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Review by Rick Eaglestone for MPM
Instrumental intergalactic travellers Ozric Tentacles return with 6 new tracks constructed in their very own blue bubble for new album Lotus Unfolding
Opening track Storm in a Teacup is wonderfully familiar of which I feel that I am transported back to the groups Jurassic Shift era with soundscapes incredibly reminiscent of when I discovered them in my teenage years back in the mid 90’s.
it’s one of the albums longest tracks but is so varied and well-structured that the entrancing waves feel that no real time has passed.
The first time I listened to this album was in the stillness of the night in complete darkness and because of this became engulfed in follow up track Deep Blue Shade
Halfway point of the album opens up for the albums title track Lotus Unfolding which is deeply hypnotic and easily my highlight track of the release it has a real calming presence with prominent bass and swirling solo’s which is then complimented by the albums longest track the majestic near 10-minute chaotic nature of Crumplepenny
The albums final duo really hone in on the quintessential essence of Ozric Tentacles journey through planes of melodies and musicianship Green Incantation is a wonderful blend of experience and experimentation with the album final venture Burundi Spaceport end this particular chapter with an air of hypnotic serenity sprinkled with just a dash of showmanship and artistic flair.
Ed Wynne comments:
The concept is, as usually wide & open to interpretation but basically is a sonically illustrated excursion through some of the musical realms we found ourselves in this time around.
Designed to elevate and delight the senses, should that be required, because if the day feels like an unfolding lotus, it’s probably going to be a good one!
A rather splendid astral journey via the aural senses.
Smallcreep's Day is the first studio album by English guitarist and songwriter Mike Rutherford, released in February 1980 on Charisma Records. It was recorded in 1979 during a period of inactivity from his rock band Genesis, during which Rutherford and keyboardist Tony Banks recorded their first solo albums. The 24-minute title track is based on the 1965 novel Smallcreep's Day by Peter Currell Brown which tells the story of Mr. Smallcreep and the journey of self-discovery he takes through the assembly line of the factory he has worked in for forty years.
Rutherford played all lead and bass guitars on the album which included an acoustic 6-string Ovation, an electric 12-string Alvarez, his custom made Shergold double neck bass, a Fender Stratocaster for lead parts, an Ibanez,[3] and a Roland guitar synthesiser, from which he acquired a string sound that reminded him of a Polymoog synthesiser.[5][3] He also borrowed a few models from a keyboard roadie who was an avid guitar collector.[2]
Smallcreep's Day opens with the 24-minute title track that has seven distinct movements.[5] It is based on the 1965 novel Smallcreep's Day, the only book written by Peter Currell Brown.[5] A satire on modern industrial life, the story follows Pinquean Smallcreep who has worked in the same factory for forty years and embarks on a journey of self-discovery as he follows its assembly line to find out what the factory produces.[4] Brown had in fact worked in a factory for forty years himself.[3] Rutherford had read the book roughly three years prior to starting work on the album, noting it had similarities to the Gormenghast series of fantasy novels by Mervyn Peake.[1] Though he considered it "hardly a great piece of literature", he was more impressed with its spirit and the atmosphere it presented as a reader.[7] He also chose the book as its story and setting were something he could work and develop from and adapted it to have a happy ending.[1][8] He later noted a strong contrast in themes between the factory and machine-oriented imagery on his album and the more romantic and fantasy-inspired Genesis songs typical of the time.[3] Rutherford had attempted to pass lines from the book as lyrics, but abandoned the idea as they failed to work effectively.[3]
En Sten for Solen (A Stone To The Sun)
Next in the quiet details series
we have something very special - an incredible interpretation from the
musician and visual artist, øjeRum.
Loved for his music as much as his stunning collages, øjeRum has a deep
back-catalogue of releases spanning labels such as Room40, Opal Tapes,
Fluid Audio and many more - all exploring his unique minimal and deeply
textural style.
With En Sten for Solen (A Stone To The Sun, translated from his native
Danish) we find an album which builds on his already finely-honed
sensibilities and creates an emotive and introspective journey through
his refined creativity.
Beginning with what feels like rhythmic footsteps into the immersive
worlds he’s so adept at conjuring, you quickly fall deeper into these
mesmerising and all-encompassing narcotic soundscapes.
Gaseous clouds mix with disintegrating melodic phrases, beautifully designed auditory illusions come in and out of focus - all perfectly paced and subtly shifting as time goes on and the music draws you further in.
This music, like his artwork, has an almost mystical feeling, verging on
the supernatural - it’s timeless and has a way of speaking to people
regardless of background or culture - it’s purely human and moving
beyond words.
The production is as we’ve come to expect from øjeRum - dense yet soft,
with bright rays of light beaming through the nebulous mist.
Living up to his reputation as an artist that traverses media with great
skill, along with the album he wrote these poetic words:
I hold a stone to the sun / so I cannot see
the sun for the stone / but only its outline
that vibrates and shapes / the stone bigger and smaller
organic and graceful as / an angel in the snow
until the point where / the stone seems to disappear
too real to be / real and / now I hold the sun
the sun for the stone / and the angel in the snow
is dancing with the sun / in the stone
Huge thanks to øjeRum for everything, a truly complete and wonderful addition to the series.
The artwork was made as always influenced by the music and idea behind
the album - this time it was very special as øjeRum is so well-know for
his visual art - he gave me the honour of using one of his original
collages to use as the basis of the piece - which was then captured with
analogue photography and processed here at quiet details studios.
We’re both very happy with the results and so pleased to share it with you.
Our thanks to Alex at quiet details for providing us with a copy of this release.
øjeRum - A Stone To The Sun
1 The Sun’s Light Behind My Eyelids
2 A Hundred Years From Now
3 When Bodies Of Glass Contract
4 Out Crawls The Day
5 Under The Dream
6 A Stone To The Sun
oejerum.bandcamp.com
credits
copyright © quiet details 2024
Music by øjeRum
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with øjeRum
Design by quiet details
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