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Hash Jar Tempo

Psychedelic/Space Rock

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Hash Jar Tempo Well Oiled album cover
3.11 | 9 ratings | 1 reviews | 0% 5 stars

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Studio Album, released in 1997

Songs / Tracks Listing

1. untitled (13:33)
2. untitled (1:58)
3. untitled (13:05)
4. untitled (11:09)
5. untitled (13:51)
6. untitled (18:44)
7. untitled (6:01)

Total Time: 78:25

Line-up / Musicians

- Roy Montgomery / guitar
- Michael Gibbons / guitar
- John Gibbons / guitar
- Clint Takeda / bass
- Ed Farnsworth / drums

Releases information

CD Drunken Fish 024 (1997)

Thanks to chamberry for the addition
and to Joolz for the last updates
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HASH JAR TEMPO Well Oiled ratings distribution

(9 ratings)
Essential: a masterpiece of progressive rock music(0%)
Excellent addition to any prog rock music collection(33%)
Good, but non-essential (67%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

HASH JAR TEMPO Well Oiled reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Eetu Pellonpaa
SPECIAL COLLABORATOR Honorary Collaborator
3 stars This album is a result of a one day jam session, containing guitar dominated free playing from the dopey rock band's rehearsal room. I'm quite keen on improvisations, but this stuff wasn't the most innovative, adventurous or interesting I have heard. The tracks varying in length from few to eighteen minutes (bit over ten minutes being average) are built up from very simple passages, and there aren't many risks taken in the improvisations. Minimalistic repetitive music can be fun to listen, but then the sound aesthetics should be more pleasant, and there could be some subtle developing progressions or interesting polyrhythmic included. Here these elements weren't sadly much present, the atmospherics of the album also remaining distant, non-welcoming. Some tracks, for example the second song, are also clearly edited by fading in from their start, which probably didn't go very well. The dominance of three electric guitars build up also a bit dull sound wall for my taste, and some keyboards or acoustic instruments would have been a nice addition. But though all of these negative aspects, this is still a nice record to listen, and probably if the stylistic characteristics fit your tastes better than mine, you may appreciate this album more. All of the tracks have been left unnamed, interestingly underlining the spontaneous and abstract qualities of the music, but then with the dope-related name selections the musicians possibly direct their stuff towards a certain marginal group of listeners, or maybe it's instead a wonderful merchandising act.

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