A space rock masterpiece waiting to be discovered! ohead is a Dave Hendry project, he has several projects of varying styles. Visitor is the latest in a series of ohead releases, this time he receives more outside help than ever before, even real drums on occasions, and it shows. It sounds like ohead might end up a real band, like Porcupine Tree. Anyways, this stuff is truly up your alley if you enjoy groups like Ozric Tentacles, Tidal Flood, Quantum Fantay, Hidria Spacefolk, and the likes. "Kull" might fool you into thinking this is going to be symphonic progressive rock, sounding a bit like the '70s French band Pulsar circa The Strands of the Future, with sampled Mellotron choirs (Hendry never used a real Mellotron, apparently a Roland JV 1080 with expansion pack), but with the next cut, "Alluvial Morte" it's in more familiar space rock territory. This piece reminds me of early Porcupine Tree because there are vocals from Al O'Kane who remind me of Steven Wilson. Much of the rest is first rate space rock, with the occasional techno moves, particularly the title track. I also love the presence of the ney flute on a couple of the cuts, courtesy of German-born Maren Lueg, her ney playing reminds me a lot of John Egan's ney playing in the Ozrics. Generally she plays in more traditionally inclined Middle Eastern music ensembles, but I wondered if she's heard Ozric Tentacles, and felt if John can play ney in space rock, so can she. Don't know. "Jagged" is a strangely out of place piece, with metal guitar riffs, then suddenly the piece mellows into spacy psychedelic territory, but then ends with those metal riffs again. Does that mean that Dave Hendry might end up with a metal project? There's even one cut that starts off with that same bass synth that you've heard on the Ozrics' Spirals in Hyperspace and The Floor's Too Far Away (helps that Hendry uses Novation synthesizers like Ed Wynne).
This stuff is begging to be discovered, truly some of the finest space rock I have heard in a long time. If you don't know ohead, Visitor is a great place to start!
Ben Miler, Discogs (2012)
New for 2012 Its the exciting return of ohead ! Wonderfull ambient psychedelic journeys through space and time are the order of the day. Floatatious and spacious, Dave Hendry or Captain ohead is gracious enough to kindly steer our ears. minds and senses through a musical electronic soundscape that inspire the words Amazing and Wow and other similar terms. Highly recomended by Overflow, this album is not to be missed.
Garry Lee, Starship Overflow Radio CD of the week (2012)
Much as I was impressed with Dave Hendry AKA ohead’s previous releases ‘Visitor’ moves things towards the stratosphere. The guitarist guests contribute a lot to the success of this album namely Tim Jones and John Simms (Clear Blue Sky). It is also little touches like ney flute and sax and a vocal or two from Al O’Kane that help create a diversity of approach that takes them musically to The Ozric Tentacles and beyond. There are Afro rhythms and ska beats and even a brief flurry of HM guitar and enough swirling and swooshing synths to keep the most demanding electronic music fan very happy indeed. ‘Visitor’ is already marked down as one of my must return to releases of 2012. If you like any or all of the above don’t miss it!
Philip Jackson, Acid Dragon Magazine (2012)
This new album by Ohead (that’s a project of David Hendry from the UK) again includes splendid, psychedelic and trance-inducing hybrid of electronic music and space rock. As usual, there are several guests featured on guitar (John Simms and Tim Jones!), drums, wind instruments and vocals while David takes care of the synths, programming and occasional bass. After the short intro “Kull”, ”Alluvial Morte” rocks pretty tight and in a hypnotic manner also including some vocals. ”Solar Glide” is cosmic and pretty groovy going and the ney flute enhances the great atmosphere that’s quite like the old Ozric Tentacles had. There’s also some killer solo guitar by Mr. Simms! The shorter “Diadanze” is another pleasant instrumental piece where the delay guitar is played by Gazbot (whoever that is). This one has some dub moods. “Jagged” offers some heavier, hypnotic riffing although there also is a floating, acoustic section in the middle. “Space Soup” is a more relaxed, Ozrics styled, sequencer-driven great instrumental and “Utep” a more rhythmical and progressive number that could well by written by Ozric Tentacles as well. Perhaps the albums best piece still is its Ashra/Tangerine Dream spirited title track “Visitor” that has an excellent, hypnotic and uplifting atmosphere. As the title suggests, ”Alluvial Morte Dub” is a dub styled number with saxophone and the album is finished with the soothing, mystical ambient piece “Manu” where we get to hear some more of the ancient ney flute that’s perfect for the mood. An amazing album, once again!
DJ Astro, Psychotropic Zone (2012)
Multi-composer David Hendry (Guitars, Bass, Synths and Programming) first conceived Ohead in 1996, though it wasn't until 1998 that the first Ohead CD Silent Universe was ready for release. Since then there have been a total of seven Ohead CD's, plus the excellent Stella Polaris (later on review), another space rocking project and Transequence, a more electronic ambient trance project..
His most recent outing Visitor continues his dreamy blend of space rock, dub, electronic and fx alien influences. “Alluvial morte” is a fast paced melodic only-vocal track that reminds me a bit of old Porcupine Tree. “Solar glide” is a mellow and very cool synth-based track with a lot of psychedelic percussive aspects to it. “Diadanze” changes the flavour once again and is a quite laid back dub number but still very stoned and psychedelic and it features a guitar solo. “Utep” and “Space soup” have memorable Ozric-melodies and are very much in the Kitaro-ambient mould too. Ohead excel at creating alluring songs with Ozric Tentacles potential that are backed by intriguing electronica and wailing guitarsolo work that incorporates multiple sounds and styles. The lead guitar work by Tim Jones and John Simms (once of Clear Blue Sky) is fabulous, seemingly one foot on the pedal, one hand on the gliss bar, a mix of Dave Gilmour, Steve Hillage and Ed Wynne. “Jagged” maintains a metallized marching guitar beat riff throughout the song and includes an acoustic floating explorative middle part that gives it an acidic oriental quality. The title track is an interesting track, having a Astralasia/Banco De Gaia feel, though it's all happening within a larger rocking cosmic whole. And dig that Hillage-styled soundscape guitar. The dub continues on the appropriate titled “Alluvial morte dub”, a very engaging song which is embellished by great saxophone by Spacey Rach. The dreamy flute by Maren Lueg and the soothing percussion give the last song “Manu” a World Music feel that I can't quite place.
If you're a fan of Ozric Tentacles, Dead Flowers, Nukli, Klaus Schulze or bands such as Astralasia, Banco De Gaia or even Zion Train you'll no doubt find plenty here to enjoy.
Peter Brems, Concreteweb (2012)
Dette navnet ble rimelig fort byttet ut med Ohead, og her kunne Hendry dyrke sin musikk som er inspirert av band og musikere fra hans oppvekst. En oppvekst hvor artister som Tangerine Dream, Pink Floyd, Eloy og Steve Hillage var det som ble lyttet mest til. Dette gjenspeiler seg i Ohead sin musikk, og det var en musikk som på de foregående skivene har vært forunt med lite ekstern hjelp. Denne gang er det faktisk vokal fra Al O`Kane og fløyte fra Maren Lueg, og ikke programmerte trommer her og der. Denne forandringen fører til at følelsen av at Ohead er et band er stigende, og det er noe vi kan like. Vi liker også at skiva er på over timen slik at vi får mye musikk fordi det her aldri blir kjedelig da det så er variert. Akkurat det med variert er jo noe enkelte kolleger til Ohead strever med, men Hendry har åpenbart lagt seg i selen for å få til variasjon. Denne, variasjonen altså, kommer blant annet fra at det denne gang hentes inn elementer som det ikke akkurat har vært flust av på tidligere utgivelser. Den tidligere nevnte fløytespillinga til dyktige Maren Lueg gir skiva merverdi og en sonisk snert som er høyst velkommen. Når så oHendry også beveger seg inn i skogen hvor metallriffene bor, da blir det rett så spennende. På ”Jagged” hentes det frem riff som er smaksatt med en umisskjennelig metallisk vinkling, og det skaper en formidabel dynamikk i låten. En låt som rundt midten er en snarttur innom roligere farvann med psykedlisk spacerock før den igjen hardner til mot slutten. Strålende! På kanten til strålende er definitivt også "Kull" som er tett opp mot symfonisk prog og som låter virkelig bra. Bra låter også skiva som helhet og variasjonen er som tidligere nevnt fin og Hendry har nok lyttet på mye forskjellig musikk som han inspireres av. Kan vi driste oss til å gjette på at Steve Wilson sin tidligste komposisjonsteknikk kan være trukket veksler på når låten "Alluvial Morte" ble laget? Uansett så er "Alluvial Morte" en flott spacerock låt som gestalter hele arsenalet av krav til outerspace musikkestetikk. Kravet til god elektronisk musikk og spacerock oppfyller så absolutt "Visitors" og å bli hva platetittelen indikere og altså være en besøkende i Ohead sin verden kan være et smart trekk!
Ulf Backstrøm, Merlin Prrog (2012)
ohead..."Dream State Circus" 2010
Well it's only 3 months since we last featured Ohead on this page, but hey, we cant help it if they make so much amazing music! Roll up, roll up (& we mean that in the most encouraging of ways), the Dream State Circus is in town. Prepare yourself to be mesmerised by the musical world of Dave Hendry once more and wrap your ears around this trancey psychedelic space-rock masterpiece.
Garry Lee, Starship Overflow Radio CD of the week (2010)
‘Dream State Circus’ is Dave’s very latest release and has some distinguished guests appearing notably the estimable John Simms (Yes, he of Clear Blue Sky) whose unmistakeable guitar graces the title track and Tim Jones who plays lead on three tracks including ‘Infinite Potentialities’ which also happens to be on the Stone Premonitions 2010 CD, not that I minded hearing it again! It is on ‘Meadow of Dreams’ though that Tim really excels playing one of the most expressive solos I’ve heard from him, following Mike Bike’s enchanting acoustic guitar beautifully. Mark Newman’s djembe also adds greatly to proceedings and the voice samples and general vibe took me back to Porcupine Tree’s ‘Voyage 34’. There are lots of atmospheric ‘jungle’ sounds leading to a great headphone listening experience and also elements of ‘trance’ and ‘dub’ (although I am no expert the title ‘Dubliminal Conditioning’ kind of gives it away!) ‘Dream State Circus’ is a tremendous album and definitely a ‘grower’.
Phil Jackson, Acid Dragon Magazine (2010)
Ohead’s latest album Dream State Circus is possibly the best so far and at first rocks more than before. The opener, a pretty fast and tight title track proves that Dave has found a very well working combination of psychedelic space rock and electronic music. John Simms (Clear Blue Sky) plays lots of superb guitar solos and also some effected vocals are included. Beware, Hawkwind…
Tim Jones (Stone Premonitions) plays lead guitar on three of the tracks like on ”A Thousand Stars and A Thousand Moons” that some amazing sequencer stuff and starts off as ambient but transforms later on into a bit dub-like style and then gets a little harder. Dave Hendry himself is featured on the new Stone Premonitions release. There are some dub vibes also on the next piece ”Subliminal Conditioning” and it also has some saxophone (Spacey Rach again). “Meadow of Dreams” is a very pleasant, laid-back track with several guests. “Dubliminal Conditioning” is rather psychedelic, druggy stuff and the album’s longest (13:21) track ”Infinite Potentialities” mainly quite minimal, relaxing and dreamy ambient. “Transition Zone” is trance, danceable material and works really well.The album is finished with the mellow, sequencer-driven ambient piece “Puzzle Box”. Dream State Circus has high-quality music on it.
DJ Astro , Psychotropic Zone (2010)
Dave Hendry is an enterprising man, and is both multi-instrumentalist and producer. In this work he is with his beloved Ohead with a slice of psychedelic space rock. Less well known is probably that Hendry also releases music under the name Transequence, but it'll be another story another time. All good musicians have the sense to hire the best collaborators, and from Clear Blue Sky is the eminent guitarist John Simms brought in to provide additional timbres to "Dream State Circus." Simms lush guitar playing is included on the title track, and believe me, he is well worth lending your ears to! Tim Jones takes care of guitars on three tracks, including the beautiful song "Infinite Potentialities" which was also found on Stone Premonition 2010 that we found quite a favorable review earlier. This replay is no bad thing, but on the contrary a great experience so good is the song! The album is so full of small and subtle and fine details, that to take it all in, it is a smart move to use some good headphones. By repeatedly listening, music sections will grow big and strong, and one will really get into ohead's great music universe. On "Meadow Of Dreams features Tim Jones with a guitar solo that smells of quality, and which simply must be heard. The song is also a varied listening experience that also easily leads to a hypnotic effect on the listener. There are as many as three guest musicians who all contribute to this great atmosphere, and this quiet song is really a must-listen song. Very well worth listening to is Mike's Bike acoustic guitars as they interact with the fabulous and gorgeous lead guitar of Tim Jones. The sound from Mark Newman's djembe make this a truly excellent song. "Dream State Circus" is a delicious slice of psychedelia with strong tunes, recomended for those with a penchant for psychedelic space rock quality should definitely check out.
Merlin Prog (2010)
Born under the same star sign as the Ozric Tentacles and Omnia Opera, Ohead (What is it with Brit neo-space rockers and the letter "O"?) mine the psychedelic ore of the asteroid belt and refine it into a diffuse mixture of trance, ambient, dub and blazing rock. This is particularly evident on the title track with its driving sequencer pattern and lock-step drums. Ohead pilot David Hendry charts a course through the cerebral cortex with some searing lead guitar, hovering pads and dive bombing noise sweeps. A Thousand Stars and a Thousand Moons features mesmerizing sequencers against a backdrop of coiling synths and slash and burn guitar. Hypnotic and yet hyperactive at the same time, it trails off into an ocean of bubbling electronics and diaphanous synth textures. The house vibe of Subliminal Conditioning seems a bit dated these days but the inclusion of some slinky sax work and a vibrant rhythmic bass save the song from being merely sonic trivia. Meadow of Dreams brings the listener back to more rarefied atmospheres, with its floating synths and ostinato bass line establishing a repetitive calm punctuated by some airy acoustic guitar and crescendoing strings before transitioning to an up-tempo coda that features more blistering lead guitar set against a background of icy synth pads. The 13-minute Infinite Possibilities is unquestionably the album's centerpiece, evolving as it does through different sections evoking subtly different moods, very much, for instance, in the tradition of mid-70's Tangerine Dream masterworks such as Ricochet and Stratosfear. Here particularly is where Ohead excels at its Berlin School-derived electronic and Ozric-fueled post-Gong/Hawkwind space rock. Phased metallic guitars anchor the otherwise shifting sequencers and atmospheric pads to terra firma before the piece morphs into a kind of electronic saraband for 21st century stoners. All in all, Dream State Circus is an excellent addition to Ohead's growing galactic catalog of neo-psychedelic trance rock. Where the Ozrics left off at the end of the last century, Ohead forges ahead in this one.
Charles Van de Kree, Aural Innovations (2010)
ohead..."Decade in Space" 2008
Decade in Space celebrates the first ten years of released Ohead material (1998-2008). Instead of just putting together a compilation album Hendry decided to rather re-record all the tracks. This was a very good idea since that way they sound fresh and he got the chance to fix things that he was not totally happy with as well as add bits and pieces here and there. Great! The CD includes nine mostly long tracks and only some of them were known to me before. One of my personal favorites is the hypnotic “Seamless Time” that uncommonly also includes vocals. The pretty heavy electric guitar gives a nice space rock feel although the bass drum beats in the dance music mode while sequencers blast away. This track features Gazbo on guitar. One other track (“Dub Bubble”) also has a guest musician: Spacey Rach plays saxophone on it. Many of the more ambient pieces like “Space Messages” bring to mind the best stuff by Astralasia which is only a good thing in my books. Other highlights of the album include the bit mystical “Eyes of the Oracle” and the little Kraftwerk-like ”Voyage Sequence II”. This is an excellent album in every way and a great way to get fast into the spacey music of Ohead
DJ Astro, Psychotropic Zone (2010)
ohead ..."Gaia's Garden" 2008
Fans of pschedelic and ambient music are in for an absolute treat with this simply brilliant and quite stunning release from Ohead. The man behind the band/music is Dave Hendry and the multi-instrumentalist already has a plethora of work to his name but I doubt if he has previously produced anything as devastatingly good as this. Guitar and keyboards combine fluidly with drums and bass to produce an instrumental landscape of sound that is dreamy, ethereal and atmospheric. A tad of space rock for sure but think of the mighty Ozrics and early Porcupine Tree given full reign to experiment in rhythms and sound effects and you’ll have some idea of what is happening here. Hendry has been very clever as he uses several guests to devastating effect on several of the tracks. The genre of psychedelic/ambient rock simply doesn’t get any better than this. T.C The Classic Rock Society magazine (2008) David Hendry from the UK is a very busy fellow who has released different kinds of electronic music under various monikers. Ohead is one of his projects that has prior to this new CD released two great, cosmic and psychedelic ambient albums. I reviewed Steps Across the Cortex, the latter of these, last year. On Gaia’s Garden David plays synthesizers, bass, guitars and sings as well as does the programming. Rachel Hutchinson (saxophone), Will Greenwood (lead and glissando guitar) and Gaz (lead guitar) are also featured as guests on one track each.
Gaia’s Garden is a very well produced, psychedelic and mostly electronic ambient album that has a bit organic feel too because of the guitars and bird song. The music is pretty original, although it evokes similar feelings than early/mid 90’s Astralasia, Banco de Gaia etc. Excellent music! DJ Astro, Psychotropic Zone (2008) Possibly the best psychedelic-ambient album of the year... 'Ohead' is purely the work of 'Dave Hendry', who has a colourful and extensive musical history, as a composer,producer and musician. This unique masterpiece is dynamic, atmospheric and saturated with feel-good factor... interwoven with keyboards... guitar and polished to perfectionGarry Lee, Starship Overflow Radio CD of the week (2008) Ohead is the one-man space band of David Hendry. Hendry has extensive experience in the electronic music scene in genres such as trance, ambient and drum n' bass. And while his Ohead project draws on some of those influences, Hendry infuses it with so much more, adding guitars and bass to the electronics for a fusion of sound reminiscent of Ozric Tentacles in many ways, but different as well. Hendry has a polished sheen to his production, the non-electronic instruments having gently rounded edges, melding into the mix with the electronics for a smoother and less raunchy sound than you often hear with the Ozrics. It's mostly instrumental music, except for the occasionally freaky voice sample, and of course the mysterious and edgy track Timeless Sun, which features spacey, processed singing from Hendry himself, multi-talented guy that he is. Ohead hearkens back to the electronica and festival sounds of the 90's while pushing forward and exploring new territory for the future. Lush, rhythmic and spaced out, this is music for the head. The O-head, that is.From Aural Innovations 40 (2008) Ohead is the project name for Englishman David Hendry’s music. David has produced the album, composed all the music and played all of the instruments except for the sax onSoapbubble (Rachel Hutchinson) the lead guitar/gliss on Skydancer (Will Greenwood) and the lead guitar on Desert Path (gaz). Despite these contributions this remains very much a David Hendry solo effort. It is well conceived, composed, played and produced. The music, totally instrumental save for some short vocalisations on some of the compositions, lies in that region of soundscape that encompasses psychedelia, ambient and space-rock, with David weaving seamlessly between the three. The sound is impressively clear; this is another of those albums that is definitely enhanced by being played on the best of hi-fis.The opening Lost In The Stars immediately lifts you into a good mood with its effective use of warm synthesizer sounds from the bass end, neatly juxtaposed with higher frequency playing. The Gaia’s Garden set of compositions mixes spacey sounds along with birdsong and the like, all very pleasant in an ambient way within this psychedelia/space-rock setting. Other highlights are the subtly different space-rock “feels” of Timeless Sun and Red Skies, purposely contrasted by David I’m sure; and Soapbubble , to which Rachel’s sax contributes some wonderful musical colour. Overall, a fine album: recommended for fans of totally instrumental psychedelia/space-rock/ambient soundscapes.Alex Torres, DPRP (2009)
ohead ..."Space Daze" 2010
How about that for a cover... In fact the colours rather describe the music! Psychedelic swirling soundscapes, full of twists and turns and beats and effects, sampled and sequenced to mutate and contort inside your headphones and ultimately lead you into a world of floating spacious audio delight! From 'Hazey Realities' to 'Enchanted Forest', we cant possibly think of a better means of escapism!
Garry Lee, Starship Overflow Radio CD of the week (2010)
ohead ... “Steps Across The Cortex” 2005
A warbly bass synth sequence, some male sci-fi dialogue in the background, and we’re off and running on another spacey O-Head release, as if Silent Universe were only yesterday, not seven years prior. A light vintage synth lead and a thumping beat also emerge, and the feeling on “Twilight Pilot” is very familiar, like coming home. Various cool electronic effects fly in and out of the mix at will. The bass sequence gets a bit heavy, not changing at all until it transposes off and on going into the seventh minute, but it’s still good fun. We float right into “Otherworldly Journeys,” with lots of bubbly little synth sounds. A hypnotic sequence gets going, then a bass pulse, then more layers of electronics including a pleasant melody. The feeling is cool, hip, relaxed. Mellotron flutes and strings are added at the end for good measure. Next up is an epic excursion, “The Loneliness of the Deep Space Traveller.” This one builds perfectly from ambient beginnings to a steady marching beat with, again, a wonderful assortment of playful synth sounds. Dreamy throughout, by the end you will be tapping your toes and grooving with it. “Oracle Eye” develops in similar fashion, with fully engaging rhythms and melodies that will completely hook you. David Hendry manages to coax tunes along in such a way that it is difficult to tell what parts are preconceived and what parts are freeform experimentation and improvisation. Certainly they have the feel of tight compositions, but when you venture across each electronic landscape for anywhere from 9 to 26 minutes, it seems likely that some exploration is going on. On the other hand, the consistency between the two O-Head discs is so amazing (“Delta Ceiphi” seems like a sequel to “The Domes of Atma”), that perhaps there is method to the madness throughout. Excellent.
Phil Derby, ElectroAmbient Space (2005)
Steps Across the Universe was released in 2005 and is the second CD by O-Head aka Dave Hendry. O-Head’s music is an amazing combination of early 90’s styled British ambient and trance á la Astralasia, Future Sound of London and Eat Static crossbred with a suitable dose of old school German kosmiche music pioneers. This is just the kind of deep, psychedelic electronic music that I like!
The album gets going with ”Twilight Pilot” that begins with a simple sequence and narrative sample. Little by little more synthesizers and a rather minimal beat join in. This is like Astalasia’s What Ever Happened to Utopia album mixed together with some 70’s Klaus Schultze or Tangerine Dream album, great! My little boy labelled this space-robot music, and this is a very good description. A bit slower “Other Wordly Journeys” continues the same cosmic line, but mostly in very airy and ambient spheres. Hovering and hallucinatory stuff, and in the end there is again some effective narration. The 13-minute-long “The Loneliness of the Deep Space Traveller” starts off with a very psychedelic web of sound that transforms into peaceful, beautiful and spacey ambient. At around the five minute marker the deep, dark sequences and bass drum are added, and the journey into inner space really begins. After seven minutes have passed the drum comp joins in and the track gets more trancey. Amazing, hypnotic going! “Oracle Eye” has just some little, bubbling synth sounds at first but later on also includes some guitar, and when the track really begins it brings to mind Ozric Tentacles’ “Sploosh!” quite a lot. Another great track. The fifth track of the album “Delta Ceiphi” is again more peaceful and cosmic material in the Astralasia vein. There is also some space guitar and bass in there. The last track “Colours Become Shapes” is a massive, over 25-minute-long magnus opus of the album and begins very peacefully with a cosmic speech sample and floats in weird, psychedelic waters until the Tangerine Dream styled tinkling sequence takes over along with the wonderful synthesizer melodies. In the end the track mellows down into cosmic radiation and bubbling and we get to hear some more speech samples. This is a superb ending for this excellent album and the next album should also be available soon.
DJ Astro, Psychotropic Zone (2007)
This is a solo synthesizer CD by musician David Hendry.The first track begins with a repetitive bass synth sequence, over which samples and some new agey synths layer in and over it. "Other Worldly Journeys" is next and this is more spaced out spacescapes of sort. A fantastic and rich sound is achieved with all these modern synthesizers. After about 1½ minutes a bass line joins in and the rest of the song is wrapped around these modulated bass lines. Quite cool stuff. "The Loneliness of the Deep Space Traveller" takes us on a 13 minute journey, which is very mellow and spaced out until a sample of an astronaut comes in around 4½ minutes and then the bass synth line starts and the track really builds up into a dark theme and then becomes almost like an ORB like techno track. Very cool stuff. "Oracle Eye" is next and reminds me of some of the stuff on Seaweed's, Patchworks CD. This features some programmed drums and is quite a cool 11 minute trip into space. "Delta Ceiphi" is next and features Simon Williams on guitar (Mandragora!). This is the first thing I have seen Simon on in years. The track starts very new age with rich sweeps of lush sound before Simon kicks in at about 3½ minutes with some really cool delayed, highly effected guitar soloing. It is quite a short solo but he plays another one later in the track as well. The CD ends with the 26 minute "Colours Become Shapes". Here David experiments with some more far out sounds than on most of the other tracks. There are quite a few layers of stuff on this track. A very enjoyable space music CD.
Aural Innovations (2007)
ohead ... “Silent Universe” 1998
A stellar wind and electronic shimmers conjure up the cosmos but then a vocal sample makes us think much more of the space within, as if ones consciousness is slowly being awoken. The first sequence can be heard and this is added to by another. We are now far from sleep rather hurtling at full speed. A rhythm is chucked into the steaming brew with soft synth pads fleshing out the sound. As if we weren’t close to overload already another heavier rhythm is added. A case of more is more? Good exciting bombastic stuff.
The second track is somewhat more subtle than the opener but even better. A slow sequential motif provides the framework for lovely effects to caress the mind. More sounds are added, each like a shining star, startling in beauty but with awesome power. Unlike the first number however the effect is much more of calm than speed. The foot certainly starts tapping when the main rhythm is added just before the half way mark, but really it is the sounds he uses that are the main focus. You can hardly call them lead lines because they never last for long before departing and another taking its place.
On to track number three, a real little gem. I know I keep going on about sounds but really the warbling sequence used here is like nothing I have ever heard before and it got my whole body bopping to it. The accompanying lead lines compliment it superbly. Awesome, absolutely bloody awesome! Surely it can’t get any better than this. On to track four and back to deep space. The sequence and initial gentle lead motif are subtlety personified. Piano melodies and bell like percussion are added to by an acoustic guitar sound giving the fifth track a very un-electronic feel but it is, as are all the pieces here, a delight. The next number is the longest at eighteen minutes. After a calm start the track develops into a fairly conventional sequencer / rhythm romp but by the eleven minute mark we are starting to get more of those unique sounds though the sequence shifts in a very Tangerine Dreamish sort of way. The melodies are always top notch and this is a very fine piece but somehow sounds a bit ‘normal’ compared to the inventiveness that has gone before. The title track finishes the album off back deep in the cosmos, all shimmers and effects making one think of outer space.
This is an album that will be enjoyed by people that like their Electronic Music 70’s influenced but at the same time sounding 90s without having to resort to dance rhythms.
Dave Law, SMD (1998)