VYGR - Hypersleep

It's kismet, karma, predestination, Newton's Third Law, Ørlǫg, Wyrd...

It's very definitely Doom, in its middle English and musical definitions: a preordained, generally negative or dreaded, outcome and a slow-moving, ugly sub-genre of heavy metal.

We've just got our hands on Hypersleep by VYRG, which we've previewed moderately ecstatically before...

The universe felt the jonsing here. The universe responded, one might daresay, rather expansively... (hence the above thesaurus-fest).

Hypersleep, it turns out, sounds like:

Cthulhu, drunk on peyote-laced nepenthe.

VYGR, elsewhere, have been called space rock, doom metal, ambient sludge-- but they're truly Epic Narrative Sludge or Tripped-Out Sci-fi doom: Hypersleep sounds like a sci-fi movie soundtrack, with sludge:

VYGR's use of space is one of the more distinct elements of their sound, beyond the sheer weight of the riffs
First track, "Solar," practically a snippet at two minutes-- at 1:38 proceeds spiderly, shimmering background tiny string leads, suggests the end of "The Thing That Should Not Be"....

"Flares" opens with Riff of Riffs, yet also (perhaps it's the keyboards in the background), sounds like it could be the soundtrack for the horror movie Terrence Malick will never make... the verse riff has a great fourth-based harmony that sounds maudlin and exultant at the same time, somewhat like Galactus playing Barber's Adagio for Strings... and at 3:26 there it is, the Pink Floyd phased-out/ flanged-in lick in E... perfectly compliments the heaviness... VYGR know to break the heavy periodically so when they get back to it, it seems even heavier... like letting someone you're waterboarding up periodically, instilling hope, and crushing again when they go back under....

That simile may not seem like it, but it's a fun experience, that....

 trudge, yet gracefully.

"Orbital Hallucinations," aka A Riffed Out Dark Side of the Moon, encapsulates the sound here overall: nightmare alternate-universe soundtracks to the original Solaris, or the underrated Pandorum....

There are obvious similarites to Isis and Pelican-- but whereas Pelican's dominant mood is maudlin, or melancholy, VYGR's is dread and exultation-- like a brave-yet-scared-shitless cosmonaut who lost contact with his mother ship, but may be drifting to a previously-undiscovered planet....

"Galactic Garbage," at around 4:00 hits what can only be described as a "leaden harp" section... majestic, 10-story harp of all gods, being fought over by Dionysus, Pan, and Kulitta... and at 4:44 exactly, drastically changes, yet retains the same melody-- like Cthulhu suddenly tired of watching the previous three fight and tore it from their insignificant hands....

Track 6, "-", a sweeper at 33 seconds, with its stirring, ambient sounds, like droids sleeping off nightmares....


"The Hidden": moody, sad, at 4:40 takes a breather and mourns... stately and funereal in its dignified pacing... triumphant and sad, the bittersweet ending of an epic trilogy....

"Shapeshifters," in its seeming familiarity, cements what was creeping up on our unconscious... the mighty music here is also catchy... 5:28 lays down RIFFness, like Cthulhu has had enough and destroys it all... as you watch... rapt.... as it fades to silence, and black, and diminuendo screaming....

"Unmoved Mover" and its twin guitar harmonies over a slug-trailing-blood riff: Iron Maiden risen from the depths to destroy the humans at Poseidon's bidding... then around 2:15 lopes off, into the depths, alone, existentially despondent, after its pillaging....

"Path to the Unknown" ushers in "Event Horizon" with bell-like acoustic guitars that become the rumble of a train next door... "We Drift" opens with spacey whale calls and palm-muted lurching riffs....

We end with "A Distant Beacon," with the encroaching silence and darkness, the gaining lack of light, with static and a sonar blip, as we feel total stillness and its approach.


--Horn


[Maybe the best illustration of the mix of sounds and ideas on Hypersleep was shown by my computer (fittingly): as I write, it picks up words and tries to link them to other sites, usually forming an overall theme; all the links it got from the above text were so varied, with little to no discernable patterns emerging, that while I was writing it finally just opened a pop-up window that said "Holy Jesus, what is this fucking article about?" True story.]

creator-destructor records site: www.creator-destructor.com/store.php

VYGR bandcamp: vygr.bandcamp.com/

Black Bombaim - Saturdays and Space Travels

I don’t think I’ve ever heard a band from Portugal before checking out the new one from Black Bombaim. If there’s more shit like this going on there I may have a new vacation destination. These guys give Tia Carrera a run for their money in the mega-tripped out Jimidelic jam department. Equal parts Band Of Gypsys and Experience, Black Bombaim have an outstanding rhythmic groove that prevents the session from getting stale.

There are only 2 songs on the LP – “Side A” and “Side B,” both about 20 minutes long and recorded totally live. “Side A” starts off with some hellish feedback before settling into an almost Cactus-like boogie then morphs into a “Dirt” Stooges groove. “Side B” is faster and crazier. They must have re-upped during a break and decided to really let loose.

For a 3-piece they have a very full sound. “Acid Guitar Dropper” Ricardo’s tortured Strat howls and shrieks in the best way possible. “Bass Driver” Tojo and “Drum Smasher” Senra protect the beat but are fluid enough to maintain an ever expanding hydroponic groove. Chances are these guys have smoked a lot of dope and listened to Fela more than once.

There are only 300 copies of this LP, so track one down pronto. You can listen to the whole thing on their myspace page, but it’s totally lame listening to this kind of music through a computer. Shell out some bucks and do it up the right way.

--Woody

http://www.myspace.com/blackbombaim

The Hawkwind Triad

Most tribute albums are kind of a waste of time and money. Maybe there are a handful of worthy homages but for they’re usually disappointing and you wind up rarely playing the entire record. The Hawkwind Triad is a different story all together. Here you get 3 bands, that all have a pretty strong Hawkwind influence in the first place, paying tribute and taking liberties with material that they clearly love. The participants are US Christmas, Minsk and Harvestman.

Of the 3 bands, US Christmas probably play the songs closest to the originals and tap into the Space Ritual high energy levels that Hawkwind performed at. Take away all the tripped out space effects and Hawkwind always had a ass kicking rock and roll soul, especially during the era Lemmy was in the band. “Master Of The Universe” opens the record in high spirits. The riff is huge and they faithfully recreate all of Dik Mik’s bizarre “audio generator” blips and squiggles. “Psychedelic Warlords (Disappear in Smoke)” and the 11 minute “You Shouldn’t Do That” are great examples of why Lemmy always said that Hawkwind may have looked like hippies but weren’t all peace and love. If the astronaut boogie of “Orgone Accumulator” doesn’t you get you doing the zombie dance, turn in your space suit immediately and return to the mundane earth.

Minsk attack “7x 7” with a lot of intensity and vigor. This is probably what it actually sounds like as your breaking through the sound barrier. Things get pretty trippy on the 12 minute “Assault & Battery/The Golden Void,” 2 songs from the 1975 album Warrior on the Edge of Time. “Assault & Battery” is delivered slow and hard with lots of intense vocals. “The Golden Void” takes you on a pretty wild ride with some slower parts to balance out the space frenzy. The mainly acoustic “Children Of The Sun” somehow manages to mix in equal parts Jethro Tull and Swans into the original Hawkwind song.

Of the 3 bands, my favorite songs are from Harvestman, a side project of Neurosis members Steve Von Till and Jason Roeder. Von Till’s tortured vocals work really well with the material, especially on “D Rider.” “Down Through The Night” has even more sound effects the original. “Magnu” is an 8 minute stomper that fans of Can as well as Accept’s “Princess of the Dawn” can rock to together. Lemmy’s “The Watcher” is given a bleak, creepy overhaul that will make you feel paranoid even if you’re not stoned.

Old time fans of Hawkwind should really like this and it also serves as a great introduction to a band that’s often misunderstood. Play this one loud for sure.


--Woody

Buy here: Hawkwind Triad

http://www.allthatisheavy.com/info.asp?item_num=ATH-7179

Cosmic Dust – A Ripple Journey Through Space and Time – Featuring Causa Sui and Schleusolz

Causa Sui – Summer Sessions Vol. 1-3

I’ve been told that Andromeda is the closest spiral galaxy to us and Alpha Centauri is the closest star.  Sorry, but I’m here to tell you that scientists have got that wrong on both counts.  Stoner/Psych label Elektrohasch, with it’s ever expanding constellation of blessed out heavy psych bands is definitely the closest galaxy and their latest release, Vol 1-3 by mind-expanding, space explorers Causa Sui is without a doubt their brightest star.

Following up on their 2005 debut and their 2007 follow-up, Free Ride, Causa Sui have crafted the universe’s most infinitely listenable cosmic adventure that even with the naked eye (ear?) shines more luminous than our sun.  Over the last two years, the band has lost itself in its own universe of jamming and recording, leaving vocals behind and fusing saxophone into their heady mix of heavy psych, jazz and krautrock.  What was born from the big blast of these sessions is about as mind-blowing as the concepts of space travel.

Spread out over 3 CD’s (or three vinyl LP’s) we get a zero gravity journey through realms of ambient rock, repetitive groovy heavy dynamic cycles, blurring time structures, space rock reverb, and jazz rock jams.  The first song on disc 1.  Names like Can, Hawkwind, Pink Floyd and Hendrix get bandied about when describing these guys, but I wouldn’t hesitate to drop a big nod to Elektrohasch’s own label mates, Colour Haze, with it’s looping, intense guitar based grooves, and My Sleeping Karma with it’s search for spiritual relevance.  Simply put this album is a stunner.

“Visions of Summer,” sets the lift off pad perfectly.  Lost within it’s 24 minute groove, we get tripped out keys, mind-melting, hypnotic, looping guitar riffs, blessed-out ambient breaks, deeply funky bass, and some of the best krautrock drumming you’ve heard since Can.  The song grooves, wildly and passionately, barely contained with it’s structure, weaving and bobbing as it leaves the stratosphere in search of extra-terrestrial life.  Brown drawfs shoot by to the left, black holes to the right, and still the song keeps on delving deeper on its cosmic journey.  This isn’t background music, its far too compelling for that.  Even through it’s quietest passages it demands attention, insists you let loose of gravity and soar.    By the time the guitar really explodes in an afterburner of fire, twenty minutes into the song, it’s impossible to know which galaxy is approaching next. Give the video below a play and prepare to be transported.  Give the song time to develop, let it breathe easy before you make up your mind.

Each song has it’s own heart, it’s own flavor, no matter which space route it takes.  The songs that bring in the sax really fly off, adding a whole new, experimental jazz power to the flight.  If you’re a fan of space rock, psychedelic explorations, stoner jams or any of the bands mentioned earlier, this is not one to miss.  One of the more stunning releases of the year.

buy here:  Summer Sessions, Vol. 1
               Summer Sessions, Vol. 2
               Summer Sessions, Vol. 3

or buy the box set at: Elektrohash Records


Schleusolz - The Weinheim Experiment

Apparently, Galaxy Causa Sui isn’t the only neighboring star system.  Close by, but clearer farther out there (way farther!) we approach the spiraling, spinning mass of cosmic frivolity that is Schleusolz and their latest release The Weinheim Experiment.  Combining banks and bank of synths, beats, and melodies that seem to come from a manical, demented intergalactic carnival, The Weinheim Experiment is a futuristic, trippy journey through space rock electronica, dark rock, cosmic disco, classical composition, and a strangely retro feeling to create  . . . I’m not sure what they created, but it’s one freaky, avante garde ride that’s for sure.

Originally earth-born in Germany, Schleusolz is the mad scientific creation of studio wizards Worsel Strauss and Schani Wolf.  Not content to remain gravity bound on terra firm for long, they launched their Schleusolz spaceship in 2009 with their debut Running Out of time.   I never heard that one, but when this one crossed my desk, I was intrigue.  Recently, I’d been on a Henry Mancini kick.  After all, he is one of the greatest film composers of all time ("Pink Panther", "Peter Gunn", and the stunning "Romeo and Juliet Theme.") plus he’s totally retro-swingin’ sixties cool.  So when I saw this disc described as “Henry Mancini on Acid,” well, I just had to hitch a ride.

The Weinheim Experiment bounces around between whimsical, carnivalesque compositions (each of which seems to have been performed by a drug-adled clown) and darker, more intense, quasi-industrial dirges.  For me, the industrial-tinged pieces work best, like the frightening dancefloor intensity of “Sid Goes Dancing,” with it’s spit out, throat-garbled German vocals, or “The Numberer,” with it’s looping bass and grinding guitar intro.  “The Shepard’s Dream,” is a terrifying dark classical journey into the messed-up recesses of these cats collective mind, clearly not a happy place to be.   But this darkness is countered with the catchy, bouncy pop of “She Became a Toy,” or the retro-wartime, cigarette smoky club, cabaret excursion that is “Superboy.”

“Sell Your Soul,” attacks with a barbaric synthesizer force a la Cabaret Voltare.  But perhaps the album’s true highlight is the darkest, most sinister cover version ever of a Cat Stevens song.  “Father and Son,” unfolds at a funeral pace, layered with black synths and crawling vocals.   A full out, wild psychotic ride no matter where you get on.

-- Racer

Buy here: The Weinheim Experiment

Ufomammut - Eve

God bless the Italians. Even though my last name is MacDermott, I was raised by my Italian grandmother Emilia. She filled me with tons of Italian pride and the most incredible homemade food anyone could ever dream of. So it always makes me excited to be able to heap praise upon my paisanos who create great rock, whether it’s Raw Power, Negazione or the incredible new one from Ufomammut.

Eve is their fifth album and it’s a single 45 minute song divided into 5 separate sections. Picking up what Pink Floyd left behind at Pompeii, Ufomammut add a lot of unbridled aggression to their brand of doomy space rock. Part 1 starts off like a creepy film score and builds up intensity by adding more and more layers of instruments, chanting and sound effects before dissolving into the weirder Part 2. About halfway through an extremely heavy riff is introduced that pummels you for about 5 minutes.

Part 3 is another heavy one with some tortured vocals and some bleating sci-fi sound effects. Part 4 could almost be the single off the album. It’s only 4 minutes long and has a deep, heavy groove and some frenzied guitar soloing that sounds like someone gave David Gilmour a bunch of crystal meth. Part 5 is a 13 minute journey that starts off slow but ominous, then gets heavier with a bunch of urgent voice samples and ultimately expires with some hypnotic creepy guitar patterns.

Eve is the full cosmic experience. There are many band s (too many, in fact) that try to merge Black Sabbath heaviness with Pink Floyd/Can/Hawkwind spaciness that ultimately are kinda dull. This record has no filler and sounds better each time you play it. 

--Woody

http://www.ufomammut.com/

Buy from: http://www.supernaturalcat.com/eng/eve_preorder.html 

Ripple News - Exploding in Sound Releases Fifth Album in their Massive Free Compilation Giveaway Series

Over the years of Rippling we've met tons of cool people who's work we just have the utmost respect for.  Exploding in Sound is one of those.  Exploding in Sound is a website/blog created by Dan Goldin with the sole purpose of promoting and spreading great rock music.  GLORIOUS NOISE is the “must listen” fifth release in an ongoing compilation series aimed at breaking new artists and gaining exposure.  The first four, including December’s Circulatory System and the ever popular Future Legendary have been met with critical praise and wide spread acclaim.  As someone who owns all these comps, I can honestly say that if you haven't downloaded them, you're missing out on some dynamite new music!

 Glorious Noise is a true exploration of rock music, with a sound so massive you need to hear it to believe it.  The album is an international affair, with submissions from the United States, Canada, Australia, the United Kingdom, and Europe. Great rock music with integrity, intelligence, and intensity is being made worldwide, and Exploding In Sound is dedicated to bringing you the best of the best. The bands comprising the compilation deliver an assorted array of genres including post-rock, grunge, shoegaze, alternative, indie, acoustic, post-punk, and more. As always, the compilation is a 100% FREE digital download, containing artwork, band descriptions, links for further enjoyment, and more.

DOWNLOAD HERE: http://www.explodinginsound.com/2010/03/exploding-in-sound-presents-glorious.html

GLORIOUS NOISE TRACKLIST

1.       Traindodge – If I Pass You on the Street

2.       Mr. Gnome – Vampires

3.       LIONS – Poster Child

4.       Regular John – Language

5.       The Blind Pets – Fever

6.       Disco Doom – The Magic Arc Song

7.       And So I Watch You From Afar – A Little Bit of Solitude Goes a Long Way

8.       White Belt Yellow Tag – You’re Not Invincible

9.       Let Our Enemies Beware – Personal Space Invaders

10.   Stereo is a Lie – What We Do

11.   Battleme – No Time For Blood

12.   Apteka - Traitors

13.   Turbo Fruits – Mama’s Mad Cos I Fried My Brain

14.   Postdata – Tobias Gray

15.   Talons – Keys & Codes

16.   Sugar Army – Building Castles

17.   Ceremony – Dreams Stripped Away

18.   Prayer For Animals – Neutral Bees

19.   Black Nite Crash – Jonah Dive

20.   Veil Veil Vanish – Anthem for a Doomed Youth




Website: http://www.explodinginsound.com/

Twitter: http://www.twitter.com/explodingnsound

Myspace: www.myspace.com/dangoldin

Facebook: http://www.facebook.com/explodinginsound

Phased - A Sort Of Spastic Phlegm Induced By Leaden Fumes Of Pleasure

Here’s another (bong) hit from the Elektrohasch label of Germany. Phased is the band and their new (and fourth) album comes with the unwieldy title of A Sort Of Spastic Phlegm Induced By Leaden Fumes Of Pleasure. They call their brand of noise “psychedelic deathrock” and it’s an accurate catchphrase. Phased play loud space rock but without any hippy cosmic peace n love stuff. When you’re floating in space you’re gonna get sick to your stomach and your eardrums will explode. Save yourself a ton of money and get this album rather than sign up for a trip to Uranus with Lance Bass on the next NASA express.

These 3 bald muthers (2 Swiss, 1 Finn) have spent a lot of time listening to Hawkwind, Black Sabbath, Can, early Pink Floyd, Chrome, Sleep, Electric Wizard and the first Stooges album. They’ve also spent a lot of lonely nights playing at ear splitting volume in their practice space coming up with eternal space boogie riffs that recall all their favorite albums but also bear their own personality. They’ve been together since 1997 so they know what they’re doing.

The 8 songs on this album were recorded and mixed in 9 days, which is pretty impressive given how complex some of the arrangements are. The root sound is basic power trio but with lots of extra noise layered on top to keep things interesting. Chris Sigdell handles guitar and vocals. His guitar playing brings to mind Dave Brock, Helios Creed and Ron Asheton at different times. Vocally, he bleats out the words like a cross between Nik Turner and Jus Osborne of Electric Wizard. Chris Walt has a fat, distorted Geezer Butler meets Lemmy tone that blends well with the guitar. Drummer Marko Lehtinen pounds hard and furious and gets bonus points for having an enormous Elvis Presley collection. DJ Fontana rules! Scott “Dr. Space” Heller guests on about half the album on synthesizer.

“A Surreal Deal” opens the album sounding like something that Sleep would have come up with if they had a chance to write songs with Nik Turner when they toured with him back in 1994. Heavy as hell but with excellent groove and only 3 and a half minutes. Even though the songs aren’t mixed into each other, the entire album flows nicely. Tempos are generally mid-tempo but occasionally speed up like on “The Osteopath” or slow down like on “I Come Toulouse.” Album closer “The Need” is the only super slow dirgey one and is only 2 and a half minutes. Most of the songs are a tidy 4 or 5 minutes but the long ones never get dull. “Maelstrom” is a 9 minute Sabbath-Wind crusher and “Nachspiel Revisited I & II” is the longest at 11 minutes and sounds like Electric Wizard taking on The Stooges’ “Little Doll.

Special mention must be made of the excellent lyrics on this record. Too often space/stoner/doom/whaterver bands take themselves too seriously or write throwaway lyrics and bury the vocals. Phased actually incorporate some humor in their words and they’re up front in the mix so everyone can enjoy them. Who wouldn’t want to sing along with “Tip Of The Sky” – “I smoke barrels of Hash in a starch wooden pipe, Lord I’m filling my lungs just to reach for the height.” They also don’t mind a little tokin n stroking on “Maelstrom” where the protagonist claims he “fell into a lesbian scene dream…a spellbinding hex of lovers of the same sex.” Nastay! Somewhere Elvis is smiling.

 --Woody
http://www.phased.ch/

Phased myspace

http://www.myspace.com/phasedphased

To the Cosmos - Space Rock Round-up featuring The Most Powerful Telescope in the Universe, Exeter, Apteka

The Most Powerful Telescope in the Universe - The Moonlight's Fair Tonight

In the simplest terms, it's rare to find an album this gorgeous.  And even rarer to find one so warm, so positively glowing in the moment.  A group of friends, as much as a band, The Most Powerful Telescope In The Universe recorded their full length album The Moonlight's Fair Tonight by assembling a group of musicians and shuttling them off for two weekend-long stints at a secluded woodland cabin somewhere in the woods of the Pacific Northwest.  Nothing was written in advance.  Nothing prepared.  Just the musicians and the desire to create an album on the spot. Obviously, the environment was conducive to feed the muse of these cats, because what they created is a breath-taking journey through Of Montreal's indie-pop sensibilities and Explosions in the Sky sonic experiments.

Guitars weave and curl, swirling through the mix like smoke coming from that cabin's fireplace.  Keyboards layer in, hiding underneath, floating to the top, twisting through the air like dust floating in a beam of moonlight.   Songs float and levitate across the vinyl, barely being contained by the pull of gravity's force.  "Last of the Incas," the lead-off song fills the air with all that these guys represent; loads of swirling, reverb soaked psychedelic guitar that builds in subtle beauty until it takes flight.  Joy Division-esque bass adds a weighiness to the proceedings, keeping the song from become fey or too disconnected. Keyboards float by like cosmic dust while the vocals jump on the tail of a passing comet, adding a gentle whispering beauty.  "Cops Chasing Undercover Cops," follows without bothering to touch back down on terra firma.  So gorgeously constructed, so lushly soaked in the sweetness of some floating constellation.

Don't let the thought of "space rock" or "psychedelia" put you off.  This isn't head lost it's own ass music that wanders endlessly searching for a melody.  It's a testament to the strength of the musicians that each song hangs together firmly within it's own melodic structure, but loose enough to expand throughout the solar system.  Simply put, this album is scrumptious.  One listen is all it takes.  One listen to know that you also want to join that flight, leave the earth behind and reach out into the cosmos.  Or at the very least, join the musicians next time they take to that remote cabin.  Ah, what I wouldn't give to be there and watch it all happen.

Available as a free mp3 download, or you can buy the lush vinyl at:

http://www.ionikrecords.com/


Exeter - Grey Noise, White Lies

Continuing on our journey through the cosmos, we jump from the diaphanous clouds of space dust that is The Most Powerful Telescope in the Universe onto the back of the rocketship Exeter and blast off deep into unexplored galaxies.  Keeping the swirling, churning guitars that hallmark spacerock, Exeter marry them to a full-on jet fueled engine.  This is spacerock with someplace to go.  Roaring with a wall of sound, powered by a truly thunderous drumbeat and driving bass, Exeter fuse shoegaving spaciness with the urgency of post-punk, leaving me breathless as I motor on this high-octane ride.

Black holes shoot by to the left, giant brown dwarves to the right as the guitar grind down with a meaty intensity.  Heavy.  Gritty.  Song structures are tight, but not contained, leaving the band plenty of room to blast off in all directions of feedback drenched guitar and catastrophic collisions of sound.  "Bittersweet Vanity," lays it all bare on the first track.  Heavily atmosphere-drenched guitar brings us in eerily, building with the anticipation of the coming blast-off.  And we don't have to wait long.  About 40 seconds in some crunchy chords slice through the mix, drums building in the background until full liftoff hits us with the power of a rocket launch.  From there, it's one cinematic escalation of spaced-out fury, tempered from destruction by some simply gorgeous melodies and layered vocals.  As a song, it's a show stopper, and it's only the first track!

From there, the boys from Austin never let up.   Grey Noise, White Lies is a celebration of sonic textures, punk intensity, and unexplored worlds.  Never a dull moment, never a moment less than mind-boggling.  Catch this rocket if you can.

buy here: Grey Noise, White Lies

Apteka - Tour EP

Sometimes it's frankly alarming at just how good some bands are.  Rounding out our journey through the outer cosmos, following the simply stunning albums of TMPTITW and Exeter, this report just wouldn't be complete without a mention of this Chicago group and their debut, Tour EP.   Blending a Jane's Addiction vibe to their non-stop swirling kaleidoscope world of shoegazing and The Seeds-flavored garage-psychedelia, this band isn't one to watch, they're one to know now.  So much music comes into the Ripple, and all of it gets heard.  Sometimes it takes several listens to find an album's spine, to get deep into it's mind.  Not here.  Twenty seconds into the album opener, "The Sheet," and I was hooked.  Walls of feedback drenched guitars fill every conceivable nook and cranny, the drums hammering the song forward, until . . .wow!  Until the vocals kick in amidst a sudden flurry of bass and super-revved guitar.  That did it.  In that moment I became a charter member of the Apteka Space Federation, willing to go on countless missions of sonic exploration with my pilots.  Yes, it really is that good.

First of all, calling this album an EP is a massive disservice to the band.  Recorded while on tour, the Tour EP is fuller than most albums, clocking in at 9 fully-realized songs of stunning, sweeping mood and texture.  "Where You Sleep," loses itself in post-Joy Division hazy psychedelic moodiness, riding that monsterous bass line through the opening into uncharted territory.  Believe me, the Joy Division references drop out quickly as the boys delve into a simply gorgeous multi-part harmony of delicate psychedelic pop.  "Cicada Song," is another unabashed winner, brought in by a handsomely strummed acoustic guitar.  By the time the the chrous kicks in, we've left the gentleness behind, rocking out like The Church at their fiercest.  There's not a misstep here, all the way to the full-on assault of "She is Riots," the Jane's Addiction-esque closer of thundering walls of guitar and clashing clouds of bass.

Best of all the whole album can be downloaded for free here.  If any of the bands I mentioned get you going, don't miss this one.  Years from now, when Apteka is headlining some massive intergalactic music festival, you'll be able to say you knew them "back when."

http://www.myspace.com/apteka

--Racer