THE FLOOR'S TOO FAR AWAY

The newest Ozric Tentacles cds is a wonderful album of psychedelic landscapes. The groove on this album is awesome and the bassist and drummer are an excellent rythm section, working great together to provide the foundation of that groove. Ed, the sole remaining original Ozrics member present leads the group with his guitar soloing and by composing msot of the tracks. Ed also does some synth work and drum programing. The synth work, as might be expected from the Ozric Tentacles is the focal point of the songs. the synths use a prodigious array of exotic sounds and noises which all help provide the albums psychedelic atmosphere. One point must be made, that the Ozric Tentacles have not changed their style much since they started, and some complain that their albums seem to repeat the standard Ozrics formula ad naseum. While I agree that their style has not changed much, I greatly enjoy their style and never seem to tire of it, especially since they miz so many different elements into their ethnic prog brew. Overall I greatly enjoyed this album and would say it deserves a listen from all Ozric Tentacles fans. However some might tire of this after a bit. So in conclution no, its not groundbreaking. But the Ozrics do continue to churn out great psychedelic/prog albums weather or not they change their style much.

success! Ozric Tentacles make another excellent album. regardless of the band line-up being really unstable for the last couple of years, the music is still fantastic. and infact, there is something here for every Ozric Tentacles fan. there are times when this album sounds like the pre-record-label tapes, times when it sounds like Erpland and Strangeitude, times when it sounds like Jurassic Shift, Become The Other, Waterfall Cities and times when it sounds like Spirals In Hyperspace. so basically, you can hear echoes of their whole career on this album (not to mention that the artwork has once again been handled by Blim - about time!). but that's not to say that this album has nothing new to offer. Ozric Tentacles are still moving onwards and changing, and, more than ever, the music is truly worthy of being called "progressive." progressive in the true sense of the word - listen to any track on the album and watch if it stays still. it just wont. it'll change and change and change, going to new places. i think nowadays, Ozric Tentacles music takes a bit more close listening, or perhaps a bit more time than the earlier albums. the earlier albums were more accessable, but nowadays, the music is more complex and, as i said, progressive. so, don't write this off the first time you listen to it! give it time, or pay close attention. oh, and turn it up really loud too!

highly recommended!

Like they always do, Ozric Tentacles perform excellent psychedelic sound scapes that never bore the listener. There's a succession of calm and wild parts in each instrumental track. On several moments the psychedelic Hawkwind influence is apparent in the chaotic atmospheres. In other excerpts you'll find traces of eastern music, reggae or ambient. In this kind of music, you would expect the use of an electronic drum or drum computer but Ozric alwas uses real conventional drums which sound timeless. They also manage to keep the sound of the guitar very seventies. The combination of these antique elements with the modern repetitive keys still appeal to the listener in 2006. Ozric Tentacles have never really disappointed their fans. Even though their line-up has changed completely over the years, there's no effect on the colourful sound. Maybe nowadays the emphasis is more on the electronics than it use to be. On the other hand this could be more a personal impression than a fact. Even if I try, I can't trace any significant differences between the sound of this album and the sound of the previous ones. The lush atmospheres are awesome, the tracks are compelling, the sound quality is excellent, .The Ozrics don't break any new grounds with "The floor is too far away" but who cares ? If you like the sound of Ozric Tentacles, this album will not disappoint you.

A superb production as used to be from Ed WYNNE but IMO the album overall is a bit overrated keeping in mind that a good production isn't all. Altough I like almost all albums of Ed (Waterfall Cities the only exception) I think not any nowdays OT release can deserve a five star doesn't matter how good its produced. Many people who had the the chance to hear the 80's OT will agree with me.

Bolshem is a good start to get into the mood and its a typical OT song. Reminds me to the reworked version of White Rhino Tea from '91. With its bombastic guitar solo in the middle it has become my favourite right away.

Armchair Journey - unlike its interesting funny title this song is almost just a filler. One of the downside moments of the album.

Jelly Lips begins with such an awful sound what makes me immediately to search for the skip button but after a few seconds it turns to a hell lot better. Its actually a dynamic, constantly changing track which meets the good OT standards.

Vedavox is a really suprise! A shorter track with a strong oriental feeling and brings back the best years of OT. Nice to hear it in 2006!

Spacebase as the title says is a spacey track with another great solo in the middle but rather boring after.

Disdots feels like you have locked your mind into a digital beehive. Interesting from beginning to end and not as dissapointed as the previous track. Headphones strongly recommended!

Etherclock - many people say OT albums are just the same. I should partially agree with this but also I should tell that all of them brings you more or less new ideas as well. In TFTFA Etherclock is the song which brings some sound what couldn't be heard before from OT. Just like the song Akasha in the previous release it makes this track the highlight of the album for me.

Splat! - we can hear this kind of structure in the 90's albums a lot. They are definiately the downside of the band but this time this one is a lot better not that usual minimalistic approach what it used to be in the 90's. Nice track with great guitar work.

Ping is some kind of filler again for the end but it isn't so boring as Armchair Journey. With its great bass work it gently floats away and left you with the feeling of a great listening.

This release went unexpectedly further in the field of production. Its really unbelievable since its hard to go further from perfection. This album sounds even better and clearer than its predecessors but with it IMO its not the best album of the 2000's period of the band when they (thank God) turned from the "more accessible" sound to prog again. Newcomers should try Spirals In Hyperspace or better the 80's releases and Erpland to hear OT at its best. 3,5 stars really.

The Ozrics have been around for quite a few years now.

On this release they continue doing what they're good at, mixing space rock, ambient moods and throwing in the odd jazz influences here and there as well. Some of the charm and creativity seems to be gone though.

Although not being an avid Ozrics fan, I found to my slight surprise that there were a couple of tracks here that just weren't too interesting. Most songs are good, and a track like Jellylips is among the better ones they've made in my opinion, but there are a few examples of average songs here as well. And the album is a bit more synth-based than what is usual from the Ozrics as well, as far as I can tell.

My overall impression: Still excellent if you're familiar with the Ozrics, but newbies should check out previous releases before this one.

can i say it? yes dudd!! another dudd!! their last two albums bite and not in a good way. this is their worst effort to date by far. their early cassette releases are far better than this. i'm so disappointed in the line up changes and the horrible synth bass tones. there's really nothing i can say good about this one except the production is there but the performance bites. sorry ozris i love you guys but this is the truth but really there's only one of you left isn't there. may be that's the problem

the return of ozric tentacles..2 years later and they create this good album..their last one to the date..mm there are no many changes in their music..or in the music of ed??anyway,if alredy you dont know this band,you have to listen this album..because is their last one..and indeed is a good one.why?because i love their style,they are influenced by Gong.but ozric tentacles is more space/rock,their music involves you in a world of stars,explotions,and peace.theres no vocals here,so is all intrumental..this album is similar to spirals in hyperspace,but with some elements of the album water fall cities,what make a perfect creation..you need a good ears to understand the music of ozric tentacles....this are the tracks on this album that i find good compositions.

armchair journey..the style of ozric..a lot of guitar solos,in a sound that start slowly and finish like in the feng shui song.also with jazz elements.

jellylips...another song dynamic,constantly changing track,and with a full emotion on the melody of the keyboards and guitar..

vedavox...this one is the more strange...this has the type of the ethnic music..a good one..

spacebase....a spacey track,and in the middle of the song have a change amazing..reminds me someting like electronic/psycho.

splat!...this one is so energetic..makes you dance nad give you a moment of the power of ozric..

keep on the goos ozRIC..

To put the Ozric Tentacles in a nutshell: never before has a prog band put out so many albums that sound so much alike. And, if I might also add, who says you can't dance to progressive music. The Ozrics deliver high-energy instrumental psychedelic music. I think if they tried to play a slow song they would crash or something. This is a band where you can start pretty much anywhere in their discography and, if you like what you hear, I can pretty much guarantee you'll like the rest. This one's no exception. So if you're the type that feels compelled to collect everything in an artist's discography when you fall for them, you'll be in trouble. Although another approach would be due to the similarity of the albums, you can take your time.

Ozric Tentacles has kind of turned into an Ed Wynn project the way King Crimson is a Fripp vehicle. On the Floor's Too Far Away, Ed's wife Brandi has taken a major role, playing on five songs and joining Ed in the mixing and production. Aaah, sweet nepotism. Anyway, nothing here that makes it stick out above the rest of the pack, just another fine collection of tracks Ozric style.

Well TBH I;m a bit of a OT head so ...

With over a dozen albums under their belt (and rumours are there's more imminent) it's going to be hard to recreate the magic...

A very chilled intro ... classic soundscapes with the promsie of interweaving patterns inticing you into the mist shrouded forest of Ozric's fabulous world. Ed Wynne's guitar soars above the canopy and spirals to new heights before exploding into a ball of gently fluttering sounds which fall back to earht cushioned by the gentle synth ... it s a dreamworld. The bass approach is different. I'm a huge fan of Zia Geelani and for me his rhythmical influence is a lacking here.

Jellylips is getiing dancier. Not Eat Static though. Vedavox had a vedic vibe (I assume that's what the name's about): nice but doesn't hit the heights. This is difficult territory for a prog band becasue you can't get away from comparisons with Shakti and McLoughlin and that's a comparator that most bands should shy awau from (or face less favourable treatment).

Spacebase is hard core Ozric trippy: maybe only lacking a few bubbles. Nah, let's be honest it's lacking a lot of bubbles.

Disdots was an intriguing title: are we up for mix between Dots Thots type track (would be great - a classic from erpsongs) and Dissolution (awesome track from Pungent Effulgent) ... err no, or in Hot Fuzz terms ...NARP! However, in midsteam we are wowed by some magnificent Ed Wynne and it's got to be said some pretty darn effective and beautifully measured bass runs.

Etherclock: a song which set out the riff early doors: here it is chaps, now listen to what we're goign to do. Standard slow build, synth flows, and froths if not bubbles. Clipped delayed chords with a gaorgeous clean sound. We're still building. A break and then Ed treats us to his more Satriani-esque side (he's normally a bit more Steve Vai). Tempo picks up & drives: a little bit more old school. there's breakdown and, well, it's a bit overdone for me .. sort of a damp squib.

Spalt: I'm expecting fireworks: pyrotechnics take out the first three rows in an unprecedented slaughter of innocents for the glory of rock. Double Narp. Good track, well -ish. Synth, drums and well bass and synth and guitar and synth and sort of bland. With all that the guiter officianados will like another Edfest near the end.

And so to sleep perchance to dream ...Ping. Different and nice fretless bass (gotta be said it doesn't need the precussion). Bulds fairly effortlessly and blands out.

it's OK but way way way down the OT playlist.

The floors to far away a good name for a ozric album when i heard of it the first time,it starts with bolshem[i think maybe the name comes from when the ozrics were called bolshem people i think way back]and starts with a sound like the titanic horning and with bird sound in back ground then an eastern sound comes in on synth which just sounds great to me and then more synth comes in and drives the track and gets that little bit louader still with bird sound in back ground then fades out and thena symbol comes in and then drums and eds guitar and the whole song sounds great here and the bass bit is addictive well the whole song is what a great start a perfect opener, next is armchair journey which starts mellow and eds guitar in background and sounds great here so nice and relaxing and this goes on till the drumming comes in mellow to [this is the perfect name i think for this track and then after a bit its gets going a bit more with the drumming kind of driving it along with typical ozric sound and eds guitar sounds great here then the track quitens down a little fades out nicely and ends,next is jellylips which starts with synth strangley sound[nice sound]which sounds like the synth is ytring to say something and then the track gets going and sounds great and when this gets going after a little it sounds great and eds guitar is just a delight here love it this does to me sound a bit drum n bassey[a good thing] as it does make the track and then after a bit it kind of changes into a synth bit with still the drum n basey sound like still there and this sounds great a lovely beaty track [not drum n bas but like kind of a little]and eds guitar here is just typical him i think sounds great and goes to the end which makes this another good track,next is vedavox which starts really nicely and eastern sounding acoustic guitar sound[good]and the synth here just makes this track so addictive although this track doesnt last longjust under 3 minutes it is a really good track and then ends,next is spacebase starts with bassey synth and ed comes in with guitar and then the track gets going more when the synth comes more in [i,m not all over keen on the bassey synth bit but this track is still ok]and eds guitar comes in again and sounds typical him[great]and the track gets going more here the synth comes in again which is ok but not the best ozric sound but still good i do think eds guitar here is what makes the track and some of the synth sounds great mellow to and the bass is good to the last 2 minutes is really nice sounding as the synth sounds good not the best track on the cd but still a good track kind of relaxing,next is disdots and starts with a good synth sound like it really wants to take over then the drums come in and then eds guitar comes in and sounds like typical ed really addictive and the synth sounds brilliant [like a ufo above you like i think]then it get quiter and then gets going again with different synth sound the keys here are just really nice and spacey sounding a lovely sound and the drums sound good to then eds guitar comes in again and reminds me of ed playing in a sunny forest with birds singing like this just sounds nice,and the synths here are just nice i think and eds guitar here sounds great and really drives the track along and the bird sound goes on till the end and ends the track really nicely a brilliant track,next is etherclock and starts more kind of mellow nicely relaxing this sounds great as the synth sounds mellow and then eds guitar comes in and goes with the track nicely i think and when the guitar gets going it sounds good to,then it gets going and more bass comes in and makes the track more better to me and guitar again sounds good again and the drumms sound like they want to make the track really get going and does to as eds guitar gets faster like and i love it and the synth does to and sound like how the ozrics should sound like the last 2 minutes go mellow and really sound great here really spacey like and then the track ends a brilliant track,next is splat and starts with synth really going and the drums come in and sounds like this is gonna be a good track to me[the synths are like bubbley]the drums make this drive along and the synths get going a bit and sound good to this really does get going well to me and the synth gets going more and the drums still going well this just sounds great then calms down and eds guitar comes in and sounds so good here as the sound sounds great just like ed allways does then bass synth bit takes over with drums with keys to and sounds great this is really addictive i think i thinkthe drums are what make this track more,the last minute and half just really going for it sounding great and bassey eds guitar comes in really great sonding and go on till the end a brilliant track ,next is ping,and starts mellow and mellow bass to this just sounds really nice and the drums mellow come in and then ed comes in with acoustic guitar sound which sounds great really goes well with the track here and the synths sounding spacey and the spacey bit goes on for a little and then eds guitar sounds like strangley sounding really great here and he goes for it i love this this is great then it gets mellow and goes like this till the end really great sound i think and ends,this is a good ozric album as every track sounds great and has there magic bits its kind of more synthey based sounding but not in bad way it sounds great and should be heard by any ozrioc fan for sure i give it 4 stars as there is better but this album is a good album and i think it must be owned by ozric fans this aint a bad album considering some members had left,so 4 stars.

An immediately mystical and catchy introduction sets the way for some outstanding Ozric enjoyment. "The Floor's Too Far Away" serves up heaping spoon-fulls of tasty grooves and electronic effects, slithering, crinkling, zoipping, splooshing, splat!ing through the listener's ears in classic style.

Compared to previous Ozric albums, this one is pretty much a standard affair, standing tall alongside their already stellar catalogue. Juxtaposed to the previous "Spirals in Hyperspace", this one feels much more cohesive and organic sounding, not to mention more full thanks to the additional members. The production is first rate, giving each song a very dense, vibrant sound, and the group's playing is as tight as ever.

Taken as a whole, "The Floor's" songs are mellow, occasionally dream-like, and occasionally frantic. Most take their time in blasting off, and there are only a few moments where Ed Wynne really lets loose with his guitar (his first solo isn't until track 2, and then again until 5). "Jellylips" is an entertaining entry, its rapid sampled and electronic effects sounding like something robots would breakdance to. An abundance of nature sounds and "swooshes" are heard throughout the album, making the majority of it a laid back affair, the higlight for me being the opener and the slowly building, dense "Disdots" .

While very good, and very Ozrics, "The Floors Too Far" needs more to bump it up to 4 stars. Still, for fans of the group it won't dissapoint!

Songwriting: 3 Instrumental Performances: 4 Lyrics/Vocals: NA Style/Emotion/Replay: 3

I have never been a huge fan of this band. Diversity has never been their strong points to say the least. And this seventeenth studio album is no other than a long and same sequence of space rock beats.

To depict each track separately would be a useless exercise since most of them use the same technique: upbeat rhythm, strong drumming and performing guitar work.

But to endure the same for about an hour is not rewarding. This album is quite a conservative OT one. Die hard fans might be thrilled but I certainly am not impressed with this release. But the band never scored higher than three stars in my tables ("Pungent Effulgent", "Waterfall Cities", "Swirly Termination" or "Spirals In Hyperspace" together with some good live records).

Actually, the band is best experienced live for the casual fan.

The most representative song from "The Floor's Too Far Away" could be "Splat!". A summary of what can be expected on this album (see second paragraph of this review to avoid repetition like while listening to the whole album).

If you're not an OT maniac, this album is probably not the best entry point. One of the above is probably better to taste their music. The musicians are skilled and they perform very well; this is not the point. But their compositions are just mostly dull here.

Two stars.

I must admit I wasn't expecting much here after being somewhat disappointed with the previous album "Spirals In Hyperspace". Boy did I get a surprise. I cannot get over how much I like this album. A lot of OZRIC albums have a song or at least passages that I can't get too into, but this record is consistant from front to back making it one of my favourites from them.

"Bolshem" is led by spacey sounds early then these moog-like sounds lead 2 1/2 minutes in followed by a full sound which I like a lot better. "Armchair Journey" is such a great title.Take a trip and never leave the farm as they say. Spacey to start and I like the bass 2 minutes in as it builds.Guitar after 3 minutes. "Jellylips" has these experimental sounds to open then a beat joins in. Cool sound here. It picks up before 2 minutes with guitar. Love that beat. "Vedavox" has an Eastern flavour to it and the tempo shifts often.

"Spacebass" has a deep rhythm as the guitar joins in. Synths follow as that rhythm continues. Guitar comes to the fore 3 minutes in and later at 6 minutes. "Disdots" slowly builds and we get guitar a minute in. It settles in before 2 1/2 minutes with bass, drums and synths.The guitar is back 3 1/2 minutes in lighting it up as the tempo settles back. "Etherclock" is such a great sounding track with that deep rhythm and those lighter sounds over top. Strummed guitar before 2 minutes then Ed solos after 2 1/2 minutes. Nice.The tempo picks up after 4 minutes as they rock out. It settles back before 6 minutes to the end. "Splat !" has such a catchy beat to it,a real top tapper.Guitar after 4 1/2 minutes makes it even better.This is uptempo throughout.The guitar is ripping it up before 7 1/2 minutes. "Ping" is more laid back with bass, a beat and synths leading the way. It sounds like acoustic guitar before 3 minutes then electric guitar comes in a minute later.

Easliy 4 stars and one of my favourites from the OZRICS.

Something of a refinement on the approach of Spirals In Hyperspace, with perhaps the psybient influences dialled back a tad to land somewhere closer to the Ozrics' customary space rock territory, though with a tad more bite than they've had for a while at this point. Once again, it's Ed Wynne and a revolving cast of guests performing here, though there's a bit more in the way of real drummers rather than programmed drums which makes everything feel just that touch more organic. If Spirals felt like the inside of a psychedelic nightclub, Floor's Too Far Away feels like something which could grace a free festival like the band cut their teeth at in the old days - were such festivals still extant.

Newcomer Brandi Wynne steps up from her previous guest appearance to that of full-on collaborator--mostly on synth and in the production booth. Otherwise, this album represents Ed in an almost-solo capacity. You go, Dude!

1. "Bolshem" (4:48) actually a pretty cool groove--a steady but easy-going pace with some fine performances (and fine coherence) across the board, start to finish. (8.875/10)

2. "Armchair Journey" (5:53) seems to get a jump start from the bleed-over from the previous song but is, in fact, a totally different song. The long spacey intro is really great--quite YES-like, but then, in the third minute, Ed breaks out his STEVE HILLLAGE--but then backs off--it's only a tease while he lets the drums (grâce à Matt Shmigelsky) show off a bit before taking off/over himself. The bass (Ed's) is pretty great throughout: not just a rhythm keeper but also a part- time melody-maker. The dreamy Fender Rhodes is cool too--there are parts that make me think I'm in the middle of the lush soundscapes of NOVA's Narada Michael Walden-produced Vimana, 1976. This is great--not just regurgitated old OT stuff.(9.125/10)

3. "Jellylips" (6:07) opens with computer-effected weirdness (like the treated voices in Kanye West's "Harder, Better, Faster, Stronger"). The drum, bass, and synth cohesive rhythm track has some nice staccato elements but is otherwise another variation on the "drive with the top down country road" format that this band excels at. I've got to hand it to Tom Brooks and Ed's synth mastery (with perhaps a little assist from new-energy newcomer Brandi Wynne) for the very creative soundscape they've pulled off for this one. The solos are 90% synth generated, 10% Ed's Hillage-guitar. Kudos for sound and palette creativity. (8.875/10)

4. "Vedavox" (2:51) Space-African sound palette with talking drums, drones, and all-kinds of teeth, nose, and thumb instrument sounds all woven together within a kind of Arabian orientation. Again, credit is deserved for the sheer creativity behind the sound choices devised to make this weave. (8.875/10)

5. "Spacebase" (9:36) the slow bouncy percussive synth-bass intro reminds me the work of both Berlin School-KLAUS SCHULZE and SONAR. Other instruments soon join in to create the usual full-spherical four-dimensional surround- sound. It feels as if the bouncy synth-bass is quite often either the lead instrument, or the melody-setter, as well as, occasionally, the attention-getter. Even when Ed is soloing on his guitar I find myself much more interested in what the bass line is playing. That super-funky BILLY PRESTON ("Space Race")-reminiscent sixth minute is so ill! And the synth player(s) just keeps driving it home throughout the next minute--even while a separate synth tries to take over and Ed's searing guitar play really does. Cool, simplistic PAUL HARDCASTLE-like solo synth in the seventh as the support palette of instruments slowly shifts to a more dream-jungle-like soundscape--until 7:25 when the robot funk "bubble" voice takes over and carries the lead well into the ninth minute. Overall, quite a magical, danceable ride. (18.5/20)

6. "Disdots" (6:48) more great multi-multi-dimensional sounds woven together magically across many levels in a very jazz-rock fusion fashion with some great drumming, bass play, and Steve Hillage-like lead guitar work. (13.5/15)

7. "Etherclock" (8:01) using a foundational soundscape that sounds remarkably like something from one of ANDREAS WOLLENWEIDER's early albums, this one takes off into planetary reconnoitre before going heavy rock 'n' roll with one of Ed's raunchier guitar sounds soloing away. The interesting rhythm guitar chord strum play in the fourth minute is quite JAN AKKERMAN like. Great MOOGY KLINGMAN/UTOPIA-like synth play in the sixth as Ed's guitar continues its creative strum play. A song with some great highs (the syncopated strumming) and irritating lows (the raunchy guitar). (13.33333/15)

8. "Splat!" (8:59) a very funked up weave (that my wife loved!) sets up plenty of opportunities for solos--many that come from the synths as well as a few tamer ones from Ed's electric guitars. (I count, minimum, five different ones-- which is actually small when compared to the number of synth sounds employed.) Solid, very good, but just not enough to raise it to "write home about" level. (17.75/20)

9. "Ping" (6:39) a dreamy sci-fi keyboard soundscape over which Ed flies around on his fretless bass. Besides Brandi's keys, I'm not sure there's anyone else contribution to this one. Daryl Stuermer (with Jean-Luc Ponty)-like acoustic guitar joins in and then takes over for the third minute as the music flattens out and runs a few red lights. Impressive! The fourth minute presents some very PAT METHENY GROUP-like polyrhythmic math rock odd time sigs and playing while the drums and electric guitar take off in straight time over the top. Very impressive!! Another one of those once- in-a-album songs that serves notice that this band is very much alive and producing highly creative, highly charged music. (9.5/10)

Total Time 59:42

I think the creative input added by Brandi has definitely provided a much needed shot in the arm--this despite the signs that the OT moniker is becoming a shadow mask for Ed to realize his ideas in solo. The sounds created by the computer keyboards for so much of this album are highly original and, therefore, to be commended and praised. Otherwise, I'm not sure the band has any new ideas to contribute to rock/progressive rock music in terms of song structures and style. (Though I should perhaps be reprimanded for accusing a band that has originated and perpetuated a style that is very much all their own of not being creative or progressive enough!) On another positive note: this album gets the "Big Funk Seal of Approval" from my Prince-loving wife. (It's rare that she ever asks me to turn up my music much less dances her sultry Soul Train dances right next to me while it's playing.)

A-/five stars; a minor masterpiece of progressive rock music and a real turning point in the lineage of OT sound and energy. Welcome, Brandi! Just what the band needed!