Scherzoo – 01. 2011 France

Scherzoo is lead by Francois Thollot, whose Contact album was one of the finest albums from the last decade, as noted above. Thollot has been in a couple of bands since then, and I've been wondering what he would come up with on his next album. With Scherzoo he's back behind the drum kit, with a full band in front of him including guitar, bass, piano and alto sax. Make no mistake though, this is Thollot's band, and these are his compositions.

The music definitely has a Zeuhl underpinning in the rhythms, though the lack of vocals (wordless or otherwise) drifts the music further from the source. The heavy guitar reminds one of Eider Stellaire, though again I'd say Scherzoo are more Avant Progressive than Zeuhl. In the end they come across like recent Nebelnest with a dash of the Dutch group Blast. If I was to nitpick, I'd say that on the first two tracks (roughly 15 minutes), the sax is a little unhinged for my liking. Too much squealing, squeaking, and honking for me. But fortunately the remaining 40 minutes demonstrates some restraint and he seems more a part of the ensemble, rather than an instrument that stands out and needs to tighten a screw. A very good album, and I'm most curious where Thollot goes from here. Count me in as a fanboy.

Ownership: CD: 2011 Soleil Zeuhl

7/28/11 (new entry)

Dasputnik - Cyclokosmia. 2011 Finland

And really, there isn't much to add here from my Parapsykosis review, other than Cyclokosmia is even better than the debut! I don't think I've ever heard a band catch a heavier groove, while maintaining control throughout. I keep expecting the sax player to go bonkers, and start screeching and howling to the point of nausea. But he never does, preferring to maintain an almost smooth jazz tone, while holding up the melody lines amongst the chaos behind him. Meanwhile the rhythm is changing every 30 seconds, while the riffing  (non metal) guitar keeps shredding these amazing complex charts. Like Ozric Tentacles on speed. This juxtaposition of styles is absolutely brilliant, and is perfect for my set of ears. When Dasputnik combines guitar and sax for the unison melody, I'm most reminded of those great German bands of the early 70's like Brainstorm.

The track '...Phantom Wakes' has to be heard to be believed. What a smoker!

Ownership: CD: 2011 Art Safari

7/27/11 (new entry)

Dasputnik - Parapsykosis. 2009 Finland

Dasputnik are an energetic and tight Ozric Tentacles styled space rock band, with furious guitar leads, synthesizers, a crack rhythm section and melodic sax. This latter element is a real differentiator from the pack. Up there with other great Finnish bands like Hidria Spacefolk and Taipuva Luotisuora. Also catching a vibe from the Hungarian Korai Orom in their more kinetic sequences. This album is awesome.

Highlights: 1. Hzz (10:31); 2. Electromagnetolithic Experience (7:13); 6. Space in India (11:22)

Ownership: CD: 2009 Art Safari

7/27/11 (new entry)

Poobah - Let Me In. 1972 USA-Ohio

Poobah are perhaps the best example of the hard working, musically competent – but unsigned – 1970s Midwest rock group. Hailing from Youngstown, OH, Poobah possessed a rare talent in guitarist Jim Gustafson, who could jam with the best of them. They managed 3 self-released albums spanning from 1972 through to 1979 (though they recorded even more in the interim periods). Let Me In is a raw, but very powerful, hard rock album and can easily be seen as the blueprint for which most Midwest rock albums sound like. The sketch of a drunk puking across the bathroom is the perfect metaphor for the “life of an Ohioan rock n roller”.

Favorite track: 'Bowleen'
Favorite bonus track from the Ripple CD: 'Make a Man Outta You'

Personal collection
CD: 2010 Ripple

The CD is a good one with 12 bonus tracks, lyrics, and previously unseen photos from the high quality Ripple label. And what a cover, eh?

Ravjunk - Uppsala Stadshotell Brinner. 1977 Sweden

Rävjunk were one of the pioneers of Sweden's nascent punk scene, though their sole album only featured scant evidence of this style. After the first 3 short vocal oriented punk influenced tracks, most (excepting one out of place swampy blues number) of the remainder is long form guitar based jamming, along the lines of early Guru Guru, Can, or an instrumental Stooges. The Krautrock influence becomes even more pronounced on the bonus material that closes out Disc 1 (20 minute track) and all of Disc 2. The liner notes confirm this is no accident, and describe how the band was torn between becoming the Swedish Sex Pistols or a terminally non-commercial instrumental underground act. The former was the direction they took afterwards, but the latter appears to have won out as the band was pretty much done by 1980.

If you are a fan of their psychedelic side (like me), then the CD is a must own. The original album could have easily been a triple LP, based on the strength of the material here.

Ownership: CD: 2007 Transubstans. Essential reissue.  Double CD digi-pak with extensive liner notes and photos. Tons of bonus material (90 minutes!). This replaced a bootleg CD I had prior.

Hills. 2009 Sweden

Hills are probably the closest recent band I've heard to conjuring up the spirit of the original Krautrock movement. Mistakes and all. Hills restrain themselves from the endless jam that befell bands like Acid Mothers Temple and, as noted recently, Sulatron's latest signing from Detroit: THTX. Plus Hills reintroduces the flute as an all important ingredient, starting right away on 'Death 1', adding a much needed soft lead instrument to the typical harsh textures that the genre calls for. 'Istiklal Street' reminded me of the Cosmic Jokers, though a slight 2 minute trimming throughout the piece would have helped. 'You Talk The Talk!' is a dead ringer of Kraftwerk's debut (for you kids just startin' out, that would NOT be like the Kraftwerk you are familiar with): The echoed flute, shimmering guitars and pounding metronomic drums are to die for. ' Rainship [Solregn]' is like a psychedelic Neu!. The familiar driving beat but with obvious space rock / psychedelic textures. Bonus track 'Schlaraffenland' made me glad I bought the CD just for this. Similar to tracks 3 and 4, but even more in the vein of Ash Ra Tempel's 'Freak N Roll' from Join Inn. A hypnotic space rock jam. 'Messias' is another bonus coming from a previously released cassette.

Hills have enormous potential. I highly recommend this album as it is. However, I'd like to see them tighten the ship a bit, focus on a little melody and add in some more compositional structure, as they could really put out a monster album here. They have the RIGHT sound.

Ownership: LP: 2009 Intergalactic Tactics

CD: 2010 Sulatron

7/15/11 (new entry)

Hiromasa Suzuki - Rock Joint Biwa (Kumikyoku Fulukotofumi). 1972 Japan

I maintain that Japan is hiding the most buried treasure when talking underground rock from the 1970s. I'm still hearing about dozens of albums that almost no one has any data on. Whether or not they are truly what is purported remains to be seen and heard. I recall a similar experience when going on a deep sea expedition (in the early 1990s) through the Yugoslavian 70s scene, only to find a true few that really matched what was advertised.

Similar to T. Yokota's Primitive Community album, we are at the meeting place of rock and jazz. Except the all-instrumental Furukotofumi has a completely different sound than Yokota's bunch. Definitely not a mystical experience as Primitive Community is, yet there are some fascinating Japanese indigenous moments to behold - primarily used as interludes between songs. I'd say the scales are more tipped towards the jazz side here, but make no mistake, this clearly is psychedelic rock influenced throughout. Some fantastic electric guitar work, including at least one blazing acid solo (and mixed with a biwa no less) amongst other excellent amped up shredders. A definite early fusion vibe permeates as well, no doubt informed by the UK groups like Nucleus or Soft Machine. Rhodes, piano, violin and organ also get their turn in the solo spotlight. Even a little Bacharach-ian lounger, with some wonderful horn and string charts, soap opera organ and a nice toned down guitar rip. The highlight is the pounding drum, biwa and psychedelic wah wah guitar piece followed by the groovy horn charts, sax solo - and get this - all phased out ala Dieter Dirks in the Kosmische Kourier studio. There's a lot here to digest.

The below is my friend The AC's research. Fascinating stuff.

"Shiro Miyake (biwa)
Akira Ishikawa (wadaiko)
Hirasama Suzuki Trio
Kiyoshi Sugimoto (guitar)
Suzuki Takehisa (trumpet)
Takeru Muraoka (tenor sax)
Tadataka Nakazawa - (trumpet)
Tamaki Quartet

As you can see from the back cover, this "Fulukotofumi" name came from a mis-romanization on the LP itself. There is no "l" sound in Japanese, it's always a hard/trilled "r". They sound the same to the Japanese ear, so they often make that mistake when translating things. Whoever got the LP and submitted it to Pokora obviously could only read that bit of text on the jacket, so Pokora printed it like that in one of his books and the incorrect name spread around. The actual name as I printed it above means "Suite: Furukotofumi". The Furukotofumi is also known as the Kojiki, or the "record of ancient matters". It's the oldest known book in Japan (from around 600 or 700 AD) and is full of creation myths, poems and songs, etc. This album has the concept of fusing the spirit of Japanese mythology (primarily through the use of biwa as lead instrument) with jazz and "new rock" (as they liked to call it in Japan back then), so that's why the Kojiki is used as source material. It was released as one of those Victor 4-channel discs that were popular in Japan for a brief period, and was actually supposed to be the first of a series of these concept albums. Unfortunately, only one more was released. It came out in 1973 and is called "Rock Joint Sitar - Kumikyoku Silk Road". As you might guess, this one has the concept of fusing new music with ancient Indian and central Asian sounds, with sitar replacing the biwa. It features many of the same musicians as the first LP."

Wow.

CD: 2011 Sony

A super rare album, that my buddy Heavyrock turned up in 2010. We made quite a splash about it in the CDRWL (which is now in the verbiage above), and not long after, here comes a CD reissue. From Sony no less!

Thunderpussy - Documents of Captivity. 1973 USA-Illinois

So here we are again, in the great American Midwest, this time from the southern Illinois town of Carbondale. 1973 is a bit early in the game for the classic regional sound, but some of the earmarks of the scene are already in place.

With 3 part thematic tracks (or poems as the liner notes state), and titles all beginning with 'Document of...' (e.g. 'Enigma', 'Validation', 'Extrinsic Value', etc...) and each featuring a creative instrumental mid-section, one has to wonder how such a heady band ended up with the Thunderpussy moniker. I could see a band having this name as a blues rock cover band playing for drunks and dopeheads - but I would think a name change may have been appropriate by the time they laid down the recordings. In essence Thunderpussy are a guitar trio, with many acoustic sections including flute, and sometimes utilize harmony similar to maybe CSN. As the album wears on, it becomes heavier and more ambitious, to the point where it could be considered the great grandfather of epic progressive metal. I wonder if fellow Midwesterners Manilla Road (and Mark Shelton was a knowledgeable music fan) might have stumbled onto one of these LPs in the 1970s. Or perhaps other groups were performing in the area that were similar to Thunderpussy back in the day, but there's no aural documents remaining. This album is distinctly American, underground, creative and flat out freakin' cool.

CD: 1996 The Wild Places
LP: 1987 Breeder bootleg (Austria)

The CD is awesome with 4 live bonus tracks and historical liner notes.

RateYourMusic List: Post psychedelic, proto progressive with female vocals

One of the things I like about Rate Your Music, is the ability to put together lists, and add short comments. It's a good way to group various thoughts and ideas. I have a few of these in mind going forward.

Here's my first list. Let me know what you think?

Aquaserge - Ce Très Cher Serge, Spécial Origines. 2010 France

Aquaserge reminds me of a time when the French reigned supreme in the creativity department. Think back to the early 1980s, when France was bursting at the seams with interesting bands like Dun, Catastrophe, Eskaton, Asia Minor, Abus Dangereux, Rahmann, Nuance, Art Zoyd, Synopsis, and many more. Aquaserge combines Canterbury, space rock, and general wackiness to create a fun filled progressive extravaganza. To me, these qualities all add up to primo Gong, though Aquaserge are more complex, more jamming, and less silly overall. Makoto Kawabata of Acid Mother's Temple provides some splendid acid guitar, and it's in this kind of setting that he shines most brightly.

Ownership: CD: 2010 Manimal

7/4/11 (new entry)

Werwolf - Creation. 1984 Germany

Werwolf are somewhat typical of the early 1980's German symphonic rock scene. Not particularly complex, with emphasis on melody and atmosphere, and some fine guitar work. There's a Christian undertone to the lyrics and they're predictably sung by an airy sounding female. Their music fits squarely with others of its ilk like Eden, Credemus, Rousseau, Rebekka, Amenophis, even Epidaurus. Very pleasant.

CD: 2004 Black Rills (Switzerland)
CD: 1992 Laser's Edge (USA)

A very obscure album in original form, I learned of this album like most folks via The Laser's Edge reissue, which I bought immediately upon release (1992). Black Rills later reissued it (since it was long OOP) with 3 bonus tracks. The bonus tracks are also found on Garden of Delights' Psychedelic Gems 3 compilation, which I own as well.  Ultimately I kept just the Black Rills version, which is similar in sound to The Laser's Edge release, with a little enhancement.

Fred. 1971-1973 USA-Pennsylvania (archival)

For an archival release, this one has an amazing sound, with a sophistication you rarely hear from this period - in the USA that is. The songwriting is first class, as is the harmony work. In fact, some of this reminds me of the absolute best of Crosby, Stills and Nash. These guys were clearly schooled in music academia. They were from Bucknell University in central Pennsylvania, and perhaps not surprisingly, violin is a major part of their repertoire. The violin is definitely from the Appalachian school of folk music, and not a classical riff in sight. When present, it reminds me of those PBS specials on the history of 1800's America. Some vicious fuzz guitar leads are really awe-inspiring in this setting. Interestingly enough, the band has two more archival releases, and they're both in the Mahavishnu Orchestra jazz rock arena. So these guys definitely had chops to go with their songwriting skills. There is no other album like this that I know of anyway. It's post-psych, pre-progressive with a touch of Appalachia rural. I could see this one continuing to grow as the sound is a bit unfamiliar still.

CD: 2001 World in Sound (Germany)

Brainstorm - Second Smile. 1973 Germany

Having already demonstrated a brilliance on their debut album Smile Awhile, Brainstorm returned with a superb sophomore effort, only slightly off the pace of their debut. The Canterbury influences are still very much intact, with melodic flute, sax, acoustic guitar and wordless voice offset by jamming fuzz guitar and keyboards. A playful album, but with heavy chops to offset any potential thought that this is somehow "lightweight". The only misstep is the closer 'Marilyn Monroe' (8:40), which mixes in some 50's rock n' roll with a dopey narration bit. Just long enough to keep this from a Hall of Fame rating.

Ownership: LP: 1973 Spiegelei. Single sleeve that I first purchased in 1988 at a store in the DFW area known as Forever Young. I picked up this upgrade online in 2016.

CD: 2000 Garden of Delights. Jewel case with full historical liners and one short bonus track. Fantastic reissue as always from GoD.

7/1/11 (new entry); 3/11/16 (LP upgrade)

Transit Express – Couleurs Naturelles. 1977 France

This is the 3rd and last album from Transit Express. On Couleurs Naturelles they are basically a tight fusion group with David Rose's violin in the lead role. But it's not quite that simple - and Transit Express can hardly be accused of being just another late 70s fusion band. No - this is some seriously thought out material, with quite a bit of original arrangements. And there's no denying the Zeuhl undertone here, especially apparent in the grinding bass lines and heavy drum work. Acoustic guitar and violin provide the unique melodic structure. And one shouldn't ignore the blazing electric lead guitar from Christian Leroux either. Highlights include the dramatic 'Visite du Manoir' (7:14) and the hauntingly beautiful piano and violin driven 'Au Dela du Mirior' (5:54). The album finishes in strong fashion with a variety of very short tracks in the 2 to 3 minute range - all clearly influenced by the Zeuhl fusion school.

Ownership: LP: 1977 RCA. Single sleeve. Online acquisition (2013). 

Former ownership: CD: 2001 Piano Bass. This was the source of the original review above. 

2002 (first listen); 6/30/11 (review / new entry); 10/14/21

You - Laserscape. 1986 Germany

Very recently I announced on the CDRWL that the first two You albums - Electric City and Time Code were being reissued by Bureau B. This literally happened within a month after I purchased the long out of print 5 CD set from Cue called Era. I was only familiar with these first 2 albums, and had Bureau B come along a little sooner, I would have been content to only pick up these CDs, and maybe check out the other discs if and when I had the opportunity. Well, anyway, it was too late so I eventually dived into the third disc Wonders from the Genetic Factory (1984). It seemed my worst fears were surfacing. Bouncy beats are the order of the day and I figured that Le Parc and Optical Race era Tangerine Dream is what I was in store for. I know a lot of electronic music fans love that style, I just don't happen to be one of them. I'm a dyed-in-the-wool old schooler who wants him some Rubycon!

About a month later, it was time to tackle the 4th disc Laserscape and get it over with. I mean, really, Laserscape? I can already hear the computer generated beats. And the dull picture of a modern Germany city - isn't that exciting? And, perhaps worst of all, the 80's style IBM created computer font that was utilized on the front cover. Oh boy, this is going to suck bad isn't it?

WRONG!!

You's 4th effort is quite possibly one of the best 1980's era electronic albums I've heard. Not saying that's a high bar to hurdle, especially when compared to the great EM albums of the 70s and 90s - but this one is a true shocker. OK, it's not Tangerine Dream's Logos, but it competes at the top with just about everything else from the decade in this musical genre. For the most part, the computer drum kit was stored in the virtual closet (turned off), and the mellotrons and sequencers are in full force. And two of the tracks feature classical acoustic guitar, which is exactly the kind of variety most EM acts of the 80s didn't strive for. The dark ambient moods recall late 70's Klaus Schulze. This is a very thoughtful work, with many ideas and changes embedded throughout.

So now I'm very glad to own the 5 CD set. Not surprisingly I revisited the formerly shunned third You album with a new perspective, and predictably I now have a different viewpoint of it as well.

CD: 1996 Cue

The above CD is part of a 5 CD set called Era.

Gosta Berlings Saga ~ Sweden

Glue Works (2011)

As mentioned on the Detta har Hänt review, Gösta Berlings Saga seemed to be moving away from their Swedish folk roots and more towards modern post rock. And now they've jumped off the cliff and thrown their lot in with this latter movement. A wall of sound approach, with mid 70's King Crimson and late 90's Anekdoten references everywhere. I'm sure the intensity of playing this music can be quite inspiring, if not emotionally exhausting - but as a listener it can stray towards the mundane after a few minutes of the same pattern.

All of which sounds like I'm low on this album. I'm not. But given the immense promise the debut demonstrated, it's very disappointing to be here. I do enjoy, however, the Zeuhlish closer 'Sorterargatan 1'.

Former ownership: 2011 Cuneiform (CD)

6/26/11 (review); 12/22/23

Detta har Hänt (2009)

Two albums in now, and I can honestly say Gösta Berlings Saga has never written a song that has blown me away. Nor have they played anything I didn't like at all. Strange. A new guitarist is in, but mostly the music has stayed the same from the debut. I'd say the "Swedish-ness" has been removed and that's a step backwards for me. And perhaps the post rock tag could be applied in various places (yawn). There's a certain driving monotony to it all. But again, we're in familiar progressive rock territory for most of the album. It seems they're on the cusp of releasing one of the best albums of the last 10 years, but they hold back just a bit too much.

'Sorterargatan 3' has a nice repetitive groove to build upon, the kind that made some of those classic 70s albums so good (think Magma). Or a modern band like DFA. 'Bergslagen' is closest to the debut with mellotron and a hint of Swedish deep-in-the-forests type melodies and atmospheres. Best track on the album. 'Västerbron 05:30' features some aggressive guitar soloing that I found refreshing. There also seems to be more of an Anekdoten influence (first two albums) than prior.

Ownership: 2009 Transubstans (CD)

6/25/11 (review)

Tid Är Ljud (2006)

Gösta Berlings Saga could be considered the perfect modern Swedish progressive rock band. They look inward towards their own country for melodic inspiration, rather than the UK / US style of groups like The Flower Kings. Second album Kebnekaise is about where they land on the Swedish scale, but Gösta Berlings Saga are far more symphonic than that may imply. They use plenty of vintage instrumentation (as expected, primarily in the keyboard department with mellotron, Rhodes and various Moogs), yet the production and overall sound has a modern sensibility. Gösta Berlings Saga are one of the few groups of our era that do not belong to a current sub-genre, such as post rock, prog metal, neo, avant, retro / proto, jazz / fusion etc... They are, in fact, a straight ahead progressive rock group. They have respect for the 1970s, but aren't stuck in it. This might all seem like we're smack dab in the middle of our interest area, and thus might be a little boring or uninspired. And yet it's not at all that way, proving that the old recipes are generally better than the new concoctions. A pretty new room in an old house.

It's near impossible to pick highlights. All of the tracks are remarkably consistent, though by no means samey sounding. I will also allow that there's no drop dead killer tracks either. 'Helgamarktz' & 'Syrenernas Sång' lay the foundation of what Tid Är Ljud is about and if you like these two, it's highly likely you'll love the rest. 'Aniarasviten' has a stunning melody as its centerpiece, to an overall excellent moody composition. 'Ljud Från Stan' is more of a psychedelic jam rock piece, with fine guitar and Rhodes soloing. Gösta Berlings Saga shines in this setting and are able to maintain the intensity necessary. 'Tog du Med dig Naturen?' & 'Knölsvanen' seem to blow by, without having much impact. They're both fine tracks, and perhaps it's their placement that keeps them from standing out, even on multiple successive listens. 'Svarta Hål och Elljusspår' adds flute to great effect, providing the right soft focus lead instrument Gösta Berlings Saga definitely needs to get to the next level. All in all, a highly recommended album.

Ownership: 2006 Transubstans (CD)

6/24/11 (review)

6/24/11 (new entry)

Arabesque - Tales of Power. 1976-1979 USA (archival)

Arabesque were a Pittsburgh area progressive rock band, and these recordings date from 1976-1979. All you have to do is look at the track titles like 'An Epic: Krall Mountain' (11:53), 'Cobbler's Knob' (11:42), 'Arcanum of Atlantis' (10:37) and the associated timings, to know these guys fit squarely within the 1970s over-the-top ultra complex Midwest US progressive aesthetic. Pentwater's 'Out of the Abyss' would be a good benchmark, though the recordings here aren't quite ready for prime time. One can only imagine how amazing this would have been with the proper studio time. In fact, in overall sound, complexity and mindset, I was mostly reminded of Skryvania from France. If all this sounds good to you, then Arabesque is a must pick up. I usually have little tolerance for less-than-ideal recording standards, but this one is an easy exception.

CD: 2002 Shroom

CMU - Open Spaces 1971 England

Converse to its successor Space Cabaret, Open Spaces starts excellent, with an ideal English styled psych rock track in 'Henry'. 1971 is a little late for the type of psych they're doing here, but it would have been the perfect soundtrack to a Swinging' London film like Otley or Blow Up. However, the middle of the album tends to drag, with their interpretation of Pharaoh Sander's 'Japan' being a low point. But, like Space Cabaret, the last two tracks save the day, with the super sweet and exotic 'Mystical Sounds' followed by the weird psych space jazz title track, sounding like Kalacakra and Furekaaben jamming on the MPS label. Apparently the song 'Open Spaces' was commissioned for an interactive sculpture exhibition with a psychedelic light show. Any chance I can go back in time and see this?

CD: 1993 See For Miles

The CD release from See For Miles contains both albums. But in order to fit them in, they excluded one 6 minute track from Open Spaces. This version also has unique liner notes.

Gomorrha - I Turned to See Whose Voice It Was. 1972 Germany

For the 3rd album on the legendary Brain label, the very cleverly titled I Turned to See Whose Voice It Was (referencing the Biblical story of Lot's wife no doubt), I can recommend this one easily. Now this is true hard styled Krautrock. The kind of album where fans of complex progressive rock go scratching their heads wondering what the big deal is. It's underground rock, baby. Nothing more than simple blues rock motifs, gruff vocals, pounding drums, organ shards, and the cherry topping is the long stretches of fuzzy guitar solos, all played at "11" of course. And since it's on Brain, naturally Conny Plank was at the controls, so you can expect all sorts of echoing, phasing, and every other studio trick that just plain sounds cool. So while not necessarily memorable, it is the kind of album that sounds great while playing it. And really, isn't that when it matters most? So strap your seat belt on, plug in your air guitar, and get ready to jam. Best track is 'I Try to Change This World' (9:31). According to the liner notes of the Repertoire CD, this was it for the band, and they quit music and went into the workforce. A pity really.

LP: 1973 Brain
CD: 1997 Repertoire
LP: 2013 Long Hair

Originals come in a fine gatefold cover. Apparently the original press comes in a non-laminate cover with spelling mistakes in the inner gatefold.  The second press (1973) fixes these while laminating the cover. Apparently most of these laminates have peeled through the years. This is the version I own and can validate this finding. The CD on Repertoire is excellent, as were all of their Brain releases, with unique liner notes, photos, etc...  The Long Hair LP adds new liner notes.

Body - The Body Album. 1981 England

I seem rate this album higher than most of my peers, and I'm not entirely sure why. Body are a really good space rock band that is completely incongruous with anything else coming from England in 1981 (other than maybe the first Twelfth Night album). There are very few references to the early 80's UK synth pop scene though a couple of tunes are musically relevant 'Brave New World' being the most obvious whereas 'Lights Out' could have easily been a hit single during that era. Overall I hear elements of You era Gong as well as the obscure Italian group St. Tropez here. The near 15 minute spaced out 'Andromeda' is the song Pink Floyd never made after Ummagumma and is the standout track on the entire album. The bonus tracks are uniformly excellent except for maybe the goofy Falkland Islands political rant - but no matter - it was, after all, an important topic in the mid 1980's!

CD: 1997 Ozit
CD: 1992 World Wide Records (Germany)

My introduction to this album came via the SPM/World Wide CD that I purchased upon release (1992 or so). The Ozit release (scan above) comes with 4 bonus tracks, a full history, photos, and is overall a great reissue. Definitely a marked improvement on the bare bones SPM version.