Album Review: Mars Red Sky – Apex III (Praise For The Burning Soul)

There’s no doubt that Mars Red Sky write music for themselves alone. What other reason would they have for gathering all their eggs into one basket time after time. Each new track seems to come pre-loaded with the same familial qualities – that familial, otherworldly, psychedelic backline, overdriven buzzing bottom end, laconic multi-tracked vocal delivery and crunchy riffwork. However, here on Apex III, they have wrapped it all around a truly alien theme that dines out on a creepy, pervading sense of drama and a thoroughly dark tone.

There’s real tonal value in the amalgamated scene-setting introduction “(alien grounds)” and dark backstory of the title-track but, sitting proudly up top and riding on a single repeating riff that incessantly bores its way into your skull as it does, might irk a few into tuning out right there. I do urge you to persevere past that initial anomaly, however, because the Floydian wash and Hawkwind-esque crush soon envelops as tracks like “The Whinery”, “Mindreader” and “Prodigal Son” will undoubtedly attest to.

“Under The Hood” is the star track with a lush, bluesy underscore that gently sways around the ultra-light vocal arpeggios. There’s a sweet lyrical hook in there that draws you up and out of the misty surrounds – “those emerald eyes of yours” have a lot to answer for. On the flipside, the summery 60s vibe that characterises “Friendly Fires” struggles to make any impact and actually seems to work at odds to the vocal styling. Rather, the multiple-tracking and effects overwhelm and hide the upbeat melody.

Whereas 2014’s Stranded In Arcadia had a nagging inclination for analagous tracks, this takes that quality to a whole new level. Identifying where you are in the sonic wash of colours will require a tracklist to hand and an ability for deep concentration. But perhaps to do so would be missing the point. The tracks are, after all, merely subtle shifts in sound that exist across a single piece of art. Yes, perhaps less dead air and gentler segues might have assisted this thought process. It certainly feels like an album that requires a solitary journey. One of those that will give you a chance to curl up to, shut your eyes and ride on through the storm.

Also online @ Ave Noctum = http://www.avenoctum.com/2016/02/mars-red-sky-apex-iii-listenable/

Album Review: Secrets of the Sky – Pathway

With Secrets Of The Sky’s sophomore effort they really have thrown caution to the wind, tweaking their delivery and content to fully realise an album with one continuous, free-flowing storyline. It picks up from the very point where their scintillating debut, To Sail Black Waters, left us. Thus, after the rigours of an ocean-bound journey, we find ourselves tramping from the shore along the Pathway which leads down into echoing caverns where cackling witches lie in wait to torture and burn the emotions from us.

Thus, with something akin to the storytelling of Agalloch, Anathema or Alcest whilst drunk on Sabbathian doom and Opethian melancholy, the Californian quintet unveil an opus with cold, bleak beginnings leading to later forays into their harder, darker material.

Now, 13 tracks for a band like SOTS would indicate a complete change of tack. It is with some relief, then, that once you’ve got past the superb concept of having seven short, tension-building, feeder sound recordings then you’re left with a mere six full-lengths to pore over. Yes, it’s a gimmick to separate one type from the other but at least they don’t hide them behind complex titles, opting for simple Roman numeral formatting instead.

Following the introductory crashing of waves upon a shoreline (which also neatly bookends the album), they serve up “Three Swords” and our first taste of Garett Gazay’s clean vocal, which rises from amidst a swathe of minor keys, starting at a whisper, continuing through to strident song and finally into his more recognisable blackened shriek and roar. Initially the light, melancholic tone can make the clean vocal feel tentative, weak and, dare it be said, tuneless and at times overtly preachy. It’s hard to ignore the way they baby-step you into the album with dull, cyclical phrases such as “lying on a river” (from “Three Swords”), or “love this [life]” and “I don’t care anymore” (from “Another Light”) but they are balanced by the simple joys provided by the shrewd folk metal crunch of “Angels In Vine” and the brilliantly dark split-delivery of “Garden Of Prayers”, with the latter-half subtly hinting at the enigmatic delivery of Palms’ Chino Moreno.

Echoing footsteps upon a stone path, via the obstacles of trickling water, inhuman chuntering, industrial clanking and mantra chanting, have somehow led us inevitably to a roaring fire and the gloriously-consuming, black-edged “Fosforos”. It’s the signal for all-hell to let loose and the change of pace and instant freedom that comes with it is palpable. The chugs become more fervent and the screech and roars unhinged as the flames lick around our feet. Then, with a final flourish they power home their masterpiece, “Eternal Wolves”, which effortlessly combines the album’s constituent parts to create a single, unforgettable microcosm that positively glows from within with sweeping builds, chiming threads and poisonous barbs right through to that final guillotine moment.

There’s no doubting the sonic shift from the threatening, gritty malice of their debut to something more subtle, mournful and introspective. In its final moments, the picture is revealed in glorious monochrome. There are also definite bonus points here for ignoring the usual charade of tracklisting the heavier material up front, and thereby adhering to the ‘journey’ and the gradual unveiling of the concept. Consequently, the album flows beautifully through all of its rises and falls. Sure, it isn’t without its weaknesses, but it’s a Pathway I’d heartily recommend you walk.

Also online @ Ave Noctum = http://www.avenoctum.com/2015/05/secrets-of-the-sky-pathway-metal-blade/

Album Review: Mars Red Sky - Stranded In Arcadia

The "psychedelic stoner rock" description that this Bordelais trio have imposed upon themselves does little to actually describe their lightness of touch or just how inventive their songwriting can be.

Soon to be released in the US (Europe had it back in April), Stranded In Arcadia contains tracks that sound like they've simply drifted in from the desert with deeply stylized, sultry vocals that place you in amongst the buzzing swarm of rich, tripped-out instruments competing for space. The majority of songs here reside within the stoned triangle of Kylesa, Fu Manchu and Band Of Skulls as the band seek to draw inspiration from everything in between and beyond.

From the off, there are big hits of Kyuss and Electric Wizard as "The Light Beyond" sets off pumping out a voluminous, elephantine bassline supplemented by floor-shaking fuzz and wailing vocals. Very quickly you'll hit the volley of catchy choruses and cutting vocal hooks like those that punch forth powerfully from "Hovering Satellites", "Holy Mondays" and "Join The Race".

Do look out for the sharp, bluesy groover "Circles". It's a unique track that goads the sweet dual vocal of Julien Praz and Jimmy Kinast into suddenly mimicking duos like those that appeared in The Animals or 60s-afficionados Arlo. The end result is unbelievably rich in colour, insistently introspective and comes complete with a mile-deep groove and a timeless, sun-kissed vibe. Elsewhere, there is an abundance of warbling pedal effects, "Arcadia" and "Beyond The Light", and glitching electronic techniques employed, most probably in what would have been an intensive session of post-production. These are the tracks that reveal the most about the band's intentions. They are clearly invitations to release your shackles and travel as far along their emotional journey as you dare.

There is an elegant simplicity to so many of these structures. The cosmos-stretching cursive sections and the repeating motif certainly allow the listener to fully explore the variety of spaces into which they are thrown. To that end, there are those who may find the music to be a little too repetitious, unnecessarily twee or, at worst, agonisingly self-indulgent (the stomping "Seen A Ghost" is a particularly tiresome prospect), but persevere and there is far more to marvel than to sneer at. It is certainly the case that those who drink deepest will undoubtedly feel the soothing qualities of this one part-doom, two parts-psych soup best of all.

Also online @ Scratch The Surface = http://www.scratchthesurface-webzine.com/2014/06/mars-red-sky-stranded-in-arcadia-review.html

Album Review: Inventions – Inventions

Sleep’s Jerusalem, Mike Oldfield’s Tubular Bells, Jean Michel Jarre’s Oxygene and, to a lesser extent, Pink Floyd‘s Dark Side Of The Moon and Ozric Tentacles’ Jurassic Shift. These are all albums whose tracks remain emotionally welded together, no matter how many attempts are made to pull them asunder. Those who harbour a strong passion for long-players of this ilk will glory in the birth of Inventions whose debut demands instantaneous full exposure.

Having previously stuck rigidly to their own bodies of work, there was always the fear that neither Explosions In The Sky‘s Mark T. Smith or Matthew Cooper, the sole member of Eluvium, sending audio tapes across the heart of the U.S., would bring a cohesive series of fresh sounds to the table and, to some extent, their music does touch base with their past bands. However, there can be no doubt that as a united force they have also revelled in the freedom this new project has granted them. Consequently, they have created an instrumental album of the most beautiful, minimalist, ambient rock music that resonates at a completely different frequency from all that has gone before.

Yawning into life, the aptly-titled “Echo Tropism” tugs gently at your sleeve; its soft flow pulling you into a sculptured world where joyous emotion soaks into the flora and resounds along currents that circulate around your still form. Drifting through the tracks, breathy vocalisations begin to create harmonics that rise through the richly-layered subsonics. The spartan, often crunching, percussive elements keep the whole locked into a central spine so that as the synthetic patterns stretch, in the main, they remain integrated and vital to the whole.

Softly throbbing industrial machinations thread their way through tracks like “Entity” and “Psychic Automation”, the former pitching a subversively robotic burble into a series of pressure-releasing industrial pistons that curse as they snort and hiss their disapproval. The one track that wincingly tries to break rank is the coiled snake and bustling city soundscape of “Sun Locations / Sun Coda” which, curiously, assimilates elements of trance music. Happily, the ambient post-rock of “Peacable Child” reasserts the flow by slotting a pitter-patter arpeggio beneath a warping synth to create rotational drag. The remarkable effect is not unlike rhythmically cupping and uncupping your ears. For an extra-sensory experience try closing your eyes - I was alarmed to discover a tank of slowly pulsing, bioluminescent jellyfish staring back at me.

Constantly shifting, there is an astonishing organic flow to the album and to force unwieldy terms like electronica or shoegaze upon this collection would seem crass. It does touch base with the genres at several points during its life-cycle, yet the focus remains rooted to the emotional impact it has. Flooded with the same warm tones that emerged from ISIS / Deftones collaborative project Palms’ debut and imbued with similar instrumental pressure points to those of The Ocean’s Pelagial and Uneven Structure’s Februus, this pulsating album positively glows. Make time for this single-sitting long-player and you will be rewarded.

Also online @ The Line Of Best Fit = http://www.thelineofbestfit.com/reviews/albums/inventions-inventions-149597

Feature: Johnskibeat's Best 20 Albums Of 2013

2013 has seen large growths in the, quite frankly, already sweaty regions of punk n’ roll, progressive metal and retro blues rock. Naturally, this has made me a very jolly fellow. You might be able to spot a few of the more impressive additions in my all-singing, all-dancing end of year list. Happy xmas to one and all!

20. Iron Tongue – The Dogs Have Barked, The Birds Have Flown

Iron Tongue roughly feed their country affectations and hefty, blues-tinged rock through the chomping maw of old school doom metal to inspire Steve Von Till to comment that The Dogs Have Barked has… “a power and an edge and soul that rarely exists in music today”. [Review Here]

19. Gorguts – Colored Sands

Those 12 years of waiting between albums were worth it. The vast leaps made in production quality mean Gorguts have given us the gift of a powerful and precise shock to the system. Colored Sands is gritty, powerful and effortlessly precise and with songs like the epic title-track tearing us asunder it really is harem-scarem technical death metal of the finest quality. [Review Here]

18. Karnivool – Asymmetry

The essence of their post-rock forbears has always weighed heavy on Karnivool‘s work and, unsurprisingly, their third long-player Asymmetry shows all the same hallmarks. Song by song they draw upon the karmic power of giants like Tool, Deftones and The Mars Volta to grant us the opportunity to gaze upon yet another stunning, colour-streaked soundscape. [Review Here]

17. Motörhead – Aftershock

This album is proof that Motörhead are adapting beautifully to old age. It’s a little flabbier and it has a few more wrinkles, but this still comes with plenty of snarl amidst the laconic blues and gravelly rock n’ roll. Aftershock may not have come from the same dark hole that spawned Overkill or Bastards but it’s right up there with them. [Review Here]

16. Extol – Extol

Construction meets deconstruction as Extol lay waste to our perceptions of what is sonically possible. By turns, scrawling, visceral and beautiful, this magnificent spot of post-everything allows us a glimpse of the endless possibilities when boundaries are shattered beyond repair. [Review Here]

15. The Dillinger Escape Plan – One Of Us Is The Killer

Antagonistic short spurts of bloody hate, this contextually profound lump of chaos is DEP at their most vindictive. Just beware those misleading pop hits – those are there to tempt in the suckers amongst us. How mean. [Review Here]

14. Cult Of Luna – Vertikal

Patience is the key. The stylized emotional flow throughout is spasmodic, yet thought-provoking and utterly engaging. Beware, because when these beasts get their gnarly on, Vertikal‘s neanderthal sludge can become the monster of your nightmares. [Review Here]

13. Deafheaven – Sunbather

The ultimate sonic lightning bolt out of blue, Sunbather smears the visceral guts of black metal onto the blank canvas that is shoegaze. For an hour, they effortlessly fuse their songs together to do nothing less than break our hearts in two. [Review Here]

12. Funeral For A Friend – Conduit

Trimming a little off the sides and adding plenty of honest and committed metalcore power to the melting pot, FFAF give us yet another welcome stepping stone on their path back to glory. [Review Here]

11. Hatebreed – The Divinity Of Purpose

A stunning assertion of dominance designed to incite total mayhem, this hardcore behemoth provides sheer brute force to beat down the doubters. Predictable? Maybe. Empowering? Oh my god, yes. [Review Here]

10. Spirits Of The Dead – Rumours Of A Presence

It was inevitable that after producing such a brilliant debut, SOTD would become one of the finest of the current crop of retro bands. Rumours Of A Presence rams that thought home by worshipping at the twin altars of doom and prog; reinventing their forbear’s artistic touches to fit a thoroughly modern template. [Review Here]

9. Clamfight – I Versus The Glacier

Not just a pretty name, Clamfight‘s latest is one hefty statement of intent. First they ram it home with absolute power. Next, they open it all out into strong, hook-laden tracks and then they take their collective foot off the accelerator. Impressive stuff. [Review Here]

8. Palms – Palms

This ambient-minded supergroup’s debut is littered with moments that remove your capacity for resisting emotion and motion – your heads will nod, your hair will stand on end and your spine will shiver. [Review Here]

7. The Ocean – Pelagial

It is not by chance that you can sense the increasing depth, pressure and diminishing light as you progress through this album. What we have here is a conceptual masterpiece with genius to be found in both its shifting, beguiling, expansive post-metal wash and in those thick, dark brushstrokes that produce such thunder. Performed live, it has transformed The Ocean from an all-too-wieldy wall of screaming sound into an absolute tour-de-force of atmosphere. [Review Here]

6. Dark Buddha Rising – Dakhmandal

Mile-thick chants that sound like they come from the throats of a coven of hooded giants. Know that Dark Buddha Rising’s latest, no matter how gloriously trance-inducing it may seem, is pure evil and as such it should be restricted to small amounts and is definitely for personal consumption only. [Review Here]

5. Pelican – Forever Becoming

Rather than lament guitarist Laurent Schroeder-Lebec’s decision to move on, Pelican have come out fighting and their fresh, beefed-up approach has resulted in a conveyor belt of riffs and wave after wave of warming euphoria to bathe in. Acceptance and absolute absorption in the rhythmic drive is essential; achieve that and you’ll reveal an absolute tour-de-force. [Review Here]

4. Secrets Of The Sky – To Sail Black Waters

Secrets Of The Sky fearlessly dive into their subject matter of death with real abandon and without restriction. By doing so, they treat us to monstrous production and five forms of vocal attack. The combined force of this results in an atmospheric, doomy, subversively black, richly progressive and bollock-janglingly heavy debut that marks these Californians out as real forgotten heroes. [Review Here]

3. Steak Number Eight – The Hutch

Prepare for luminescent flourishes à la Torche, Isis-rich thundering and cherry-picked moments from the entire Baroness’ discography. Prepare for slack-jawed, clean vocals, thick, rotational riffs and dark melodious washes. Then, as malcontent is piled upon upon disillusionment and ‘core edges are sharpened, prepare to acknowledge The Hutch as nothing less than the organic masterpiece that it is. It is SN8′s “coming of age” album; a deal-maker. [Review Here]

2. The Safety Fire – Mouth Of Swords

Both soothing and vicious, Mouth Of Swords glows with a fluorescent vitality. The constantly burbling, rise-and-fall guitarwork, the crisp tone and accurate switch-up from ripped invective to soft melody is TSF at their finest. They have developed into a unique, inspirational force and the verve of this album has rightly set the benchmark, not just for them, but for much of their competition. [Review Here]

1. Man The Machetes – Idiokrati

Fast, bombastic, anthemic, groove-riddled and utterly addictive, Man the Machetes’ debut long-player Idiokrati is a behemoth of Norwegian punk n’ roll. From the fire and swagger of opener “Sluk Det Rått”, through the “Slagen” gang chants and short rhythmic pauses for breath to the joyful menace of “Hjemkomst”, these Norwegian’s prove themselves more incisive than Kvelertak and more explosive than Oslo Ess. Their album is the very definition of “grip it and rip it”. [Review Here]

Also online @ Heavy Blog Is Heavy = http://www.heavyblogisheavy.com/2013/12/16/farewell-2013-john-skibeats-top-20-of-2013/

Further musings on the soundtracks that rocked 2013 can be found here =  http://www.avenoctum.com/2013/12/albums-of-the-year-2013/

Album Review: Secrets Of The Sky – To Sail Black Waters

Most debut albums tend to be rough-and-ready and recorded in a day by the lead singer’s dodgy Uncle Frank who happens to own a beat-up old eight-track. Well, perhaps not quite that punk, but they do usually veer towards being more of a “bish-bash-bosh” affair  – they certainly don’t usually take eight months to record and emerge with the kind of sprawling, cinematic layering that To Sail Black Waters features – three cheers for engineer / producer Juan Urteaga’s (Testament, Machine Head) patience and perseverance. But then everything about Secrets Of The Sky is unusual.

They hail from Oakland, California yet have been signed by Italian record label Kolony Records who have been specialising in “recruiting lost souls since 2008″ (their roster includes artists based in far-flung fields such as Australia, Andorra and Jordan). SOTS consist of six members, half of whom contribute with multiple instruments – their lead vocalist, for instance, also plays keyboards and violin. Most mind-boggling of all is the music itself which draws on a wide range of inspirations and still manages to intricately weave these genres together to create something truly fresh and exciting.

Best described as an atmospheric, doomy, subversively black, richly progressive and bollock-janglingly heavy metal band, they mostly meander across the exploratory black paths of Enslaved and Ihsahn but don’t seem afraid to thread unusual sonic touches that evoke the output of artists like Vangelis, Giorgio Moroder, Cult Of Luna, Isis, Opeth and Agalloch. The monstrously huge and intricately-layered production is ocean-deep and rich with the multi-part vocals proving the vital finishing touches. It’s a rare thing to find 5 different forms of vocal attack yet here Garett Gazay treats us to his room-shaking roar, a gravel-toned scathing, an emotion-tugging clean and a menacing whisper. The fifth comes completely out of the blue – a haunting crystalline chanting; an emotional clarion call that will draw tears.

Wading through we get an “Echo Beach”-riff and an oblique Machine Head-esque lick that both shake up the stormy wilderness of “Winter”. A crushing triple-guitar death rattle opens “Decline” but this soon shifts into a strong folky vocal sequence. Constantly shifting, it’s not long before we get a burst of something wholly more epic, almost Bladerunner-esque, as a proggy twin-synth set kicks in. Elsewhere, we get the hearty dark tones of “Sunrise”, a pitch black doom skewed by a switch-up into a softer shoegaze motif.

Star of the show is the 11-minute “Black Waters”. With a title like that how could you not expect to hear Opeth in this, yet here Secrets Of The Sky fearlessly dive into their subject matter of death with real abandon and without restriction. A whispered vocal over plinking minor chords gently pad their way into what turns out to be a dangerously-deep groove – necks will snap. This is the belly of the beast and it will grip you like a vice, carving you open for that heart-wrenching finish.

With surprises at every turn you’ll continually find yourself expecting this wildly original album to jar you by twisting the knife too much and yet these four songs, no more are needed, flow like a dream, drawing you further and further below the surface. It is a debut like no other and marks these Californians out as real forgotten heroes. They may have slipped through the major label net the first time but that won’t happen again now that this behemoth of a record is finally ready to drop.

Also online @ Ave Noctum = http://www.avenoctum.com/2013/10/secrets-of-the-sky-to-sail-black-waters-kolony-records/

Album Review: Explosions In The Sky – Take Care Take Care Take Care

Here we have an album title that smacks of a last goodbye and yet, in a recent TLOBF interview, Explosions In The Sky assured us it won’t be their finale. Guitarist Michael James pointed out that despite this fact “it does have this emotional pull to it of ‘goodbye’. Even if it’s for five minutes or five years, there’s always an emotional component to a goodbye”. He also pointed out that by repeating the title three times “the words begin to blend together and ‘Take Care’ becomes ‘Care Take’, so we’re taking care of each other and saying goodbye and it just had this very sweet and sad feel for us, which really matched the tone of the songs”. Good news then because this particular collection of tracks has all the trappings of a post-rock masterpiece and is certain to leave fans of the genre craving more.

This is the band’s sixth album, and there is more of an encompassing rise-and-fall nature to the songs than we have bared witness to previously. They have threaded elements of dance and pop into the mix to grant us a healthy glimpse of their current collective states of mind. This is particularly noticeable on the tracks ‘Trembling Hands’ and ‘Be Comfortable, Creature’. The former is a short little ride though furious chanting to a driving rhythm that plants crescendos that peak and soaring bass that lifts you up high where you can throw shapes unnoticed, whilst the latter, an initial saunter down a sun-streaked forest path, leads to a neat free-falling riff, a flurry of electronic touches and a series of 65daysofstatic dancing beats.

Like all good albums there are emotional peaks and troughs. You’ll dip down as you feel the pain of the gorgeously mournful, tender touches of ‘Human Qualities’ and ‘Postcard From 1952′ which both have a see-through frailty about them. You’ll hear tapping fingers on pages, jogging feet, slow breathing through the nose, a rise in pressure inside your ears. Like paper-skin, the threaded veins of strings and gently pulsing heartbeats show through to speak of tough times in the many languages of music. You’ll climb up and marvel at ‘Last Known Surroundings’ which feeds tribal pipes, chiming keys, cyclical riffs and a persistent snare into the echoing machinations of a vast industrial mill to create a hedonistic wall of sound.

If there is anything missing here, it’s a lack of shocks. Only those brief moments of industrial psychedelia really make your jaw drop. One of those moments occurs as the countrified pop and bleak desert rock of ‘Let Me Back In’ bids you adieu. It’s a warped groan combined with a jarring reverse vocal and it’s almost enough, on it’s own, to make up that deficit. Whether it hits you hard or not you’ll still find youself sitting in momentary silence. So, as you exhale, a breath you didn’t realise you were holding, and press play once more, to allow yourself another pass though the picturesque scenery of yet another classy Explosions In The Sky album, do consider whether it’s their finest. Hyperbole maybe but, from this reviewer’s perspective, it certainly comes close.

Also online @ TLOBF = http://www.thelineofbestfit.com/2011/04/explosions-in-the-sky-take-care-take-care-take-care

EP Review: 65daysofstatic - Heavy Sky

Emerging from the debris of the recording sessions for latest album We Were Exploding Anyway, comes this craftily-compiled EP featuring six brand new tracks (and one new edit), because surely nothing is too good to throw away. The band obviously feel strongly enough about how special these songs are, as they’ve compiled limited edition artwork for the release and are offering two tracks (unavailable elsewhere) to folks who place a pre-order. Another sign of how serious they are about the content comes with the announcement that they’re about to take it out on tour. So it must be all killer and no filler, right?

Well, kicking off with a bit of a duff extra we find that ‘Tiger Girl’, having been cut down from an admittedly lengthy 10:37 to a mean 3:36, has its emotional peaking effect blunted somewhat. Allowing yourself to dwell and soak up the rhythm is often far superior to the short, sharp hit. A bad start then but, thankfully, the remainder of the EP is jam-packed with crackers.

‘The Wrong Shape’ ebbs and flows dynamically and, as such, is somewhat reminiscent to ‘Crash Tactics’. Comparison between the two actually results in this new release sounding just that bit stronger. ‘Pacify’ crawls into view, sounding much like the bone-chilling opening to Baroness’ ‘Rays On Pinion’, like a hundred fingers running their way round a hundred glasses, whilst ‘PX3′ expounds further on that progressive element pulling in a wholesome heartbeat bass to help out the manic piano. ‘Beats Like A Helix’ grabs great fistfuls of computer-generated beeps and throws drum and bass at it, whilst ‘Guitar Cascades’ is a collapsing, submerged, massively cathartic wall of noise. The real find here, though, is ‘Sawtooth Rising’ which is exactly the one missing element from 65DOS’ exploration of dance music that so inspired ‘WWEA’. It’s colourful, rich, buoyantly building, exceptionally brutish and fused with the classic buzzing signature of mind-melting euphoric trance.

So instead of finding six that didn’t deserve to make the cut, ‘Heavy Sky’ marks the brilliant completion of a stunning and, clearly, devotional body of work.

Also online @ TLOBF = http://www.thelineofbestfit.com/2010/11/65daysofstatic-heavy-sky/