THE PRIME MOVING LUMPS

1. "The Prime Ultimate" (6:16) nothing special. Poor sound gets in the way of listening enjoyment. (7.75/10)

2. "Jean Frazier" (6:54) for the first 2:15, this is just fuzz guitar and Fender Rhodes playing as if they are in their own separate universes. Then drums and bass join in, bringing some cohesion, though also somehow loosely connected to the others. Until 5:15, I find the drums the most compelling object of my attentions. Then it all goes downhill. (11/15)

3. "The Land Of Yellow Leaves" (4:55) opens as a 60s rocker with 80s techno drum effects before transitioning to a more rudimentary tongue-in-cheek Hatfleld-ish song. Quite humorous! (8.5/10)

4. "Pondes Ete" (3:48) Double-tracked guitar opens this before vuvuzela organ and drums and bass come rushing in. The song proceeds as a KING CRIMSON "Discipline"-like exercise or étude with a few familiar riffs and melodic hooks thrown in for good measure. (8.5/10)

5. "Under Pebble Wood" (9:56) nice slow pace allows sounds to shine in this EGG-like song. My favorite song on the album. (19/20)

6. "Eternity Is Infinity" (14:09) opens with a full minute of distant operatic soprano vocalise before band joins in. Techno-treated drums (machine?) and other cheap, toy-like instrumental sounds give this a rather Robert Fripp League of Gentlemen. At 4:15 there is a dramatic shift into an entirely new movement--one that is definitely in the HATFIELD universe (despite the CAN-like drum machine sounds). Great drum sound and play before the keyboard artist let's loose with some great vintage Canterburian sounds and displays. The crazy 8th minute sounds like SIR DOUGLAS QUINTET gone punk turning CAN crazy the further we go along. Interesting stretch from about 9:30 to 11:00 before some prime David Sinclair contemplative playing shines through. Got to admit: I love those final four minutes. (25.75/30)

Total time 45:58

While I love the keyboard work and am quite impressed with the bass play and Jaki Liebezeit drumming , the overall sound of this recording leaves much to be desired.

B-/3.5 stars; an interesting homage to the 1970-74 era of Canterbury sound.

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