Local Talent: Arc Of Ascent

Last week I had a lovely wee chat with Arc Of Ascent who hail from my hometown of Hamilton, New Zealand. The band (Craig Williamson - vocals/bass, Sandy Schaare - guitar, John Strange - drums) meditated on the success of the debut album, the local music scene, their individual pasts and plenty more. Keep reading after the interview for my review of their sophomore album, The Higher Key.

Professor Ricardo: Just to start off can I ask what made you decide to become musicians in the first place?

Sandy Schaare: I know exactly what it was that started me on my career to being a musician. It wasn't the heavy stuff that I listen to now. It was playing tennis racket guitar to Elvis Presley's 'Hound dog' as a very young 10 year old. Within six months I had a real guitar and that was the start of the end.

Craig Williamson: I wanted to play music to be in a heavy metal band.

John Strange: I was in the same boat but I was too shit to play guitar so I learned drums.

CW: I was too shit to play guitar so I learned bass.

SS: I'm too shit to play guitar so I play guitar.

PR: I would consider you to be one of our town's reliable and sought after acts these days. What do you make of the music scene in Hamilton (New Zealand) at the moment?

SS: It's pretty dismal really. I think that Hamilton for a really really long time has had a couple of artists that have “punched out” but for the most part the underground scene has struggled a lot. It's a town that has a reputation for having a lot of cover bands and that type of thing, probably because of the bar scene. There just aren't enough live acts being pushed within Hamilton which is why we end up playing in Auckland all the time. Although that being said I have to admit within the last six to twelve months there seems to be a bit more of a scene developing.

JS: I would say places like (popular venue) Static would be largely to thank for that sort of thing.

CW: If you are comparing now with when I started making original music it is quite sparse. In the early 90s it seemed to be quite healthy. We would do shows and there would be quite a few people turning up. Instead of going out to see bands people these days must be either staying at home or doing other shit. There has definitely been a change of attitude.

JS: In regards to Hamilton specifically, there has always been a pretty strong undercurrent of mainstay circles, like there being a “metal crowd” that tend to stay relatively strong. I came from hardcore and punk and that scene is all largely still there. As it stands at the moment I think things are on the up and up. It helps that a lot more bands from out of town are coming through as well, Hamilton is a tour stop effectively. Even some internationals like Guitar Wolf.

SS: Not trying to blow our own trumpet but I reckon it's because there are bands who stop in Hamilton just so they can play with us. They would have to be Made In China. Osmium, Beastwars, and House Of Capricorn. They come here because we can get something together with them.

JS: If we're not going to be making thousands of dollars a show we might as well have a good time with our mates.

PR: How do you go from being a band from Hamilton to having interest and albums out around the world?

CW: That would probably be my history with my solo work (Lamp Of The Universe) and before that with Datura who were around in the mid-to-late 90s. We were fortunate enough to have a guy in Taupiri, who went by the name Cranium Music. When we would release an album instead of push it in New Zealand he would try and sell it overseas, build it up that way. When all of that folded I decided to take it on myself, selling when copies we had left of Datura as well as starting my own project. I was pretty much fucked if I was just trying to sell my stuff to Kiwis. Maybe it was the aftermath of Datura not being completely understood here. I never tried to move it locally, always going overseas first to gauge their reaction. From all of that I have gained some old, good friends in Europe and America who fortunately trust what I am telling them. It was all about having a platform where we could say “This is our stuff, what do you think?”. I guess any band can do that if what you have is good enough. There are New Zealand bands who are doing it now – like Ulcerate and House Of Capricorn – who have international profiles by, you know, not fucking around and putting out international quality albums. Its easy if you feel you have a quality product then get it out there to be heard. Our first album [2010's Circle Of The Sun] I just put that out through my label and we got asked to release it on vinyl, we didn't pursue anybody about it, they came to us.

SS: It was all about all three of us all having the same goal. Our goal was simple: put an album out. We were all on board, we all wanted to do it, Craig has the contacts.

CW: Yeah, let's put it on that platform to gauge how we are doing.

JS: To be honest, the biggest following we could ever get at home would only be a piss in the puddle compared to a place like Germany. There are tens, if not hundreds, of thousands of people who listen to this sort of stuff there. It makes you want to gravitate further afield to test the waters.

SS: It's easy to forget that all of New Zealand is like one major city in Australia, and even that is not a big market by international standards.

CW: I guess our advice to any young band is to practice really hard and be 100% happy with what you are doing. Be ambitious and work hard.

PR: Going back a few years to when you released Circle Of The Sun, the album was very well received both locally and abroad. How did all of that affect your approach to the follow up album that you have just released?

CW: The moment that Circle Of The Sun had come out, even before anybody had heard it, The Higher Key had already been written. There was actually no pressure and no thought as to how it would be received simply because the new album was already ready. By being so far ahead of the ball you eliminate that. Yes, we were surprised by [the reaction] but it did not change anything about how we were approaching the second album at all.

PR: Does that make a really good argument for being that ahead of yourself, so to speak?

CW: Exactly. I mean, I understand the reviews, good or bad or whatever, but as an artist you just have to do what you have to do. If we had gotten really shit reviews for the album then we are going to have a reaction to that. Circle Of The Sun was just a snapshot of what we were doing at the time, whether they like it or don't like it … well I'm fine with that. Hopefully they did like it. Good reviews just turn more ears onto what we are doing.

SS: The thing about being a musician is as soon as you walk on stage you are putting yourself out there to be judged. Never mind your albums or whatever, you are opening yourself up for criticism. It makes you resolute to be even better and work even harder.

CW: There was no deviation because of the reviews, no trying to make a “part 2” or anything like that. There you are, you're in that moment doing it, you move on, you do something else. You can't go back to when you were eighteen years old and write an album. Everything has got to progress.

JS: Even as it stands we have more than our third album written. The follow up to The Higher Key, whatever it might be called, is already planned out.

PR: You have been on the bill with some excellent homegrown talent as opening for visiting foreigners. What has been your favourite show you have played?

SS: Beastwars at The Thirsty Dog (Auckland) for me. It's only a little venue and it was so packed. We might not have even played a very long set, it was all a bit of a blur.

JS: Stonerfest in Christchurch, 09 I think, that's going back a bit. Playing to a whole bunch of unfamiliar faces and seeing that crowd were at least superficially way more into it than any other audience we have ever had. Sometimes you play to a semi-circle of crossed arms but in Christchurch they were already partying before we started.

CW: Mine was with Left Or Right and Mountaineater at King's Arms (Auckland) last year. Those guys are just so easy to get along with. The southern charm came through that night.

JS: That was the same week as our gig with Russian Circles, too. Converge at King's Arms was a funny one; playing to a bunch of hardcore kids. I'm not sure they got it.

PR: What would be your dream gig, either to play at or just to see?

CW: Roadburn

JS: Roadburn.

SS: Sabbath. Original line-up. At Roadburn. With Neurosis and Sleep.

PR: What is the best part about an Arc Of Ascent show for you guys?

CW: Finishing.

SS: It probably is finishing because you come off, you are buzzing, and it's time for a beer.

JS: You get that moment of honest reflection before people come up and start talking to you about it.

CW: You hit that last note, say thank you and they are either cheering or you can look into their eyes and see that they weren't that into it.

SS: As soon as we are done we tend to know if we have nailed it. If I turn around and no-one is looking at me I know we did not nail it. Most of the time we do.

JS: I think the best part about an Arc Of Ascent gig are the two days afterward when your ears are just going [dull beep].

PR: Thank you, guys

Album Review: Arc Of Ascent - The Higher Key

Arc Of Ascent are a ridiculously hard-rocking trio from Hamilton (New Zealand), consisting of vocalist/bassist Craig Williamson, guitarist Sandy Schaare, and drummer John Strange. In the review for their debut auspicious debut album The New Zealand Herald wrote that “Not since Shihad's Killjoy has a New Zealand album - or many other albums for that matter - lurched with the power, brutality and beauty that Arc Of Ascent's Circle of the Sun does.” Such a wealth of expectation must have made the follow-up record difficult to conceive and execute. But two years later that is exactly what they have done. It is called The Higher Key and it fulfills every promise of the first album as well as blowing expectations out of the water.

The first thing that strikes you as opening track 'Celestial Altar' starts up is how good the album sounds sonically. It is clear that much of the past two years has been spent refining their sound and getting every single tone on the record pitch perfect. As such the highs soar higher and the lows cut deeper than ever before. There is a magic in all of this that is hard to put your finger on. Perhaps it is in the wordless chanted chorus of 'Elemental Kingdom' that bleeds into Schaare's blazing guitar solos. Or maybe its in the ominous vocal harmonies of 'Land Of Tides'. More likely though it is the rock-solid groove that the band establishes on the first song and holds onto until the very last note has faded from your speakers. This unity of purpose culminates on the gob-smacking closer 'Through The Rays Of Infinity' that lives up to its name and much more. The Higher Key maintains a deft balancing act between mountains of sludgy guitar squall and deliberate rhythms throughout, garnering the odd comparison with Tool or Black Sabbath along the way.

What you have in The Higher Key is a more focused collection of songs than Circle Of The Sun, a lot of which owes to the fact that album was written, recorded, and produced within a much shorter period of time than their debut was. This more deliberate approach might not make for any obvious singles (Circle Of The Sun's 'Godhead' was destined to be such) but it makes for an engaging listening experience which will be hard to top this year. The key to their success is that these three gentlemen work seamlessly together like a single three-headed, twelve-limbed rock monster. Basslines and guitar riffs share the spotlight, each knowing when to wax, when to wane, and when to freak out with reckless abandon. Drummer John Strange is again a workhorse on the kit, pounding away as if his very life depended upon it. The Higher Key is a wonderfully crafted and heartfelt record that gracefully sidesteps the dreaded sophomore album slump and is bound to put the band back on the map.

Rating: A
Recommended tracks: Celestial Altar, Elemental Kingdom, Through The Rays Of Infinity

Interview: Jose Freitas of AFTER

AFTER are a shit-kicking hard rock band from North Hollywood, California. I recently had a chat with AFTER vocalist / guitarist / keyboardist Jose Freitas about the band's past, present, and future. You can read my review for their latest EP, Edges Of The World, here through our good friends at The Tune.

Professor Ricardo: Hello Jose. First off, what made you decide to become a musician? Were there any particular bands or albums that helped you along the way?

Jose Freitas: Being the son of an orchestral music/choir conductor, I was introduced to music and particularly piano basically since I was born and went through piano/music theory/choir classical training from the age of 8 all the way til college. All the great 90's rock albums started resonating heavily in my head as I was grew up and by the early 2000's, when I was going to Design college, I was already playing bass for a few bands. I knew it was time to start my own so I bought an electric guitar and learned it all by myself, using my knowledge in piano. Of course I didn’t want to give up playing keys so I ended up being the guitar and keys player in AFTER.

All the great 90's albums I was referring to were Nirvana - Nevermind, Soundgarden - Superunknown, Alice In Chains - Dirt, Pearl Jam - Vs, Red Hot Chili Peppers - Blood Sugar Sex Magic, Smashing Pumpkins - Siamese Dream, Faith No More - Angel Dust, Beck - Mellow Gold, Bjork - Post, Massive Attack - Mezzanine, among others. The 90's were, in my opinion, the most prolific decade in electric music.

PR: How would you compare the recording of your most recent EP, Edges of the World, with your previous albums?

JF: Our debut album is like a younger little brother. Being our first recording and one of the first recordings of our then producer, Steven Skullr, it lacked in tone ability. Also I had no idea how to sing in a rock band. But it has a great experimental side to it, as the writing had total freedom and innocence. We spent a whole year experimenting around a studio and just being kids. Good times. But we were able to get a great album recorded with Steve in 2010, our second full length Redeye.

This recent EP was recorded with a major label producer, Barrett Yeretsian. A few years had gone by, we got more experience, went in and recorded it in a heart beat - super well rehearsed and with little time to over-think it. Definitely more time pressure than we had had before. [Edges Of The World] is a well produced, candy coated batch of songs, as Barrett has plenty of pop experience. It lacks in experimentalism and intuition, but we love this 'glossy' side of the band, and we kinda wanted to try it out. The next step is to blend intuition and experimentation with recording quality, so stay tuned.

PR: On Edges Of The World you cover the Doors' classic Riders on the Storm. What made you decide to do that song and how do you feel it went?

JF: In a world of frenetic hurry under the promise of immediate comfort, general stupidity is spreading fast. Its a total storm we have to poke through.  “Take a long holiday and let your children play” couldn't be more adequate to the times we live in. Plus in melodic terms, we thought the original Doors song could project pretty well through Marshall stack decibels. It went ok. We're now making a video for it, actually.

PR: Sounds great. Coming from a DIY background what was it like to play at such famous venues as The Viper Room, The Troubadour, and The Roxy Theater?
JF: It was a nightmare of bugging our friends and family to buy tickets, last minute show cancellations because we couldn’t turn in the total pre-sale for the show, etc. But we do understand that this is the epicenter of the music industry and if we don’t take the slot on the bill, one of the other zillions of bands around will. The upside is the awesome sound quality of these clubs, and the overall demand for quality ... it makes you improve your show. Plus it was on the strip that we met our manager and investor Don Hamister, whose support made us get to this interview today. So there's definitely opportunity under all this mayhem.

PR: What is the best gig you have ever had?

JF: It was on January 15th 2012, when we released this last EP, at the Viper Room. Our best crowd to date, great energy trade between the band and the crowd, and everybody got outta there smashed. Mission accomplished.

The runner up would be back in 2005, when we went out to the Joshua Tree desert, hooked our shit up to a crappy generator, and played under the most unbelievable spread of stars, with people from other camp sites coming over to join. Pretty epic. Too bad our then bass player Omar flipped his brand new Tacoma like ten times coming down a dune and totaled it. Still epic tho, cheers Omar.

The second runner up goes back to 2003, when we played our first show at a house party. There was a pole with a chick dancing right next to me, waving her hair like crazy, and her hair got stuck in the head stock of my guitar, and somehow I was able to untangle her hair and let her free without stopping the song. And having in mind I was quite inebriated, I'm kinda proud of that one. Epic.

PR: Out of interest, who is on your stereos at the moment?

JF: Fu Manchu - Eatin Dust (Song 'Mongoose').

PR: That's a very cool album. Fu Manchu are just about to play here in New Zealand actually. If AFTER could collaborate with anyone who would it be?

JF: We would love to collaborate with Meshuggah … on the soundtrack for the next Sex And The City season. Seriously.

PR: That would be something to hear alright. Can you give us a few details on what is in store for you guys next?

JF: afterishere.com is under construction still, so be sure to check www.facebook.com/afterishere for our tour dates. We're still working on a complete US tour, but Canada, Europe, Australia, NZ, and Japan are next. Also stay tuned for our upcoming video for “Riders On The Storm”.

PR: Finish this sentence: The best thing about going to an AFTER gig is ...

JF: Hot chicks. They're starting to show up! Come milk it and buy a beer while you're at it. Cheers.

PR: Thanks for your time Jose. You're a busy man and I appreciate you taking a few moments to talk to me. Is there anyone you want to give a shout-out to before we wrap up?

JF: No problem! I want to send a BIG thanks to Don Hamister, Skullr Records and Steven Skullr, Noho2 Studios and Mark Doty, and all our fans worldwide, we will get to your town soon so hide your sister. You can download our stuff at full quality over at afterishere.bandcamp.com in the meantime. Sha-zam!

Album Review: Jack White - Blunderbuss

In true solo album fashion, Blunderbuss is Jack White's first real opportunity to musically let his hair down and goof off without the burden of a big-name band behind him. It is not as anthemic as The White Stripes, nor is it as moody as Dead Weather or as earnest as The Raconteurs. What you get is somewhere in between all three without ever being any of them. “Sixteen Saltines” is the closest this album comes to an old fashioned White Stripes rager (as well as being a good choice for an early single): the strained vocals and lyrical guitar riffs reign supreme. As always White flies the highest when he gets more manic and less precious about his craft. “I'm Shakin'” is a fun knees up that references Bo Diddley and Samson while White himself recalls the Three Stooges with the use of the word 'noivous' instead of 'nervous'. The same goes for closing track “Take Me With You When You Go” when the end half truly takes flight. Still, every now and then his pop sensibilities get the better of him which makes for some cloying moments (“Hip (Eponymous) Poor Boy” and “Trash Tongue Talker” are glaring culprits, and side-by-side no less). In Blunderbuss Jack White has a good album, but that's the problem. A musician of his status and prestige cannot afford to be putting out merely good albums given that everyone knows about all of his great ones.

Rating: B-

Recommended tracks: I'm Shakin', Take Me With You When You Go

New Release Wrap-up: March - April 2012: Metal Edition

Given the origins of Eclectik Electrik as a metal-oriented radio show, I strive to prove that I am about more than just metal. Then other days I'm like, fuck it, I love metal so that's what I'll write about. Here are some bite-sized reviews for five of the most interesting metal releases (from a few different realms of the genre) of the last month.

#1 - Ancestors - In Dreams And Time

In Dreams And Time represents a return to relative modernity for this LA band after the retro prog of last year's excellent Invisible White EP. As always the band boast epic compositions with performances to match. The key to Ancestors is the balance of their various elements and using them in unity. There are no heroes here squirming for attention, all play their part. While all members are firing on all cylinders singer Justin Maranga is of particular note, his astral howl cuts through the murk and gives the album a human heart. Washes of Wurlitzer organ liven up “Corryvreckan” which could have easily wallowed in the abyss of blunt prog metal. It concludes with the extended Neurosis like jamming of “First Light” that unfolds as a 19 minute odyssey. At times it is cold and bleak while at others raw and seething – quite a ride from start to finish.

Rating: A-

Recommended tracks: Corryvreckan, The Last Return, Running In Circles

#2 - Killing Joke - MMXII

 

Reinvigorated by their successful return in 2010 with Absolute Dissent, Killing Joke seem to be enjoying a late-career creativity renaissance. MMXII is a more focused and streamlined affair than the previous album or possibly any before that. The music, the power, the voice; everything is just as apocalyptic as ever about Killing Joke. Behind it all there is a real heart which beats the most clearly on “In Cythera”, the most overtly-goth track on the album. “Corporate Elect” out-punks bands half their age and 'Glitch' is practically straight-up metal. MMXII is nothing new for Killing Joke but it is a wonderful distillation (and a timely reminder) of everything that makes them great.

Rating: A

Recommended tracks: In Cythera, Glitch, Trance

#3 - High On Fire - De Vermis Mysteriis

 

You have come to expect thick glorious sludge from High On Fire and that is precisely what you get. Every track is punishing and murky as hell. The hard-hitting Oakland trio have a reputation for coarse, violent music and it appears that it is a reputation that is not taken for granted. De Vermis Mysteriis (“The Mysteries of the Worm”) is the bands seventh album, a milestone of nearly twice as many albums as guitarist/singer Matt Pike's former outfit: Sleep. Perhaps it is due to their last album, Snakes For The Divine, being so diverse and well-recieved but De Vermis Mysteriis has a hard time gaining traction. After a prolonged slog the final track “Warhorn” closes things out in style (even if it is rather similar to “Bastard Samurai”). Easily your daily does of heavy even if its not their best work.

Rating: B-

Recommended tracks: Serums Of Liao, Warhorn

#4 - Meshuggah - Koloss

Warning: Koloss is suffocatingly heavy. Do not even turn this record on if you are of weak constitution or faint at heart; you are likely to get motion sickness or worse. Seriously. For a band with such an extreme presence and extreme reputation as Meshuggah Koloss is a surprising controlled affair, far less savage than the intimidating Obzen. That doesn't mean that this album to won't threaten to melt your face and break your back at every turn – because it will. Rather that it sets up a formidable pace and maintains it stoically through the album's duration. While this show of restraint is admirable it also makes every song blur into one another, preventing Koloss from having many stand out tracks as opposed to merely very good moments.

Rating: C+

Recommended track: Break Those Those Bones Who Sinews Gave It Motion.

#5 - Sigh - In Somniphobia

Japanese black metal weirdos Sigh have been dabbling in prog rock and carnival orchestras for the past 19 years (accordions in my black metal? What?) and In Somniphobia continues their legacy of sheer nuttiness. You will find shades of Frank Zappa, King Crimson, and Mr Bungle. Needless to say this album is way the fuck out there. Things start with the fiery "Purgatorium", a slab of metal neo-classicism, and it just get weirder and weirder from there. No matter how far into space Sigh drift they are always mindful to bring you back to their core black metal aesthetic. Is it in the journeys in between these peaks of relative normality that you are shown something amazing. An exercise in willful madness that is never less than puzzling. If this is your first exposure to Sigh (as it was for me) then brace yourself!

Rating: B

Recommended tracks: The Transfiguration Fear, L’excommunication a Minuit

Album Review: The Mars Volta - Noctourniquet

The more perceptive among you may notice that this album has been out for nearly a month. Why the long delay before publishing the review? I revere this band so much that if I had tried to write a review after just a week or two of listening to it I feel as though I would miss some of it's less corporeal aspects. In short in order to do the album justice I would need to let it really sink into my pores. So, without further ado ...

It might have only been three years since we last heard from The Mars Volta on Octahedron but it certainly feels like a lot longer than that. It could have something to do with the fact that they released five albums over six years that this hiatus feels particularly long. This track record is even more impressive given the rumours that the band writes, records, and discards an entire album’s worth of material between releases to keep their creative process vital. Stories of artistic struggles between guitarist / composer / workaholic Omar Rodriguez-Lopez and singer Cedric Bixler-Zavala might explain the wait. The end result is Noctourniquet and it is equal parts excess and restraint which is a hard balance to maintain. The primary complaints against their previous two albums were they there was too much going on (The Bedlam In Goliath) or not enough (Octahedron). Here no song lingers for more than eight minutes but then again there are 13 of them to contend with. Lyrically Cedric is back in his free-association mode that yielded such head scratchers as “exoskeleton junction at the railroad delay” on “Roulette Dares (The Haunt Of)”. Anybody searching for a grand deeper meaning underneath the surrealist poetry is in for a nasty surprise. I hope they have a thesaurus, an Ouija board, and painkillers at hand. 

Looking back to their auspicious debut, De-Loused in the Comatorium, only the two main members remain consistent – being Omar and Cedric. Line-up changes are nothing new to The Mars Volta but this is their first record without longtime keyboardist Ikey Owens and also the first in which former Red Hot Chili Peppers guitarist John Frusciante has not participated. Also new on board is the drummer from Omar’s solo work Deantoni Parks. As with every new drummer brought into the Mars Volta fold Parks brings a whole new style to the table. He doesn’t smother the record like Tom Pridgen did on his debut outings in The Bedlam In Goliath but his poly-syllabic beats are wonderfully engaging. It is clear that re-invention is of great concern on this album, and they waste no time in demonstrating this.

The album starts with “The Whip Hand” that rides a buzzing synth riff that is more trance than prog. When Cedric wails “I am a landmine so dontcha step on me” it cuts through the song like a knife. You feel transported to an alien land like only Mars Volta knows how to do. There is a noticeably smaller focus on incendiary guitar freakouts. It is not that Omar and company have lost faith in their strengths but rather that they are doing more by using less, giving other instruments a chance to shine. “Aegis” and “Dyslexicon” (the sort of clever song titles that bands like this favour) are more in line with the classic Volta sound without completely eschewing their current ethos. Things cool off a little on “Empty Vessels Make The Loudest Sound” which is a dead-ringer for “Televators”. More and more this is starting to feel like an artful recreation of the vibe on De-Loused In The Comatorium – which is in itself not a bad thing. But then there is “The Malkin Jewel”, a nightmarish lullaby reminiscent of a Led Zeppelin song unraveling on a rusty nail. The repeated refrain breathes menacingly down the back of your neck “All the traps in the cellar go clickety-clack / cause you know I always set them for you / And all the rats in the cellar form a vermin of steps / yeah you know they’re gonna take me to you ”. The albums “first half” concludes with potential single “Lapochka”. Subtle electronic flourishes frame what is one of the album’s most straightforward numbers and a pleasant end to the A-side. 

If the first half was a rollercoaster ride the second is a long glide over turbulent waters. “In Absentia” is smothered in heavily treated instrumental effects. Any remnants of traditional song that are in there are swept up in the melodrama of sonic schizophrenia. From there it is a long, hallucinatory journey to the end. From the bruising “Molochwalker” to the celestial title-track the journey is seamless between songs. Just when it might be losing some steam along comes the funky title-track and “Zed and Two Naughts”. What an amazing ending to a hard to digest album! Even though the lyrics of the latter can be hard to pick up on (something about Saint Christopher, dashboard mascot and patron of travelers) the chorus will be tugging at your brain for days - even weeks or months - to come. And just like that The Mars Volta retreat into the ether.

So what we are left with is a satisfying – if sometimes frustrating – album that fits well into the band’s existing canon which, like their best work, hints at a number of future directions for their music. The Mars Volta are nothing if not forward-thinking. To the outsider, non-fan this is pretty good album to try and get into them with and retrace your steps backward to their excellent debut. There are no excessively long jams, no impenetrable back story to circumnavigate; just masterfully played psych rock in all of its glory.

Rating: A

Recommended Tracks: Empty Vessels Make The Loudest Sound, The Malkin Jewel, Zed And Two Naughts