DIFFICULT TO DEFINE NEW ROCK
(COMBINED WITH PSYCH,POP/ROCK,WORLD,..)
review page

The Moon Upstairs  ('07)
The Luck Of Eden Hall ('07)
Our Brother The Native ('08)
Parker, Alan / Cameron, John : "Afro Rock" ('73/'08)
Akira Ishikawa & Count Buffalo :"Uganda" ('73/'08)
Ur / Electromagnetic Azoth / Ishraqiyun ('07,'07,'07,'07)
Lights ('08)
Sun City Girls ('88/'08)
The Echocentrics ('11)
Orchestra Of Spheres ('11)


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Gifted Children Rec.    The Moon Upstairs : Guarding the golden apple (US,2007)***°

Moon Upstairs redefines indierock in that way they are like having a guardian angel from the pepper-pop sprayed sixties Beatles-dominated Apple label period ?? producing their sounds and inspirations (they also tour with the Silver Apples, with a new recording on the same label ; -this latest group was one of the most extravagant and greatest sixties pop groups you can find-).
Moon Upstairs gives the feeling that using hints to 60s and early 70s sounds (from pop to harder edged rock) isn’t just a wasted, style imitating nostalgia, but can enrich a “nowadays” (yes we belong here, and like to be here and now) feeling. This is not a looking back. The group is able to bring in vocal harmonies and guitars with a few elements of a late Pink Floyd feeling to great effect, but not everywhere. Elsewhere, they also use hard psychrock guitar arrangements in their songs. And still, with all this, they don’t belong there, but belong HERE, in this world, expressing poprock for the new generation, sophisticated with something of the old one.
Also great to hear are nice string arrangements more often, which are done by Lavender Diamond's Steve Gregoropoulis. While the songs with melodic pop strength are the core, there’s room for instrumental parts with no real pretention, with attractive results. The last track is a bit more acoustic.

Audio : http://cdbaby.com/cd/moonupstairs & http://www.myspace.com/themoonupstairs
Homepage : http://www.themoonupstairs.com
Info on group : http://en.wikipedia.org/wiki/The_Moon_Upstairs
Label info : http://www.giftedchildrenrecords.com/moonupstairs/index.html
Other reviews : http://laidbackness.wordpress.com/2007/07/05/the-moon-upstairs-guarding-the-golden-apple/ & http://www.stonerrock.com/forums2/...
Remarks on http://penny-ante-penny-ante.blogspot.com/2007_08_01_archive.html
Myopic Rec. The Luck Of Eden Hall : Subterrene (US,2007)****

This group succeeds for me to find a perfect richly balanced style with a pop/song based core, expressed with rather progressive ideas and instruments.
The songs are tastefully developed and sung slowly, to give space to harmonious echoes and combinations between effects, guitars (including a bit of fuzz) and analogue keyboards (including mellotrons), creating always warm well produced effects that, in an inspired emotional way, take part of the development of the compositions. In that way sounds harmoniously develop along the way in each song and composition, so that the general group sound always has a rather progressive development with it.
One of the better post-rock sounds with the right taste for sound-based roots known from older prog/psych genres.

Homepage : http://luckofedenhall.com/ with audio : http://luckofedenhall.com/music.html
& on http://www.myspace.com/theluckofedenhall
& on http://cdbaby.com/cd/luckofedenhall
Other review : http://www.terrascope.co.uk/Reviews/Reviews_April07.htm#LuckofEdenHall
Web Of Mimicry  Ur : Personnae : Halloween /
The Electromagnetic Azoth : The Left Hand Of Nothingness (US,2007)****

Secret Chiefs 3 very much became a roaring transcending group that needed various names for the many faces of the beast, each head directing to different astral sonic projections.

Under the name of The Electromagnetic Azoth, this group for this particular recording consisted of Eyvind Kang on viola, Ches Smith on drums, Mike Dillon on tabla, vibes and percussion, Shahzad Ismaily on bass, Jesse Quattro on fear vocals, Trey Spruance on synth, dulcimer, autoharp, bari guitar, Timb Harris on violin, Rich Doucette on esraj, Anonymous 13 on melodic voice (added afterwards), with guest Randall Dunn of the SunnO))). On the other side the group is listed under the name of Ur.

Side A, “Personae:Halloween” sounds like the opening theme tune of a horrifying soundtrack with minimal piano that has an Italian horror rock association like with any Goblin/Morricone related soundtrack, which becomes rhythmically faster and terrifying, with tiny psychedelic effects and surf guitar details added, and fitting vocals. It is in fact as they say a “Spring reverb twang and fuzz pedal rendition of the classic 1978 John Carpenter theme” related with the Halloween movie (Morricone). It was originally intended to be listed on Secret Chiefs upcoming album, “Book of Souls”.

Side B with “The Left Hand of Nothingness” sounds like a next step into a similar and easily to visualize movie, which goes deeper into some fear visions-provoking sound concentrations, tensions, within a certain staying calm tension it inhabits the expressions of a fear-evoking event.
It is a collage of elements that follow, come and go and combine themselves with eachother : Cuckoo clock tickings, drum rhythms, schoolchildren in panic background sounds : coming and going, as with the remembrance of a trauma, terrifying echoing bass effects tensions, electric bass, keyboards, returning contemporary string chords exaggerating the effects and breaths of fear, lalala-ghostly vocals, glockenspiel-playful nonsense that sound like musical boxes losing their grip on reality, disturbing metallic piano and guitar bass chords, parts with certain rhythms (guitar, bass, drums) that speed up the tension, a bit of tabla, and plugged violin strings. Many of these elements for some reason always were effective in horror movies, and with the right use always will be, with a certain beauty of sound which makes this even more effective...

Limited to 1000 copies.

Info on http://www.webofmimicry.com/...      next single->
Web Of Mimicry  Ishraqiyun : "Balance of the Nineteen"
/ The Electromagnetic Azoth : Ubik (US,2007)****'

Side A of this single presents Secret Chiefs 3 as Ishraqiyun as a live version session of the group (with 2 members missing).
Here the group  consists of Eyvind Kang on viola, Shahzad Ismaily on bass, Ches Smith on drums, Trey Spruance on piano, keyboards, saz, percussion and Rich Doucette on sarangi.
Like the group name and cover suggest the music has some Arab /North African / Middle Eastern association. It is as if it presents a filmic but still rock associated well produced version of a traditional, with respect to it, an original mixture typical for the talent of the band.

Side B, “Ubik”, associated with The Electromagnetic Azoth is a brilliant rhythmically collage-like moving electro-acoustic mix based on an inspired solo performance by guitarist Bill Horist, a recording which on its own sounds like a terrific sound meditation.
In this form we hear continuations with beer flowing in glass, and a few splashes of water, bizarre but beautiful harmonies with exploring notes on prepared guitar, which are built up in rhythmic pulses.
The guitar sound like a range of instruments, from guitar to dulcimer to something more industrially metallic, in a way this evokes some tones I associate with what I have heard on Einsturzende Neubauten’s “½ Mensch”, but here it is like being presented in a remixed form and a different reshaping and ever changing remix.
At different times the rhythmical evolutions get a more ethnic-like format, while elsewhere electronic bass rhythms appear. Also floating are some words or whispers, or harmonic sonic baritone vocals.
The whole track is rhythmically enough to be called “modern music”, and not just free avant-garde, inhabiting the ear-driven composition sound meditation.

1000 copies only.

Info on http://www.webofmimicry.com/... (with audio)           next single->
Web Of Mimicry  Ur : Circumbulation / Labyrinth Of Light (US,2007)****

The third single is presented with some kind of mystery. The cover makes this seem as if this is a Turkish recording from around 1972, from a guy called Ebi Yürt.

Side A is mixed like a live recording, somewhat in a Turkish rock style (electric saz), with a bit of spacey synth effects coming and going, and other bits of some organ, electronica, and Arabesque strings.
The other side is a different version, played by the same fictive progressive band, this time with some surf-and such associations.

With a blink in the eye this is of course no other than another genius idea of the Secret Chiefs 3 community. (700 copies printed?).

Info on http://www.webofmimicry.com/... (with audio)next single->
Web Of Mimicry   Ur : Kulturvulture / Drive (US,2007)***'

This is another single associated with the Ur group, and UR-religious cultural aspects of mankind. It is presented as a lost single from the German Münich scene in 1978.

It is a relatively kept simple looped repetition on dulcimer, with a semi-eastern effect, a sequenced bass which is easily associated with German music, remembering the krautrock area with a rather primitive more minimalist pop fashion, a style from the era going into early german wave pop with it, with Kraftwerk and early The Cure associated echoed percussion and simplified electronic affects.
Also greatly provoked is the German accent on the few occurring words, or is this really a German band and single ? The little bits of Middle Eastern guitar touches added on the background convince me this is not. This is no more and no less a kind of successful and intelligent joke (for those with musical ears) playing with musical origins and inspirations.
Side B gives a more moody poprock version variation as if inspired and improvised by the same band, with a hardly noticeable hesitating rhythm, typical for a post-punk area that was evolving to the more depressed wavepop areas. In some way this UR area has in all its inspired simplicity its own form of a historical musical alienation.

Info on this release on http://www.webofmimicry.com/...
Info on group : http://www.secretchiefs3.com/
& http://www.myspace.com/secretchiefs3
Label : http://www.webofmimicry.com

Other Secret Chiefs 3 releases are reviewed on
http://psychemusic.org/SecretChiefs3.html
Fat-Cat Rec. Our Brother The Native :
Make Amends for we are merely Vessels (US,2008)**°

With this young trio’s new release, they have made a rather consistent album, based upon a organic ambient moody tripiness, built with a fundament of stretched guitars mostly on the edge of feedback effects, and a bit of filmic ambience, with textures of piano or keyboards, but also with the re-appearances of certain choir-like of vocal arrangements, just like in contemporary / new music. The filmic passages evolve also to some parts with simple minor chords moods, played by guitar. Within this evolving structure, rather emotional moods swell, with two sorts of voices that occur like other instruments : one is sad, as being one with the minor chords, while the other voice shows aggressive throat screaming emotions usually closer to forms of expression in metal or trash, but moodier and with inner needs for certain emotional expressions, while they are dissolved into the background of its stretched landscape. Some of the harmonic choir choruses accompany some of these appearances as well, while bringing these individual cries to a bigger group’s sound context, as one social entity.

Our Brother The Native is John Michael Foss (guitar, drums/percussion, piano, bass), Joshua Bertram (guitar, bowed banjo, sounds/samples, synth, vocals ) and Chaz Knapp (piano, guitar, bass) with guest Kayleen Nilsson on viola.

Audio : http://www.myspace.com/ourbrotherthenative
Label info : http://fat-cat.co.uk/fatcat/release.php?id=243
Info on : http://www.thespacelab.tv/...
& http://www.chartattack.com/damn/2008/01/2308.cfm
& http://strangeglue.com/our-brother-the-native-prepare-new-lp/3185/
& on http://iprefertheobscureremix.wordpress.com/
& http://angryape.com/artists/our-brother-the-native
Other reviews : --

Previous release reviewed on http://www.psychedelicfolk.com/acidfolkreview15.html
private Sun City Girls :
Singles volume 1 (You're never alone with a cigarette) (US,rec.1988)***

Sun City girls have built a whole underground empire of rare releases almost with the flair of mysticism, unreachable for the hands of ordinary listeners, keeping their names still more known than their music. This is a compilation of some of their singles combined with unreleased recordings from around the same period, which is mostly from july 1988, except one recording from a year earlier, all mixed in 1994.

Here it is most clear (-this is not a standard for their recordings-) that and how they are a trio with Richard Bishop on electric guitar and Alan Bishop on electric bass or once, acoustic guitar on front, with Charles Gocher on drums and percussion, often a bit more quietly following after. All three members more or less improvise, theme and tune related or not, with expansions, and with each their own individuality, skills and skilful ideas. Influenced by pure improvisation, surf / western / ethnical traditions, not only the electric guitar makes their mark, the electric bass succeeds to do this as well.
A few tunes are followed more closely with more linear harmony to the tune lead. Only the last track is a longer improvisation of 12 minutes…

Audio : "Amazon One","Wild World Of Animals"
Homepages : http://www.myspace.com/suncitygirls
& http://www.suncitygirls.com/
Twisted Nerve Lights (US,2008)**°'

The darkest release to date coming from Greg Weeks’ Hexam Head Sound studios is from this new-“progressive” quartet, who improvise on electric guitars, drums, bass and Paint Box (??) on song related tracks with only some additional electric piano/keyboard textures.
The vocals are rather sweet like folk, but are cooler/colder in essence, also have ethereal additional arrangements.
The rock band’s sound is more difficult to define. The songs have something of an intuitive evolution, led by the song. They hang between a dark density, while still keeping a post-chamber-like feeling with its electric guitars, bass and drums improvisations and the spare textures.
As modern rock this is a “progressive” move to more intuitive, psychedelic music, without belonging anywhere. Also the general musical harmonies maintain the creation of a strangeness hanging on now and then.
It is a surprise when for instance on “Here We Go” the song becomes more recognisable, here as if this is a goodbye to sing and hum along, somewhat sad and empty. Also the last track drones and improvises a bit with guitars and vocals before a last wohohoo-humming, and a last vague rocking to a song conclusion.

The recording sound is terrific, which makes some of the recording sound much better and enjoyable than when it would have had it remained with some parts, like an unnoticed private product. 

Audio : "At Midnight","Branches Low","For You","Lick the Blood","Sing It O-O-O, part 2"
& http://www.myspace.com/lightsmakemusic
Label entry : http://www.twistednerve.co.uk/discog/tn082.php
Other reviews : --
Tummy Touch    Alan Parker / John Cameron : Afro Rock
-KPM music recorded library- (UK,1973,re.2008)****

With this great release I wondered how ‘library records’ came into existence. I don’t think commissions to make such LPs still exist.*
This specific ‘KPM 1000 series’, to which this record belongs, were transcription discs produced to be used for film, television and radio industries. Especially the albums with Jazz pianist and famous arranger John Cameron are most sought after, and with justification.
‘Afro Rock’ proves perfect timing and arrangements with deep contrasts and with every note equally well balanced and still with an incredible groove. John Cameron had his own session players with which he worked more often. For this album this surely was a great band (although nobody was mentioned on the album), they surely managed to make it work perfectly : reeds player Harold Mcnair, Tony Carr on a variety of percussion (most noticeable on congas ; -note he also played congas on Hot Chocolate’s ‘you sexy thing’-). Bassists include Danny Thompson (Pentangle,..) on upright bass, Herbie Flowers and Brian Odges on electric bass. Alan Parker (credited here for having written the first six tracks) on guitar, but also Colin Green.

‘Afro Rock’ is not exactly what the music is, but it still is well arranged, even very danceable rock with jazzy & lounge elements, built from groovy bass (to say just something about it, played fast at times fitting then with the Afro idea), electric piano, jazzy flute. It is especially the funky and wahwah guitar scores, the bass interpretations, and the conga rhythms which should associate this groovy, rather jazz lounge music with the with Afro-rock associated deeper and exotic imaginations. John Cameron with its vibraphone and electric piano has the most smooth jazzy lounge vibe, while Alan Parker’s bring in the most vaguely Afro-funky grooves to it, while the general arrangements themselves just capture it all. The brilliance of the album expands the use of this library music to dancefloors, but also to pure listening entertainment, even suitable for repeated listening pleasure.

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-John Cameron besides the library albums and his career as a pianist, also wrote some successful TV movie scores, (like ‘Kes’) and arranged lots of music like Donovan’s (Sunshine Superman/Jennifer Juniper), and had other numerous commissions. He also got also some fame with his band CCS.- 
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* John Berg : “My understanding is that "library music" is the term for music recorded as marketable fodder for those seeking music to comprise soundtracks for movies and TV shows. This remains a viable industry, indeed numerous musicians who came to our attention via the bands they were in during the '60s and '70s have embarked on continued careers "behind the scenes" in providing such "library music" for producers and directors seeking audio for their visual productions. What has drawn our attention to the genre is the discovery that some of our fave bands -- let's say The Pretty Things -- we making some cash on the side by creating music for these albums under pseudonyms -- e.g. "The Electric Banana" -- that flew beneath our radar for many years. Now we of course know that some of the Pretties best late '60s music was found on those "library albums". Likewise, keyboard player Alan Hawkshaw and his "Mohawks" ensembles played the same game, doing lots of music that was not distributed via the standard commercial realm of albums and singles (sold in record shops) but rather as licensed soundtrack music, apparently a steady and lucrative way of putting bread on the table.”

-Keyboard specialist Alan Hawkshaw is one of the most famous library composers who worked more often with Alan Parker. One cooperation is 'the Blow Up' compilation. Alan Hawkshaw co-owned the label Themes International, with drummer Barry Morgan and guitarist Alan Parker.
Alan Parker was a well known UK musician of the time (solo, but also in Blue Mink, The Congregation), also appeared on numerous albums and with some big names in the pop business (mostly uncredited) plus apparently on sundry "library music" packages that were not available to the general public via the record shops of the day. I have noticed at least two solo albums : 'Ugly Custard' (1970) and 'Guitar fantasy'.
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Audio : Alan Parker : "Frozen Stream",  John Cameron : "Afro Waltz
& on http://www.vadimmusic.com/... & http://www.soundsoftheuniverse.com/...
& http://www.fatbeats.com/...
Info on http://www.dustygroove.com/... & http://www.moviegrooves.com/...
& http://heavyweightcrates.blogspot.com/2008/02/kpm-afro-rock.html
Label listing : http://tummytouch.greedbag.com/buy/afro-rock/

About John Cameron : http://www.vinylvulture.co.uk/pages/john_cameron.htm
Homepage John Cameron : http://www.johncameronmusic.com/
About 'Ugly Custard' LP : http://www.moviegrooves.com/shop/uglycustardparkerflowers.htm
More info on Alan Parker : http://en.wikipedia.org/wiki/Alan_Parker_(musician)
About Alan Hawkshaw : http://www.answers.com/topic/alan-hawkshaw-1?cat=entertainment
& http://www.vinylvulture.co.uk/interviews/hawkshaw.php
& http://ourworld.compuserve.com/homepages/johndyhouse/lib_mus.htm
& Mohawks : http://www.moviegrooves.com/shop/thechamp.htm
Blow Up with Alan Parker : http://www.blowup.co.uk/records/...

On library music : http://www.vinylvulture.co.uk/library/library.php
Tiliqua  Akira Ishikawa & Count Buffalo :
Uganda -dawn of African Rock- (UK,1972,re.2008)****'

At first listen you think that “Uganda” is rather jammed/improvised collection of rather psychedelic ideas mixed with traditional African ideas, but it’s much more structured and complicated than that.
Ishikawa Akira around that time had been jamming in Tokyo nightclubs, had already developed something that remained a long time interest and investigation in African music. He attracted the attention by someone of the Uganda embassy in Tokyo, who invited him to visit his country where he was treated as an official guest, and where he played and toured and lived with local musicians who taught him also more African rhythms. When he returned to Tokyo, with lots of African percussion instruments (including Zebra hide drums, thumbpianos and African harps), he composed with guitarist Takeru Muraoka and some band members of his previous group, Buffalo, an album inspired by African music, but mixed with a touch of psychedelica, rock, jazz and funk. A great example in their mind was the American trio Lifetime -with John McLauglin (guitar), Tony Williams (drums) and Larry Young (organ) and later for a second album with Cream bassist Jack Bruce-, a band who wanted to expand existing styles, something they now wanted to do as well with African music. The African element is not just the vague idea of a sort of African jamming but the true essence of it, which in parts is left sparsely vividly on its own (with percussion and sing-along singing), divided in themes, while elsewhere, in the bass lines for instance it is adapted outside the rhythms, into the melodic rock themes.
The music is divided into different parts, with breaks, but if you listen closely they hang together as interesting compositions, with times for fuzzing bass intros, African rhythms, wild electric guitars (sometimes a few tones too high, energetically rather freaky, or with some distortion or fuzz), Afro-rock modes (guitar, bass, drums, percussion), hand clap and sing-along response with African percussion, small free parts. My favourite part is the third track, “Vita” which starts with a composed Canterbury-like melodic theme shared speedily by guitar and bass, which is repeated in the middle and makes the conclusion too, a part with thumbpiano lead, African percussion lead, singing, African traditional themes, and a sudden part with a Japanese koto-sound mixed with African instruments, a true inventive and unique Fusion. The last part is a funkier and groovier jam.

The line-up was Ishikawa Akira on drums, percussion, Mizutani on electric guitar, Larry Sunaga on percussion (he was a respected Latin percussionist), Maraoka Takeru for some compositions, Mizutani Kimio (Blue Ace/Out Cast/Adams) on fuzz/distorted guitar, Chihara Hideaki (=Takebe Hideaki, from Adams) on bass.

The liner notes mentions that Ishikawa Akira didn’t stop with his interest in African music. He arranged tours for African musicians, opened a restaurant with African food and live African music, continued to visit Africa many times, where he set up a project to support African street children through music, and finally retired in Kenya, where he died in 2002.
This album was taken from the master tapes and was done in cooperation with the musicians. A unique artefact.

Other reviews : http://blogcritics.org/archives/2008/10/15/091927.php
& http://www.idiomag.com/peek/44846/wovenhand
& http://www.waysidemusic.com/...
& on http://www.dustygroove.com/i...
Label info : http://www.tiliqua-records.com/label/label.html
Abiguity Rec.  The Echocentrics : Sunshadows (US,2011)***'

The Echocentrics is a project from producer Adrian Quesada (Brownout/Ocote Soul Sounds/Grupo Fantasma). There surely is an interest in certain exotic flavours, just for the groove and mood of it. The first instrumental intro with several layers of acoustic and electric guitars and percussion and some keyboard textures and glockenspiel is an almost gamelan-like theme that is only built up for the groove. This track is finished before it finds another way home. Home is somewhere in the warm parts of Latin America. Adrian loves these Spanish and Portuguese singers. Here are invited Tita Lima from Brazil and Natalia Clavier from Argentina. He builds a soulful pop/rock carpet for their almost sensual singing. A touch of brass, the psychedelic Farfisa organ and occasionally mellotron, another occasional string arrangements and mostly groovy directions are dominating, this has certain hints towards the attraction of French pop too besides the different languages. Elsewhere we see a dusty desert of Morricone with guitar and death bell, overbid by the grooves and swifts to dance and cocktails. This creates a terrace and stories, to brush of the dust and look into the eye of the bronze tinted lady.

The album will be released together with a limited edition 7" vinyl single.

Audio : “Esclavo & amo”, “Dudar” 
& https://www.ubiquityrecords.com/...
Intro : http://www.parisdjs.com/index.php/post/The-Echocentrics-Sunshadows
Label info : http://www.ubiquityrecords.com/...
Homepage : http://echocentrics.tumblr.com/
Fire Rec.  Orchestra Of Spheres : Nonagonic Now (NZ,2011)****

If I notice some kind of bizarre group playing with ethnical inspirations honestly, I would like to check them out. And Orchestra Of Spheres is such a group, having found their own sound from which just a few parts let’s say can be found in other music forms, their music is based upon the hypnosis of rhythm, the African way of call-and response themes and the western way of psychedelia with some other stints here and there.

The first track seems to be inspired by the kind of hypnotic music that can be heard by some new Congo bands using their complexities of rhythms and the (slightly distorted) sound of the electric kalimba/thumbpiano. With additional percussion and an electrified voice and backing responding male and female voices also the Orchestra Of Spheres can be as much groovy as these best African bands performing in their ways. The rhythms are interpreted and played well. The next track continues to sound well with the rhythms, plays with the ideas of the electric distorted guitar leads of Touareg music, with the responding participants. This is mixed with alt-rock ideas, like interesting breaks effects in the electric guitar and spoken word, counting. The next track improvises further with a simple electric guitar lead theme used for real call/response vocal band contributions by male/female parts. Weird electronic sounds interplay here along too. Rhythmically it plays a bit along further with ways of repetition and a second chapter of singing responses, before the rhythm increases and the effect becomes entirely psychedelic in a jammed way, then still concluding calmly. Also the next track is very electric African, with a fast rhythm. An after effect of the electronics remains here for a while, as pure electronics music with some female spoken word, a different, still challenging or creative area again added by someone who truly knows how to pick out some ideas for/of/from (other) interesting music, to reorganise and reinvent this into this new, this own context! The next track then, called “Hypersphere”, is based upon another rhythmic melody theme, but in a more western way this time, with use of very psychedelic guitars and fast subdued bass. “Isness” adds another variation of an electric guitar lead theme repetition, in a semi-African way, with complex new rhythms added this time, also the bass lines continue here (is this an electronic sequenced bass?). The male and female singers sing like with calls and responses, this is again rather groovy. The next track is an oddity with rhythms of a drum improvisation theme, with percussive improvisations on bottles and also on weird electronic sounds (including bass), a rather free or jammed track played with many instruments, perhaps partly on digital drums. It is a long percussive track. We can hear some crazy shouts here as well. “Boltzman Brain” is based upon a drum loop solo too, a guitar theme is repeated as well, vocals are added, like modern sound rap repetition, -something about brain disease or damage-, before some gamelan percussion is added, and some psych rock wah-wah guitar. The last track is an uptempo improvisation with another hypnotic version of an electric guitar based repetition, once more into the semi-African way, with more layers of drum/bass bass sound, like a hypnotic jam. Clearly this band show something of live experience with the pleasure of playing and acting, because there’s something attractive, colourful, theatrical about them too. Yes, I love them. I am glad I discovered them.

Audio : http://www.youtube.com/...
Info & audio : http://www.myspace.com/orchestraofspheres
& http://orchestraofspheres.bandcamp.com/
& http://www.piccadillyrecords.com/...
Homepage : http://soundexplorers.co.nz/
Label info : http://www.firerecords.com/site/index.php?page=release&releaseid=00000000826
Description on https://www.forcedexposure.com/...
Photos : http://www.soundexplorers.co.nz/artists/orchestra-of-spheres/
& http://www.thisisfakediy.co.uk/articles/photos/orchestra-of-spheres-atp-nightmare-before-christmas
Other reviews : http://www.subba-cultcha.com/album-reviews/article.php?contentID=27175
& http://www.normanrecords.com/cd/128980-orchestra-of-spheres-nonagonic-now
& http://www.nzmusician.co.nz/index.php/ps_pagename/album/pi_albumid/1550
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