SPACEFOLDS 7

QUARKSPACE is a relatively homogeneous band since they reorganized in 1991. The line-up was constant mainly. And they didn't change their style noticeably over the years which is dominated by spacey sounds with a high proportion of ambient chilling elements. But nevertheless one personal change had occured compared to the previous 'Spacefolds 6' release. Dave Wexler left the band and was substituted by former guest guitarist Stan Lyon. Don't know what influences he had strictly speaking but they 'have the hang of it' here and I promise to give my best for picturing that. First - the musicians/instruments are restraining themselves - everything is acting flawless, compact.

Nothing sounds uninspired, even when you're listening from the first to the last minute continuously (after I began to enjoy I did it!). More vintage keyboards like piano are present all over. Chet Santia's cheerful bass lines are leading through all the songs with great safety. Other guitars are not so dominant here played with Fripp leanings sometimes which really suits. The musical QUARKSPACE fundament is significant but this time more rocking components and accessible melodic parts are available. It all starts with the wonderful Black Star Shining - a spacey flow, underlayed with nice piano and accentuated decent guitar contributions later gliding into a cosmic finale. Oh, I won't believe it if this was played totally improvised without pre-defined conditions.

And basically this continues 'til the last song - sometimes with the emphasis on ambient sometimes on more drum provided rocking parts. Jay, the Prog Boy is a way too short example which ends after three minutes - but not the album fortunately. On Red Star Pulsin the guitar is sending out strange signs into the universe hoping for an answer. And this is immediately followed by the grooving Fujita which stylistically gets out of line a little bit - in a positive sense whilst longing for more diversity. No need to mention every further song - but wait - don't know what 'Chippertronics' means - probably this is a pun derived from 'Frippertronics' which I'm not aquainted with so far. It must be the somewhat unusual electronic percussion. The guitar style is truely following Robert Fripp by all means. And the appendix 'Vol. 1' raises my hopes for more.

Not knowing the previous Spacefolds versions yet I have to say this is a really impressing album. Despite some leanings to other wellknown space bands like HAWKWIND and OZRIC TENTACLES they offer a quite unique sound. As for a relation I also want to mention ORESUND SPACE COLLECTIVE - but they didn't exist in 2001. Compared to the six years later following 'Spacefolds 8' this is a completely rounded effort. Fans of spacey ambient music should pay attention and visit their website to order this.

Here we have twelve songs of improvised instrumental progressive jazz space rock. It isn't as bad as it may seem, and there is some very good musicianship but there are a few times when they seem to lose the thread a little. Even with a song with a great title such as "Jay The Prog Boy", it is an album that I can't gain a lot of interest from and so consequently would only ever make it to background for my ears, although others may feel differently. Visit the web site for more information at www.quarkspace.com

Originally appeared in Feedback #64, Oct 01