OS MUTANTES

This is the 1968 self-titled debut by Brazilian Psychedelic Rock band Os Mutantes (as you can see). The core of the band was a trio consisting of Rita Lee on vocals and percussion, Sergio Dias on guitar and vocals, and Arnaldo Baptista on bass, keyboards and vocals [And no... I didn't just copy and paste this information from their bio on the site and barely modify it... haha]. I believe it was off of the specific recommendation by the wonderful Dereck Higgins on YouTube that I started long enough ago with, not this their debut, but their third, A Divina Comédia Ou Ando Meio Desligado (1970). Now, absolutely no regrets with that, as I quite enjoyed it, but had I known how apparently acclaimed moreso their first and second albums were then, I think I would have heard this much sooner (and possibly not have reviewed it). Neither here nor there, but it's great to come across and experience a beloved (to me) international Psychedelic album.

In my brief reading on their debut, I was seeing now-understandable claims of Sgt. Pepper's homage herein. And so, with the excellent opener, "Panis Et Circenses", it seems to be the case. A light orchestral something mixed with West-Raga and Pop. I really enjoy the female vocals from Rita Lee here. And all the more, with the apparent High-Psychedelic era in which they found themselves then in '68, this is primo Proto-Prog to my ears as well. Lightness and a more Latin feel continues on the Garage-Rock-meets-Folk-Pop of "A Minha Menina". Nice melody, a forward driving beat, and some really cool, super crunchy fuzz guitar here.

"O Relogio" reminded me a bit of the airy, sparse delivery of Nico. A bit of an eerie, spacious sound in the start. The shift right around the middle is immediate, to instead a boisterous Psychedelic jam with Magical Mystery Tour-esque rhythmic and wordless vocals. I certainly had no idea what to expect on this one and I didn't think I'd enjoy it as much as I had. A return to the quirky Latin feel is found on "Adeus Maria Fulo". Interesting percussion, for sure. The use of intense (What is that?... "spring"?) reverb over further sparsity on "Baby" is reminding me more of The Velvet Underground or maybe early John Cale(?). Some of the organ(?) is quite nice. Even so, not super impressed by this one. As you can tell from some of the last couple sentences, I'm soooo sure of myself...

Now they somewhat target the Music Hall of Paul McCartney (but perhaps boosted with elements from Dixieland Jazz) on "Senhor F". 1968 in particular was rife (and I jest) with this sort of thing. "Bat Macumba" quite naturally displays the African backbone of much traditional Brazilian music. Here, chanting and a steady rhythm are matched with a very strange, chirping synthesizer throughout. Very, very interesting. At the start of "Le Premier Bonheur Du Jour", are they opening a can of Coke, or am I just thirsty?... Actually, as it continues along, it's more like a sharp sipping sound. This track is very solemn, very pretty. If I didn't know any better, I would have guessed this was French (/s). It feels quite Classical ( Lord knows I know nothing of the sort, but perhaps this may be a traditional tune Apparently this is a cover from the once-untitled second album by French singer Françoise Hardy, 1963).

"Trem Fantasma" is an upbeat, of-the-time Psych number. Great beat and some sweet melodies. Is it bad I can't tell whether or not they're trying a comedic vocal inflection here? Either way, I'm amused and entertained. "Tempo No Tempo" is next with some church vibes up front. Then we're on some dick's beat (like... The Pink Panther?). I'm not so sure. Odd, super quick vocal lines here. It's fun haha. Oh! Back to church! Ha! And finally, the apparently funny-named "Ave Gengis Khan". Were these guys fans of Bonzo Dog Doo Dah Band or something? This has more of that bouncing Ringo-draggin' drumming, nice keyboards work and then a sort of Beat-style guitar solo... Or is it Raga-inspired? Or does it matter? haha. I like it quite a lot. Honestly, such a great track, I think it's the best of the lot.

True Rate: 3.6/4.0

MUTANTS LIVE 1976 Remastered by Amyr Cantusio Jr /2021

I love this record because it reflects the spirit of the time in Brazil. It deserved a remaster...I improved some 300% in overall audio quality!! Listen now with other ears!! It's worth it!!

(00:00) 1. Anjos do Sul (Sérgio Dias) (2:42) 2. Welcome ? Mysteries (Sérgio Dias) (6:58) 3. Train - Dance of the Winds (Paulo de Castro ? Mutantes) (9:55) 4. Sagitarius (Sergio Dias) (4:17 pm) 5. Schizophrenia (Sérgio Dias) (19:07) 6. Rio de Janeiro (Paulo de Castro ? Ruy Motta) (22:46) 7. Little madness is nonsense (Luciano Alves - Sérgio Dias) (27:07) 8. Hey Tu (Paulo de Castro - Sérgio Dias) (30:05) 9. Rock and roll city (Sérgio Dias) (36:42) 10. Everything Exploding (Paulo de Castro ? Ruy Motta) (40:55) 11. Grand Finale (Luciano Alves - Sérgio Dias) (43:04) 12. Anjos do Sul (Reprise) (Sérgio Dias)

Band:

Sérgio Dias: guitars and vocals. Luciano Alves: keyboards and vocals. Paulo de Castro: bass, violin and backing vocals. Rui Motta: drums, percussion and backing vocals.

Wow!!, what an almost "mind blowing" suprise listening to this one for the first time - after I've decided to do some more exploring of Latin American Prog, which I (as an European) began on about 10 years ago. You could almost write an entire book about this album, so diverse and eclectic it is, and uncommon for the very most of the Prog - that is maybe except from Avant-Prog which this album isn't. And I don't know yet what to do with it as it has some (Pop) elements common with the later coming Neo-Prog - which is not exactly my cup of tea - but I'm surely going to listen some more to this album, and I can't imagine else than decide to make it a part of my collection, as strange and very exiting it is.

After second listen: "truelly amazing expression of creative mind and life happy energy!!", and in no doubt about must having it! Plus, it's somehow amazingly consistent considering how incredibly eclectic this album is - and that thought of a person very fond of homogenous albums. And maybe, it's most appropiate to consider it as Avant-Prog but of a very catchy type.

While the psychedelic rock scene of the 60s is primary attributed to English acts such as Pink Floyd, Cream, The Pretty Things and Traffic or more importantly the California scene from bands like Jefferson Airplane, The Doors, Love, The Mothers of Invention or Spirit just to name a few examples, the movement was actually quite popular all over the world. Psychedelic Khmer rock invaded Cambodia like Dengue Fever, Colombia, Peru and Mexico got the bug and were infusing psychedelic rock features into cumbia, salsa and other Latin music forms and India which influenced the world of psychedelia in the first place by offering the trippy hypnotic effects of drones and ragas was adopting Western lysergia into its own sitar playing styles and Bollywood grooves. However out of all the non-European and North American acts to make the biggest impact and produce some of the most memorable albums that sound as mind blowing 50 years on as the day they were released comes from the Brazilian act OS MUTANTES.

Portuguese for The Mutants, this world renowned act began as a trio in 1966 Saõ Paulo by the brothers Sérgio Dias Baptista (guitars, vocals) and Arnaldo Dias Baptista (keyboards, bass, vocals) who were in an all-male band called The Wooden Faces before meeting vocalist Rita Lee who was in an all female band named The Teenage Singers. The three hit it off and created a band with the name of Six Sided Rockers but incorporated other talented artists to help out with the extra effects with the most significant roles going to Rogério Duprat who crafted Beatles-esque orchestrations and Cláudio Baptista who build many homemade instruments and also crafted unique electronic effects unheard of at the time. The core trio that made up the band also employed the assistance of Clasrisse Leite on piano, Dirceu on drums, Gilberto Gil on other forms of percussion along with a few guests that appear on their eponymously titled debut album that appeared in in the summer of 1968.

The band settled for its current name OS MUTANTES literally at the last minute as they were about to perform on a Brazilian TV program. The name has stuck ever since and this particular era is considered some of the best of the best in terms of the psychedelic rock and pop that emerged from any part of the world much less just Brazil. What makes Brazilian psychedelic rock stand out so much from the world of Anglo-rock was that it revolved around the Tropicália scene which arose in the late 60s and infiltrated not just the music scene but also film, theater and poetry. The scene slickly amalgamated traditional Brazilian musical styles such as bossa nova, samba, baião, afoxé, frevo and even Portuguese fado with the world influences of psychedelic rock and baroque pop. The result was a scrumptious mix of Latin melodic sensibilities laced the avant-garde experimentalism that placed consonance and dissonance together on the dance floor and watch them unite to create something wildly unique and utterly irresistible.

This self-titled debut could rightfully be referred to as orchestral psychedelic pop that skillfully blends Beatles inspired melodies with traditional Brazilian musical flavors and then adds select moments of everything from electronic freakery to musique concrète and psychedelic guitar fuzz effects. Although the album doesn't even hit the 37 minute mark its covers a lot of diverse grounds with each track offering a completely different emotive expression and flavor of world fusion. While sung in Portuguese, the harmonies are utterly brilliant and the vocal lines are quite inventive. The album includes two covers, the first "Le Premier Bonheur Du Jour" from Françoise Hardy and sung in the French language and the second a reinterpretation of the Mamas & Papas track "Once Was A Time I Thought" translated into Porguese as "Tempo No Tempo" and given the OS MUTANTES magical treatment. Add to that plenty of that 60s psychedelic organ warmth and a swinging 60s go-go bass groove. The album ends with a crazy collage effect over nice 60s groove music in the form of "Ave Genghis Khan."

This classic is truly a masterpiece of the ages and while not as progressive as many make it out to be, it surely is a classic of the world of psychedelic pop and rock from the era. Yeah, it's totally dated but in this case that is a good thing because it takes you back to the time and place from whence it sprang forth and for those of us who are clueless as to what the scene of 60s Brazil may have been like, this little gem pretty much sums it up in 11 tracks. You don't have to understand Portuguese for this brilliant wild display of fusion to blow you away. OS MUTANTES' debut is every bit as good as a Beatles album with a plethora of influences that ranges from The Fab Four to pastoral French pop, the baroque crossover of The Swingle Singers and the California hippie guitar fuzz of Jefferson Airplane and Spirit all dished out in a groovy swinging Latin vibes from homegrown musical flavors. Add to that extremely bizarre counterpoints in the form of highly experimental touches via the electronics and other unexpected sound effects and you're guaranteed to find this album instantly addictive and begging you to put it on again and again. The down side of the early OS MUTANTES albums were that the awful albums covers don't do the music justice but then again i'm rating the music and it more than makes up for any lack of visual accompaniment.

To be honest, I didn't even know the band was recording again, after all it was already 7 years since their last album. A friend commented with me about them and I suddenly realized that I hadn't even listened to the previous album, Fool Metal Jack.

After listening to Fool Metal Jack, not hearing anything really special on the first album after the band's return, Haih... or Amortecedor..., and after the ridiculous single released in 2015 (Eses ojos verdes) I asked myself: Is there any hope that in 2020 this version of Os Mutantes will release a good album??

The answer came quickly when I played Zzyzx: No !!!

First, since the return, Sérgio Dias decided that the new incarnation of the band would sing primarily in English, so everything exotic that the band had initially, died. Second, the production of all 3 albums since the return is terrible. Especially on the last two records. But in Zzyzx it get even worse, especially in the percussive sector, where the hell were Claudio Tchernev's drums recorded? In the kitchen of Sérgio Dias's house??? If he recorded anything because it looks like programmed drums in many songs, poorly programmed, let me add.

And in the end, we have the songs themselves, there is nothing in the new set of songs. At least in Fool Metal Jack the compositions were a bit daring, in Zzyzx there is nothing, despite the good lyrics, the album finishes without you being attached to any of the music. And this is just a terrible feeling. That you just geard an empty record. There were noted and words, but 'no sounds' came out of it.

Os Mutantes are legends in their classic phase and the Progressive phase is just as good in my opinion, but this band that has been recording again since 2006 is not a good one, period.

The three songs comprising this EP are included as bonus tracks on the remastered version of Tudo Foi Feito Pelo Sol, os Mutantes' 1974 album. A little bit of background, as I understand it: between 1967 and 1974, this Brazilian band recorded eight albums, two of which wouldn't be released for decades. After releasing albums on a near-yearly basis, os Mutantes' only release between Tudo Foi Feito Pelo Sol and the band's breakup in 1978 was this "Cavaleiros Negros" / "Tudo Bem" / "Balada do Amigo" EP.

By 1974, Brazil had been controlled by a military dictatorship for a decade, and the country was at the peak of its milagre econômico brasileiro, indeed an amazing period of economic growth. It was also at this moment that a slow and uneven process of democratization began. Nonetheless, the regime continued to brutalize its citizens and suppress their speech, among other atrocities.

Against this backdrop, os Mutantes appear to have risen in stature as the economy improved, reaching their apex with Tudo Foi Feito Pelo Sol in 1974. My guess is that "Cavaleiros Negros," "Tudo Bem," and "Balada do Amigo" were the only songs the band produced between 1974 and 1976 (indeed, in recent decades, they seem to have emptied the vault of their previously unreleased 1970s recordings). Unfortunately the songs here pale in comparison to their 1974 album, with only the a-side even approaching the quality of Tudo Foi Feito Pelo Sol. "Tudo Bem" (meaning "All Right" or "Okay") is uninspired hard rock, while "Balada do Amigo" ("Friend's Ballad" or "Ballad of the Friend") is a little sappy for my taste, although perhaps if I understood the language I'd feel differently. Either or both of these songs could've been Tudo Foi Feito Pelo Sol outtakes.

"Cavaleiros Negros" ("Black Night") has its moments, and since the other songs are, in essence, b-sides, this is the song on which I'm basing my rating. Of the nine os Mutantes songs of which I'm familiar, this one is the most Yes-like, although the Emerson, Lake and Palmer influence is equally strong. The first half of the song sounds like it's being played by Emerson and Squire, while the second sounds like Tales from Topographic Oceans-era Squire and Wakeman. (Its closure reminds me of the ending to Squire's Fish Out of Water as well.) It's this second half that's the strongest part of the EP, partly because it lacks the overemoted vocals of the preceding section.

Since all three songs are available on newer editions of Tudo Foi Feito Pelo Sol, the "Cavaleiros Negros" / "Tudo Bem" / "Balada do Amigo" EP is by no means essential to anyone but a diehard os Mutantes completist, who will of course already possess it. But if you already have an older version of Tudo Foi Feito Pelo Sol, I wouldn't suggest upgrading just to acquire these three songs.

According to Google Translate, the Portuguese title of this album is equivalent to "Everything Was Done by the Sun" in English.

The opening trio of songs, "Deixe Entrar Um Pouco D'Água No Quintal" ("Let a Little Water Go in the Backyard"), Pitágoras ("Pythagoras"), and Desanuviar ("Unwind," or possibly "Brighten") sounds in places like San Francisco groups Santana and Jefferson Airplane - - especially in the verse and chorus sections. But in other passages I hear Genesis and Emerson, Lake and Palmer. Both the psychedelic and symphonic influences recur throughout Tudo Foi Feito Pelo Sol. Interestingly, some passages make me wonder whether os Mutantes may have influenced bands like Styx and Supertramp, or if there were mutual influences at work.

Later, on "Cidadão Da Terra" ("Earth Citizen," or more likely, "Citizen of the Earth") and "O Contrário Do Nada É Nada" ("The Opposite of Nothing is Nothing"), the band strays more obviously into what today we'd call "classic rock," even sound a bit like Creedence Clearwater Revival on the latter. The eclectic "Eu Só Penso Em Te Ajudar" ("I Only Think About Helping You") also has contemporary rock aspects but moves into progressive territory soon enough.

The sound quality is OK, though below what I'd expect from a remastered recording from 1974. However: I downloaded this from freegal, a platform which doesn't provide much information about its music files. The website says "1974 Som Livre," but since the download includes bonus tracks, it seemed safe to assume that I've been listening to Som Livre 0500-2, a 2006 reissue.

Tudo Foi Feito Pelo Sol is a good period piece. Apparently it has historical importance as well in the realm of Brazilian rock music. I'd recommend it to 1970s prog enthusiasts interested in the scene outside of Europe and North America.

This is the masterpiece of Mutantes (and, in my opinion, of Brazilian Rock). This is a brilliant album already on its cover, which portrays Dante and Virgílio no Inferno; in turn, the back cover generated controversy, with Rita Lee (vocals and percussion) lying half naked in a bed between the brothers Arnaldo Baptista (keyboards and vocals) and Sérgio Dias (guitar and vocals). This disc represents the rupture of the band with Tropicália, with which it was associated in the two previous albums; the entry of two members weighed in on this, which increased the rock footprint: bassist Arnolpho Lima Filho, a.k.a. Liminha (who in the following decade would become one of the most sought after producers of national pop/rock, especially for his records with the Titans), and drummer Ronaldo Paes Leme, a.k.a. Dinho. The most famous song - and a strong candidate for the best composition of the Mutantes - is "Ando Meio Desligado". The instrumental part, especially the bass and the guitar, indicates a shift towards psychedelic rock (which was already present in previous records, but mixed with other aesthetics, such as "baroque pop"), and the lyrics reinforce this trend, since it sounds like a declaration of love under lysergic effects. In 2001, this track got a great cover by Pato Fu. "Quem Tem Medo de Brincar de Amor" has a vocal with a mocking Californian accent. Highlight for the pulsating bass line and the festive atmosphere, which was inserted to drown out the section that gives the title the title, due to its possible sexual connotation - which had already led censorship to veto the initial title, "Quem Tem Medo de Fazer Amor" ("Who's Afraid to Make Love"). "Ave, Lúcifer" manages to be beautiful and sinister at the same time, with one of the best lyrics of the band ("Apples surround naked bodies / In this flowing river / In gentle veins inside me / Angels and Archangels rest in this hellish Eden" ) combined with impeccable orchestral arrangements (made by maestro Rogério Duprat) - not by chance, it may be one of their songs that has aged the best. The ballad "Desculpe, Babe", according to Chris Fuscaldo in Discobiografia Mutante (2018), is a complementary song to "Quem Tem Medo de Brincar de Amor": "one more dramatic about breakup, the other more cheerful about restart" ( p. 74). "Meu Refrigerador Não Funciona" is another debauchery to Californians, this time both to Janis Joplin's vocals and to the long introductions of the bands' psychedelic songs there. It is one of the funniest compositions of the band, and the use of keyboards by Arnaldo to create a "macabre" atmosphere is masterful. "Hey Boy" targets the playboys who frequented the legendary Rua Augusta (which will be the subject of another song performed by Mutantes, two years later), in São Paulo. The protagonist's ending couldn't be more tragicomic: the song ends with the noise of a car accident ... "Preciso Urgentemente Encontrar um Amigo" is another case of satirical cover, this time of an unprecedented composition of two icons of the Jovem Guarda: Roberto and Erasmo Carlos. According to Chris Fuscaldo, "Roberto wanted to appear concerned about the issues of his time, tuned in to the youth that took to the streets (...), but he did not like the result and passed the music on to Erasmo, who handed it over to Mutantes before even if he recorded it (...) on his disc in 1972 "(p. 75). The only remnant of tropicalist aesthetics in A Divina Comédia is the iconoclastic cover of "Chão de Estrelas", an originally dramatic song by Sílvio Caldas. There is even a helicopter noise after the passage about the "woman, dove, who flew"! Tom Cardoso, in his text about this album for the Grande Discoteca Brasileira collection (2010), comments that the television presenter Flávio Cavalcanti, "who used to break live albums that he did not like, would have reduced the Mutantes album by pieces. cause of the deconstruction of 'Chão de Estrelas' "(p. 37). Cavalcanti, according to Fuscaldo, still made a speech "about the decay of youth values" (p. 78), which must have amused the band. "Jogo de Calçada" is a lesser known song, but I don't hesitate to put it as one of the highlights of A Divina Comédia. The performance of Sérgio Dias on the guitar is exciting, and the lyrics of the Wandler Cunha and Ilton Oliveira (from whom Arnaldo asked for permission to put it on his band's 3rd album) is very well sung by Rita Lee. The last two tracks are the most experimental, which may have to do with the fact that one of them has minimal lyrics ("Haleluia") on which melodic variations are made - at first it looks like a religious song, but after a while the mood of play is clear - and the other ("Oh! Mulher Infiel") is an instrumental jam with guitar and demonic keyboards.

Released on March 2, 1970, The Divine Comedy or Ando Meio Offline indicates the sound paths that the band would explore and deepen in the following albums, such as Jardim Elétrico (1971) and Mutantes e seus Cometas no País do Baurets (1972) - by the way, the latter would point to a new stylistic transition towards progressive rock. In such a consistent discography, pointing A Divina Comédia as the best Mutantes album goes through both its very high level repertoire and the experimental and irreverent spirit that permeates each of the tracks. I must agree with Tom Cardoso's assessment: "they reached their creative, musical peak, without whom they would become serious and 'mature' musicians. No, they were still deliciously debauched, as crazy as ever" (p. 37).

For such well known, groundbreaking and respected band like Mutantes, Tudo Foi Feito Pelo Sol got surprisingly few comments and reviews, which contribuited to my desire to write mine. By the time this album was out the only remaining original band member was guitarist Sergio Dias Baptista. Mutantes had lost not only the creative mind of Arnaldo Dias Baptista but also the services of the celebrated bass player Liminha (who would in future years become one of the best and most sought of producers in south america). Sergio was never really comfortable as a band leader and although he did find excellent musicians to fill in the blanks, the group never regain their former status or groundbreaking production. Still, they were capable of delivering a superb prog album with Tudo Foi Feito Pelo Sol.

When it came out it was met by a good reception from the prog audience in Brazil - it sold pretty well for the style - and, not entirely surprising, received some quite harsh remarks from critics, who called them mere copycats of "foreign music". Without Arnaldo Dias Batista genial touch and Rita Lee's penchant for mockery Mutantes were incapable of being the anarchic, original and musical mixed bag they once were famous for. And although part of it was true, I (and many others) always felt the "new" Mutantes did have their own take of prog music and some of their brazilian roots were still there.

Listening to the album nowadays I still think they were really fantastic and wish this line up could hold on and deliver a follow up (personnel changes plagued the band from then on), but they would not. Songs like the instrumental Pitagoras, Desanuviar and the title track are fine prog tunes that made us feel so proud of having our own symphonic progressive band during the heyday of the style. We were starving for something like that! Other more rocking tracks like O Contrario de Nada ' Nada and Eu So Penso em Te Ajudar were also good ones and sure live favorites to dance to, but clearly were not the best of their repertoire (a whole prog album would be more fitting, but then they'd be even more criticized if they did so). Anyway, the point is: all songs are at least good, inspired and very well performed and produced. That in a time when recording facilities in Brazil were few and people who actually knew how to use it even rarer. The instrumental parts are really powerful but one thing that really stands out for me are the vocals: although Sergio does not have the greatest voice, he knew how to sing even the most difficult parts and the harmonies were elaborated, original and spot on, something most brazilian bands lacked badly, then and now.

All in all a very good prog album that stood well the test of time. I know it is not like their previous works, but it is an excellent effort, specially if you like symphonic prog, with strong Yes and Italian influences.

Reputedly the reason why Polygram did not release ''O "A" e o "Z" in time was because the members of Os Mutantes were recording the album under the experience of LSD drugs.This prooved to be a fact, when Arnaldo Baptista left the band in 1973, following depression symptoms due to the use of LSD and the end of his marriage.Dinho Leme also left the band in 1974, followed by Liminho, who abandoned the ship after inner disagreements.Sergio Dias Baptista found himself alone, but decided to move on with new members.Tulio Mourao on keyboards, Antonio Pedro on bass and Rui Motta on drums, all joined in the same year and the new formation recorded the album ''Tudo foi feito pelo sol'' for the Som Livre label.

Change of members brought reasonably a slight change in sound for Os Mutantes, which remained deeply progressive but a bit more on the psychedelic side compared to the more symphonic sound of their non-released previous sessions.All newcomers had fully adapted the band's spirit towards intricate and challenging arrangements and the style presented here is a YES/FLASH-influenced Progressive Rock with less emphasis on symphonic arrangements and a tendency towards innovative rhythms and atmospheres with Classical, jazzy and spacey nuances.Of course the piano interludes and the frantic time signatures are still involved in the music of Os Mutantes, there is also a good bunch of interplays with a British Prog color, but the addition of the former psychedelic elements and the surface of jazzy lines led the band towards more loose structures with long instrumental parts.Acoustic inventions and changing keyboard parts may remind of the mighty GENTLE GIANT or compatriots TERRENO BALDIO at some point with the band still sinking into complex Progressive Rock patterns.You should pay attention though to the softer textures with the synths and the calm rhythms in evidence, the creation of spacey keyboard soundscapes and the smooth vocal department.''Tudo foi feito pelo sol'' sounds like a mix of the old and new Os Mutantes in the very end.It's still a very British-sounding band, which now explores the more outlandish vibes of PINK FLOYD along with the return of some early textures from their psychedelic days.

Interesting even if a bit of a chaotic release without certain consistency.A mixture of extended psychedelic and spacey instrumentals with captivating inspirations from Classic Prog and Jazz Rock.Recommended.