Welcome to the first regularly updated CD review section I've done in ages.
This section, however, is devoted to bands who are signed to labels.
Basically, the thinking behind this bit, although inevitably it's my own humble opinion, is that if someone's produced a CD that is so stonkingly good in its field that no fan of that style of music should be able to live without it, then it's reviewed here - all styles, all artists - all thing considered - but only the best included.
This was originally all the reviews from May 2009 but due to space restirctions on the website, I've had to remove all the old ones and we'll be starting again from June 2010.....
Now, read on......

HARVEY BAINBRIDGE – Dreams, Omens & Strange Encounters CD
All instrumental synths music CD from ex-Hawkwind synth/keys player with four epic length tracks and a very short piece. Anyone into “Berlin”, “Cosmic” or “Ambient Chill-out” synth music should really get hold of this as it's excellent. The first track is “Fatima's Hand”, a 12 minute slice of swirling synth melodies and soaring space synth swoops over rolling electronic and electro-percussive rhythms, sounding more like a cross between Tim Blake and Pete Namlook and worthy of any of the more melodic things that came out on the mighty Fax label. It never stands still, like the best seventies synth, and it's got so much depth to it that you're absolutely riveted to it for the duration, as the warm, flowing melody lines travel forward over the crispness of the rhythms and the majesty of the space synths – a totally stunning opening track. At nearly 19 minutes long, “Nemesis” starts in cosmic mode and, almost surprisingly, reveals an amazing emotional depth to its flowing, rhythm-free layers as spacey synths flow slowly along, creating this feeling of deep space. Soon, though, the galaxy changes and fast, sequencer rhythms cascade all over the horizon as melodies begin to take shape, appear, disappear, and leave the rhythms sparkling in the cosmos with comets and swooshes of space synths all around. The melodies reappear and there's a real grandeur to the music as now we're in Ash Ra-meets-Neuronium territory and the whole thing is rising, increasing volume, increasing the depth, strength and layers. A percussive, train-like rhythm emerges from the depths and the melodies swirl all around as the track now drives ahead wrapped in layers of warm cosmic synths as the multi-layered giant of a track just travels beyond the galaxy. As it drives, so it turns into space-rock, to a degree. At one point, the melodies die away to leave this driving drumming on top accompanied by just space synth swoops as then this mighty bass rhythm enters, early Eno-esque keyboard runs emerge, a huge layer of cosmic synths flows in the background and this almighty chunky belter of a track now journeys on through the cosmos at warp factor 10, ultimately settling down on the nearest planet in a huge smoke plume of electronic landing gear. “The Scanning” is one and a half minutes of electronics and samples right out of the Hawkwind electronic eighties era, leading into the near thirteen minute “Zone Of Avoidance/The Voyage” that starts with sweeping, majestic layers of vast orchestral synths and space synths worthy of the finest early USA cosmic pioneers such as Braheny and Burmer, mixed with the vintage Ash Ra style feel of the swirling space synth backdrops, the sound of the universe distilled into this gloriously emotive, warm-hearted, room-filling musical vastness. For the second part of the track, the electronic and electro-percussive rhythms go into hyperdrive and e the arrival of assorted samples as the space synths gather and soar with purpose and menace, the feel now almost cold and dark as the rhythms continue and the icy wind blows all around. Solid sequencers arrive and it all takes on a more teutonic feel but never once lets up the intensity, eventually fading into the distance. The album ends with the massive 23 minute “Unravelled In Rye” which spends the first half of its journey in space/cosmic mode but with the added extra of distant, seqeuncer rhythms to give it more of a sense of movement as the space synths are more early seventies German than nineties American, hints of Neuronium and cosmic Hawkwind along the way. Later on, the now familiar mix of electro-percussive rhythms and sequencers are added as the track takes on more movement and begins to build and drive, with layers of melodies and fx added as it progresses, the predominant feature being the multi-layred, multi-textured rhythms that fly the track along. Then the melodies take over and it all flows along in solid fashion, the rhythms changing shape and pace until the mighty track ends on a rising wave of cosmic magic. Overall, as a synhts music album, it's up there with the giants of the genre, and, to be honest, shows more strength and consistency than any of the current synth music “legends” still trading on former glories. It's frs refreshing, familiar, superbly played and produced and one of the best of its kind around today.

BANCO DE GAIA – Memories Dreams Reflections DBLCD
Double CD of new studio tracks and live tracks, and it's got to be one of the strangest yet most fantastic CD's that Toby's released to date. For a start, the majority of the first disc – all studio tracks – consists of cover versions, while the other three tracks are newly recorded versions of older tracks. Taking the covers first, we begin with Hawkwind's “Spirit Of The Age” from the “Quark” album, and over seven and a half minutes we get this chunky downtempo slice of ambient heaven while the lyrics are actually recited by a guy who sounds like he's wandered into the studio by accident when he should be reading the evening new bulletin, but the whole thing works a treat as the shimmering synths, the crunchy, chunky, almost Latino percussive rhythms and acres of space synths and fx, all combine to provide this irresistible backing over, under and around the distant but clearly audible lyric. Up next is just under 12 minutes of seventies proggers King Crimson's track “Starless”, here staying true to the arrangement of the original, as the slowly searing heat of Fripp's guitar and mellotron are replaced by synths and guitar as Toby gives this amazing Fripp-like lead just what the song needs. The vocals are delivered with softness and emotion by female vocalist Maya Preece, while the rhythms are slowly flowing downtempo ambient-prog heaven, and you're sitting there, not only mesmerised with it all, but marvelling at the fact that no-one's thought to do this to such a great song, before now. Crimso and ambient fans will love it. But if that wasn't enough, along comes the “magnum opus” in the form of all 22 minutes of Pink Floyd's mighty track “Echoes”, and this is simply sensational. Again, staying true to the spirit, sound and feel of the original, Toby provides it with a soundscape, feel and textural quality, all his own. The guitar work is chillingly Gilmour, while the depths are huge, the flow profound,the textures heavenly and the whole sound absolutely faultless, as another slice of ambient-prog unfolds. It's the effortless way that he injects a truly timeless, classic track with flavours all his own, and managing to inject a whole new spirit into the track without once sacrificing what the track's all about. It's ambient, it's prog, it's expansive, varied, vast, floating, flowing and atmospheric, but, above all else, it's magic. Of the three ancient re-recorded tracks, “Soufie” is 8 and a half minutes of classic Banco middle east-flavoured ambient bliss, initially spacey and cosmic, but adding all manner of musical layers to become this rattling and rolling slice of chunky, driving, on fire downtempo, percussive-driven, space-synths surround, electronic melodic chilled-out ambient groove. Conversely, 7 minutes of “Tempra” starts off sounding amazingly similar to Tangerine Dream legend Edgar Froese's lengthy final track on his classic seventies album “Ages” before taking a detour via chunky beats and seriously cool grooves, into this heartwarming slice of solid yet atmospheric chill-out heaven, as all sorts of synths, percussives, fx, keys and similar, all combine to provide one of the finest tracks on the whole album. The first CD ends with five and a half minutes of “Terra Om”, as chilled-out an example of classic ambient electronics as it's possible to get. The live disc features 10 tracks ranging from 7 to 12 minutes in length, all recorded at various stages of Banco's live career to date, as it becomes one almighty monster of a track, the very epitome of what made, and still makes, early nineties ambient downtempo music, so utterly timeless. What separates Banco from the rest, is the sheer feel and arrangements of the whole, having tracks running into tracks, almost the perfect ambient megamix, as you find yourself inexorably hooked to the vast oceans of electronics, melodic synths, percussive rhythms, space synths, electronic beats, chunky backdrops and hugely expansive layers of synthesized soundscapes that soar all around the ever dependable chunky rhythms. Unfair to single out any one track, this is something you play and enjoy – for a long time to come – as one example of epic ambient genius in action. Overall, proving that Banco has lost none of his touch and that, in terms of ambient music, he's not only the godfather of it all, not only still producing music that is still completely timeless, but is actually the finest there is, when it comes to downtempo genius.

HAWKWIND: Church Of Hawkwind (Remaster + Bonus Tracks) CD
This is a much weirder album than “Sonic Attack”, its more song-based predecessor, but after all, that's what I like about Hawkwind: the fact that they aren't afraid to experiment. Sometimes when they venture out on a limb it might not be the greatest thing ever, but I certainly appreciate the fact that they try to stretch themselves a bit. I would hate it if they were mired in a "Doremi Fasol Latido / Space Ritual" mindset. Luckily they aren't! In many ways, looking back, a transition album, marking the gradual change from a Bainbridge-Langton-Griffin orientation to a Davey-Chadwick dominated one, the latter making guest appearances on one track, while Marc Sperhawk contributes bass on a separate track, the helm being firmly in the hands of Brock and Bainbridge. A fairly even split of songs and instrumentals, this is essentially an electronics-dominated album, fairly introspective, and it would have been nicer to have the tracks linked rather than all the fades. The feel of space is prevalent throughout and there is some strong and at times beautiful lead guitar work in there too. It’s still got a flow to it and, even better, whereas you had to turn the original up louder than most to be heard, here on the remaster, courtesy of supremo Mark Powell, the sound, quality, clarity and dynamics are superb, with a handful of space-rock song-oriented gems along the way too. Of the five previously unreleased bonus tracks, “Fall Of Earth City” features Bainbridge on vocals rather than Brock, and, curiously, the effect is amazing – no better no worse, just different and lends a whole different feel to the track., while the extended “Angel Voices” is purely a few more samples and “Harvey's Sequence” is a fine slice of spacey synth music with depth, coldness, sequencers and visions of dust-storm plains on desolate planets. “Water Music” is a solid, mid-paced instrumental with some excellent playing from the whole band, featuring really strong synths and guitars. Finally, “Looking In The Future/Virgin Of The World” is an extended version of the original album closer and as a mid-paced slice of more sedate space-rock, justifies its inclusion. Overall, a much better album than has oft been mentioned, more languid in feel than some but good stuff to play in between the so-called “classics”.

HAWKWIND – Xenon Codex (Remaster + Bonus Tracks)
Originally came out in 1988, 22 years ago, and about 15 years after their legendary “Space Ritual” album, the one that most fans pointed towards when decrying that any post-Ritual work is “not as good”. “Xenon” has never exactly been one of their studio albums for which fans would shout from the rooftops as being “the one to have” above most others, but when you listen back to the album now, you clearly have to wonder why this is. Between its instrumentals and songs, delivers possibly the finest example of space-rock that the band had put out on a studio album in the last ten years or so. So, why isn't this “the one”? Simple answer – the songs are catchy, the rhythms are commercial and the instrumentals are quite relaxed!! This album could have been the one that put them back on the map, but by not releasing the opening track as a single, the label and band missed the one thing that could have catapaulted them back to the heights. You only have to take one listen to “The War I Survived” to have it swirling around in your head, to be headbanging with the finest of metal bands, to be doing air guitar to the final searing burst of lead guitar as the track fades, to be singing along to the chorus and leaping about like a loon to the rhythmic hyperdrive of one of the best space-rock “pop” songs since “Silver Machine”. Far from punishing rhythms or driving beats, a good deal of the rhythmic drive on this album is positively “dancey” in a rock context, and it's probably straying that close to a more commercial edge, which had the fans scratching their collective heads and chins. This is evidenced by the second track, “Wastelands Of Sleep”, a more flowing, relaxed slice of space-rock balladry and imagery, but with that danceable rhythm underneath, and a gorgeous mid-song instrumental section. Next up is “Neon Skyline”, another stunning slice of “space-rock-as-pop char contender”, again, with rhythms to which you could rock-dance with the best of 'em, another storming chorus, all the touches that made “Silver Machine” a winner, the only trouble being that it's way too short to be seen as such,ending far too soon and segueing right into the piano-led serenity of “Lost Chronicles”, an instrumental with solid piano, distant electric guitar, chunky drumming, deep bass and plenty of space-synth swooshes all around, then going into a cutting, fluid electric guitar lead to add bite to the beauty, before appearing to end on an orchestral synth soundscape, only to gather drum strength and scythe into the end song portion of the track as another roaring slice of space-rock explodes into life. “Tides” is another moving instrumental with blissful lead guitar, and this sails into the angst-ridden lyrical imagery that is the strident flow of “Heads”, with a strong vocal, a multi-tracked hook, upfront bass, expressive lead guitar, solidly flowing danceable drums and synth surrounds, mid-paced but one of the band's strongest songs since the “Quark” album. Through two more instrumentals, things lead to “Sword Of The East” , another gem of commercial space-rock that, once again, will be hanging round your head for ages after you hear it, the combination of multi-tracked lead vocals, soaring harmonies, addictive beats and space-rock instrumental distilled to its most accessible levels, all combining to produce one seriously wide-ranging appeal of a space-rock song. The album ends on the beefy stomp of “Good Evening”, the presence of way too many samples obscuring another solid space-rock stormer of a song.
So there you have it – a practically faultless example of Hawkwind's space-rock tailored for the masses that the masses never got to hear and, to this day, still stunning from start to finish. Too commercial or not commercial enough? Who knows – but this is the album you give to anyone not into Hawkwind to “let them in gently”, even though, despite its “dancey” beats – it rocks!!

KINN – Kinn CD-EP
Birmingham band's debut EP and it's solid rock that follows a long line of legendary Midlands metal mayhem. The lead track, “”Want Me Need Me” is unleashed with all the firepower of a great “Classic Rock” band and lives up to its moniker with a strong vocalist delivering verses and choruses with passion and purpose as the hook sinks its claws in, while the band roar into life with a furious sea of swirling guitar riffs, juddering leads, thundering bass and driving drumming, the whole song racing along the highway into the multi-tracked vocal that delivers the energetic, memorable chorus as the rock rages all around. Without a break, it's right into “Hole World Down” as the roaring riffing and rhythms, that huge sounding chorus give way to a searing slice of electric slide guitar, red hot sparkling lead guitar and impassioned vocals as the rhythm section drives in and propels this massive slice of metal riffing and dramatic drumming into another dimension, all on a track that's actually even better than the opener, the massive metal beast armed with even more strength, one hell of a memorable chorus, even tastier, gutsier rock guitar leads and riffing and a vocalist that's got this rock solid voice which fits the songs like a glove, unleashing a huge performance of songs that are Classic Rock in every way, and this is an absolute, 100% surefire gem of a track, easily the best and most essential listening track on the EP and, also, a track that would give many a more famous metal band a run for its money. Things end with “All Alone”, initially just emotive vocals and jangly, melodic lead guitar that plays this cyclical riff which hooks you in. As the vocal intensifies and takes on more harmonies, the drums crunch in, the bass pounds and a more mid-paced slice of almost English “AOR” emerges, only then for the guitars to fire up, the rhythm section up the anti, the vocalist to take off with intensity and passion as the track once again takes off and this roaring slice of Thunder-meets-Whitesnake rock attack draws you inexorably into its world. It drops back a notch then lets rip with a swirling lead guitar break that's electrifying, pure Classic Rock writing and arranging but sounding so fresh and exciting in these guys' hands. In short, one gem of an EP.

MASTERMIND – Insomnia CD
Brand new studio album from the USA prog metal band and it starts with a bang – a 5 minute burner with flowing, strong, soaring female vocals that fly above a sea of classic rock riffing, huge sounding synth depths, hot lead guitar and driving rhythms, every bit the consummate prog-metal opener, with a vast production, wide-ranging female vocals that fly and dive through a sea of verses and harmonies on a song that towers above its landsacpe with might and majesty, a great way to start an album such as this. The 3 minute “Break Me Down” carries on in a similar vein only with deeper, dirtier guitar riffs, counterpointed by a higher pitched female lead vocal, topped off with an arrangement that scales the heights with searing lead guitar work and yet twists and turns to perfection, “studied” classic rock at the edge of a band such as Nightwish or Within Temptation. At just over 5 minutes, “One More Night” is more of a rock ballad with suitably heartfelt male and female vocals that turn the song into an arena-sized prog-goth-metal anthem, with an arrangement on the hook that practically steals part of the structure from Yes' “Close To The Edge” track before then sailing out to an ocean of (Within) Temptation, and back again, so full-sounding with a sea of guitar riffs and solid, mid-paced rhythm section as the female vocal climbs higher and the emotive lead guitar works its magic. The 4 minute “Meltdown” starts in a more brooding, intense manner, with deep, down and dirty metal riffing, menacing vocals, more pounding classic rock rhythms as the female vocals really lift off along with the song, to produce this awesomely uplifting slice of high-rising prog metal with added synth depth undercurrents to fill out the evil-laced arrangement. The near 5 minute “Piggy World” is something of an anomaly. It's actually like a hardcore version of vintage eighties Heart and, with its huge memorable chorus, would be a superb track if it wasn't for the almightily badly done pseudo-metal-rap that's simply an embarrassment. Strange days, indeed!
“No Answer” is a strident rock power ballad although lacking the chorus that you'd have loved to have heard to wave your arms in the air and sway from side to side, while”Broken” is a sea of blistering heat prog metal of epic proportions where the band get everything absolutely spot on as riffs, lead guitars, synth oceans, driving rhythms and towering female vocals all provide a song that you wish could be twice its length and so fulfills everything that made epic rock tracks such as Led Zep's “Kashmir”, with which this bears ever such a slight resemblance, such legends that they are – an amzing, brilliant track that should be shouted from the rafters. “Night Flier” is a high-flyer, this time taking its influences from classic driving seventies Rush and Yes combined to create this searing heat instrumental that really showcases what the band itself are all about. The 5 minute “Nietzsche” explodes slowly into life with deep bass synth, rumbling bass, heated melodic lead guitars, crunching drums, cascading riffs and ultimately topped off by this bird-in-flight female vocal majesty with added harmonies, a continent-sized production, swirling synths and guitars, all providing a track with a sense of might, magic and emotion where steadily building, mid-paced strength makes up for any fast-paced power. The album ends with the 9 minute “Last Cigarette”, a huge anthemic rock ballad of a track that puts together everything that this band has done so far in this album into one slow-burning cauldron of an anthem, one that starts slowly, gradually builds, climbs and multiplies, threatening to erupt but then simply burning with a fierce heat as melodic guitar breaks glow with intensity, this huge river of prog-metal sound flowing slowly but surely into your head and heart as the female vocals just pour the lyrics out slowly on acres of sky-high leads and all-enveloping harmonies, eventually ending the album, not with a bang, but with a whisper. Overall, it's absolutely superb and, if not for the bits of metal rapping in “Piggy”, would score 100% on the enjoyment scale.

STONE PREMONITIONS 2010 – The Clowning Achievement CD
There are 8 tracks on this album between 5 and 14 minutes long with the core trio of Tim Jones on vocals and guitars, Terri B (female) on vocals and Dave Hendry (Transequence, O-Head) on all synths, keyboards and sequencing, aided and abetted by various people on bass and drums. What you have, musically, is one of the most “out there” examples of psychedelic rock that you'll hear, but one where the worlds of Gong, Daevid Allen, Ozric Tentacles, the early nineties “festi bands” and Zorch, all combine to create this unique sounding set of tracks. The album begins with the 9 minute “Perpetual Motion”, space synths setting the scene as vocoded vocals intone their stuff above a river of bass drone until sequencers fire up and the rhythm section kicks in. With a swirling guitar riff added to the fray, Tim's nasally English-answer-to-Daevid Allen styled vocals deliver the song with authority as the track reveals verses and choruses that are insistent and all given a blissful psych-rock treatment, with the core strength of the band striding out as the song portion continues ever on. Somewhat uniquely, the song dominates throughout and there are no actual leads or solos anywhere along the way, but there is a huge depth of sound that makes up for that. The 5 minute “Out of Sight Out Of Mind” is introduced with percussive electronic beats and fx plus an other worldly alien vocal before this classic slice of Ozrics-styled psych-rock bursts into life with a cascading lead guitar and beefy riffs, while the rhythms lurch and Tim's urgent, almost Alex Harvey-meets-Kevin Coyne-esque vocals, deliver the song with bite and strength as the track rolls forward to stunning effect, relating the lyrics with passion. At 8 minutes, “The Judas Kiss” takes us down an altogether different path with reggae-ish beats dominating the space synth swoops, the psychdelic riffs and the soaring synth fx as the instrumental opening gives way to a song that features upfront reggae bass, stuttering drums and cymbals, a lyric delivered with a decided sense of cynicism and sarcasm, sung almost menacingly, as the synths gather and space comets swoop and soar as organ-like riffs cascade like raindrops from the skies. With plenty of echo on the vocals, that are also quite far-off, there song moves through a wide array of twists and turns while still largely keeping to its reggae foundations, albeit definitely psychedelic rock at the same time and one gem of a song and huge sounding, sedate yet powerful arrangement. “Down By The River” (not the Neil Young song!!) is not the most memorable track in the world, still in keeping with the album's feel but just a bit faceless. It bounces along on percussive and electronic beats with space synths swooping all around and echoed vocals and fx appearing along the way while bursts of riffing guitar punctuate the proceedings. The vocals are given the Allen styled treatment and, on second hearing, I have to say that it's not as emotionless as I first thought, so that while there's no real hook or chorus, the way it strides forward is highly reminiscent of the most psychedelic of Daevid Allen offerings, and actually nearly works despite the rather self-indulgent bits along the way. The 13 minute “Infinite Potentialities” is a towering instrumental that showcases synthesist and keyboards man Dave Hendry, with Tim on guitar, and the result is a vast universe of space electronic, blissful psychedelic, teutonic synthscapes and cosmic rock. The last three tracks average around 7 minutes a throw, with “In The Image” definitely a song yer not gonna hear on the radio as Tim delivers a solid psych-rock song with venemous and strongly worded lyrical bite, above a lurching sea of rhythms and spiralling guitar riffs plus soaring synths. The irony here about the radio play bit is that, with its female vocal dominated chorus and hook, it's actually the most commercially memorable song on the whole album, one of those songs and riffs that really sits in your head long after it's gone and a song that you get the feeling Daevid Allen or Gilli Smyth would have been overjoyed to come up with. The beautiful cosmic synths dominated finale comes as a welcome surprise too. “Why Are We Here” is a slower slice of songwriting and arranging, initially taking you into a world of mystery before this huge rhythm and surge of psych guitar kick in as the vocals roll forward with strength and a menacing dual-vocal chorus is added to the cauldron of smouldering guitars, bass and drums. The vocals, as throughout the album, exhibit a vast lyrical, personal and political imagery, as the predominantly electric (as opposed to partly electronic) song drives forward. The album ends with “Give Us Back Our Heaven” and here we start with an almost disco-ish rhythm as the drums and bass shuffle along, but it turns out to be more Can-meets-trance and that's a thing to be welcomed, trust me! The whole vast rhythm races along in addictive fashion as layers of synths are added, the vocals enter, lower in the mix and multi-tracked, as the sequencer/drums/bass-dominated rhythms stride along, giving the song a great sense of movement and depth. Tabla beats are also added as the mystical Kraut-trance rhythm rolls inexorably forward to delicious degree. Punctuated by the vocals, it's the rhythm that you notice most and one that proves practically irresistible. But that's not to lose sight that this a rolling, well arranged song with depth and confidence, as the now almost Moroder-esque sequencers drive headlong into your consciousness and turn into Banco De Gaia-esque downtempo beats, as magical a last track as you could have hoped. So, overall, apart from one track needing a few more listens, this is one highly successful superbly produced, written and played and, above all, refreshing, slice of psychedelic electronic rock that's around today and one, for all its unique qualities, deserves to be heard.

CARL WEINGARTEN & WALTER WHITNEY – Dreaming In Colours: Expanded Edition CD
Effectively 12 paintings in sound as electric and acoustic slide guitars, delay, keyboards, fx, synths, percussion and processing are all combined in these two musicians' hearts and minds to create exquisite instrumental compositions of truly wondrous proportions. The first couple of tracks work by creating either a cosmic electronic (in the case of “Mermaid”) or more rhythmic sequenced/percussive rhythm (“Pipe Winds”) over which the sliding, gliding electric guitar layers from Weingarten soar and shine to heartfelt effect. “Pathways” opens with a lone hi-flying guitar figure that both cosmic and almost symphonic, even for a lone guitar, as distant swathes of synth fog bubble up. Then in comes this Tangerine Dream-like sequencer rhythm, over which more synth layers, echoed piano and further synth layers, textural and melodic, all combine to make for a track that could easily have been an outtake from Vangelis' “Blade Runner” soundtrack. The title track is right out of the Fripp and Eno “No Pussyfooting” style of things and is absolutely gorgeous while “Rainsong”, the first of four previously unreleased tracks presented here, starts with storm effects as a shimmering electronic world unfolds amid distant percussives and gull-like fx, sort of cross between early cosmic T Dream and “Echoes”-era Floyd, but all seriously cosmic and strangely serene as layer flows over layer. “Ritual” has a deep, bass rhythm from the synths that resonates and booms, while an assortment of shimmering electronics, deep bass, flowing synths and textural backdrops serve as a foil to the glare of electric guitar work that leads the way and shines like a star in a universe of darkness, this spiralling searing lone guitar figure, a world unto itself. “Maiden Flight” does what it suggests and flies into being with a seriously strong melodic majesty from the lone string synth motif that's flowing ever forward, as a guitar at the same pitch and tone joins the slowly moving might of the amorhous, veering on melodic, primarily synths and treated guitars, but the effect is amazing. “Painted Lake” shimmers, ripples, hisses, bubbles up and glides as a gentle sea of synths, piano chords, fx, sustained guitar and cymbals, all wash on the shore with wave-like motion as the whole thing produces an air of enormous calm in the listener, the primarily cosmic flow, varied, multi-textured and supremely assembled. “Obsession” once again shimmers and soars on waves and towers of Fripp-like guitar excursions, throbbing synth undercurrents, spiralling space synths and gloriously textural synth/guitar soundscapes, a slowly moving rhythm giving the track more motion than most of what's gone before.”In The Sun” is barely two minutes of crisp acoustic guitar melodies and space synths that bubble up and soar like delicate comets. “New Colors”, at 6 minutes, the longest track on the album, adds sax to the cosmic synths and textural guitars, once again coming across like some lost track from “Bladerunner” or even hints of “DSOTM”-era Floyd, with sax well to the fore. The album ends with nearly 6 minutes of slowly moving sequenced synth rhythms, echoed bass synths, and masses of soaring melodic synth layers over which that high-flying, spiralling cosmic guitar sustain rings out to great effect. Overall, a predominantly cosmic music affair, busier than most of its European counterparts, free of cliches, more vari-textured and a work to be enjoyed time after time, for years to come.