was very impressed of what I was hearing. It was like this a combination between of the band doing a score for the Ren & Stimpy short, Space Madness and something straight out of the mind of comic book artist, Jean-Giraud Moebius.

Their sole self-titled debut album released in 2012 on the Thrill Jockey Records label, is a mastermind journey into the infinite. The ascending Shady Grove sees Golden Void delving into the mind of Hawkwind’s Hall of the Mountain Grill-era meets Ash Ra Tempel meets Black Sabbath’s Sabbath Bloody Sabbath-era while the blaring shuffle road adventure gives it a sensational punch and delving into a bluesy workout by Isaiah himself in the style of early Floyd for The Curve.

He channels the styles of Manuel Gottsching, David Gilmour, and Tony Iommi. He is nailing those twist and turns to give it that heavier approach and he nails it each time he goes through the rhythm and lead improvisations on his guitar and knowing there is no stop sign. The 3/4 time signature psychedelic waltz for the Art of Invading, shows the Jazz and roaring Organ punches that Camilla does followed by Justin’s jazz-like drumming to really head into see and where Isaiah goes and follows in those areas.

Jetsun Dolma has an eerie yet dreamy and mysterious tones between Isaiah’s wah-wah voyages followed by Camilla created the spooky atmosphere on her keyboards. Morgan and Pinkerton create the styles between early Pink Floyd from the More and A Saucerful of Secrets-era that shine through the Post-Barrett period that channels their underrated period from 1968 to 1971 before hitting the big time with Dark Side of the Moon.

The galloping rhythm comes at you with a brutal kicking energetic level for Badlands. Justin nails those drum chains like a Rabbit hopping at 600 miles per hour from here to the stars. I can hear the touches of The Man with No Name trilogy as if Golden Void had done a score for one of Sergio Leone’s spaghetti western films, but with a killer soundtrack.

Overall, this is an amazing debut from the band they launched back four years ago. And it is quite astounding on where the band take their journey into the worlds on where they go to. This is the band that are following the Psychedelic, Prog, and Doom torch and making sure it doesn’t burn out and I hope to hear more of them for years and years to come.