FORBIDDEN PASTURES

Pastures near the Ozrician fields

3.5 stars

Whereas WOODEN BABY's first tape, "Stuck in the Mind-Cage" shares only partial resemblances with OZRIC TENTACLES, which Merv Pepler just joined as a drummer, this second effort is this time more influenced by Ed Wynne's band. As before, "Forbidden pastures" still offers a wide variety and uncommon mix of 80's cold wave / gothic rock with 70's space prog, however now incorporating the typical "ambient trippy jungle" feel of GONG and their successors. Lasting 66 minutes, this cassette is also the duo's shortest in terms of duration.

You're about to enter a strange world with "Gestation Of A Koala Bear", introducing the relaxing and mystical "The Sound Of One Hand", quite in the OZRICs' style. The track then accelerates to turn into a darker and frightening atmosphere with keyboards and guitar, while the ending part goes to back to calm. Not bad but first section is too long. Again, "Wasps Feet" has a nice OZRIC-ian Middle-Eastern-ish texture and a touch of LEGENDARY PINK DOTS, although different. "Pump-Face" reminds the pulsating 80's HAWKWIND song "Angels of Death", while "Exocism Of Anu" is mesmerizing spacey new-wave. Original but a bit lengthy. Side 1 concludes with the strange experimental interlude "Gullet-Ache", and the GONG-esque "The Eyes Of Tammuz" and its Arabic clarinet.

Side 2 opens with the tape's best and most progressive track, the multidimensional "The Painted Smile". First beginning with an enigmatic electronic loop, this 7 minutes title features many changes as it turns to space rock with a pretty Hillagian guitar and then to an oppressive science-fiction tale. Excellent! Prepare to lose your landmarks with the pysched-out paranoid inner trip "Wading Gannets", and to be hypnotized by the "Table Of Existence". This trippy gothic composition in the vein of DEAD CAN DANCE's first opus is one of the best passages of the cassette. On the contrary, the ambient "Treading Air" is my least favorite with its a voice. Like an incantatory ritual, "Bombay Mix" assembles American Indian chants on Asian Indian sitar. Cool but not varied enough for 5 minutes. Fortunately, the ender "A Warm Sponge" is rather enjoyable. The first half consists in a cold wave song including a few special sound effects and variations, whereas the second half is more rocking 80's HAWKWIND.

"Forbidden Pastures" may be less original, strange, impacting and personal than WOODEN BABY's two other releases. Furthermore, it contains some lengthy moments. Nonetheless, the duo manages to keep its own identity and weirdness though their compositions, which seem to come from another dimension. These pastures are not forbidden, the inspiration and psychedelic trip, as well as exciting tracks, are still well present.

Recommended to fans of OZRIC TENTACLES, 80's HAWKWIND and space rock!

I appreciate Modrigue's reviews of the three albums WOODEN BABY put out between 1988 and 1990 because there is very little information out there including reviews for their records. The fact they have never been released digitally may be a big reason for that. WOODEN BABY is the duo of Merv Pepler and Charles Daniel not Joie Hinton as the bio here states incorrectly. Joie and Ed Wynne would guest on their final release in 1990 but that's it. But there is an OZRIC TENTALCLE connection as Merv Pepler was their drummer beginning with that 1988 album "Sliding Gliding Worlds". So Merv was doing double duty for three albums then he shut WOODEN BABY down to focus on the far more successful OZRIC TENTALCLES.

I would describe WOODEN BABY as the Krautrock brother of OZRIC TENTACLES, I prefer their darker and dirtier sound much more. Modrigue refers to their music as Cold Wave and Gothic and man there is a strong LEGENDARY PINK DOTS vibe at times, that really surprised me and I noticed it right from the first spin. LPD had put out quite a few albums by now starting in the early 80's so I have no doubt that Merv and Daniel were fans if not being familiar with them at the very least. Two multi-instrumentalists with Merv adding drums, guitar, bass, synths, programming and vocals while Charles adds synths, clarinet, violin, guitar and vocals.

There is so much going on throughout this record it's hard to believe it's only a duo, very impressive. Such a dense sound at times and variety as well over the 70 minutes. The OZRICS comparisons come with the synth styles swirling and shooting off but I feel this band sounds a lot different, more innovative and experimental and darker. Yes I prefer this and while I'm glad I own this one I wish I could have picked up the other two albums, just couldn't find them.

Where to start? I guess that second track "The Sound Of One Hand" at 9 minutes is a good place after the very experimental sounding opener. It sort of trips along for about 4 minutes then the tempo picks up which I prefer before settling again late. "Wasps Feet" reminds me of Steve Hillage solo and THE LEGENDARY PINK DOTS. The latter in part due to the vocals sounding like Ka-Spel. And check out the clarinet! So good. "Pump-Face" is some excellent Space Rock, uptempo and powerful. Another LPD-like track in "Exocism Of Anu" with the violin and vocals. I really liked "The Eyes Of Tammuz" right from the first spin. An urgent and dark sound with the clarinet dancing over top at times.

"The Painted Smile" is amazing with the spacey wind to start that gust at times. Experimental stuff right here folks. So much atmosphere! A calm with flute and birds chirping takes over. Love the guitar late, that echo! The short "Wading Gannets" reminds me of KING GIZZARD surprisingly with the spoken words over top. An urgent rhythm and dense material on "Table Of Contents". An Asian vibe later. "Bombay Mix" is cool for the chanting as synths buzz and swirl and it's catchy. An ethnic vibe as the chanting gets more intense. A HAWKWIND vibe in the middle of that closer with experimental book ends.

While I strongly recommend this record it will be a challenge to find along with their other two recordings. My kind of music and another obscure winner in my music world.