Oceans of drum kit fire bawling and fluttering string overtones fuse a complex web of ear asterism, infiltrated by a woozy sax line that soon reduces in duration and increases the overall vehemence with fragmented reed chewing rasp & roar joining a myriad of coordinates in this dense labyrinth of free magic. On the flip stunningly crafted harmonic percolations of feedback glare and riff particles slam into tantric drum force blast beats by Matt Skitz Sanders, on this unexpected monolith from Oren. Art by Paul Coors.
The trajectory is straight for the horizon and bounds with a ceaseless velocity. This is one to crank up and lose your self in. – Foxy Digitalis
Vibracathedral drop straight into a heads down fully tranced narco-dust trail, with guitar-born fireflies leading the way through a never-changing backdrop heat haze of low-lying smoke-mist and earth-veined throb. Fx tweets and rattlesnake percussion shakes as mystic keyboard spirits blow in a weightless drift.
The first cut from Infinite Light is a section lifted from a show featuring Barry Dean on guitar, Mick Flower on guitar and organ and Pete Nolan jamming the traps, and its a full, free-rock, psych-out captured through a heavy veil of no-fi smog. By the sounds of this they must have blasted open the trans-dimensional portal to some out-of-time temple rituals. Part two is the opposite, exchanging blasted group workout for a solo piece of harmonic guitar vignettes wrapped around a falsetto vocal cadence fluctuating at the point of saturation. Art by Barry Dean, design by Mick Flower.
Using tapes, electronics and guitars through chains of effects, Adrian Dollemore’s fundamentally earth-ground chords and astrally-projective processing paint a rural tonality with a bristling white afterglow. Glistening arpeggios rise and fall against gurgling analogue electronics, washes of processed cymbal and ethereal drone filigree. Pro pressed CD packed in a card slip case which was designed by Steve d’Enton.