KOSMOGON

1. "Mässan" (25:00) some of Kate Bush's birds from Aerial were recruited to perform throughout the background of the opening of this one. Sophie and Nicklas move through a series of ghostly synth & organ chords for three minutes before Nicklaus switches to organ arpeggi and sustained ARP notes. (The bird chatter continues.) In the sixth minute the overlapping arpeggi weave together sounding like something from a Berlin School sequencer. At 6:30 there is a little rest from the higher register instruments and then even the "sequencer" rests while lower washes, waves, and flutes (and birds) continue. It's thinner, more pastoral (and, no: not because of the birds), and quite pretty--as if the troupe on pilgrimage break for a meal and rest at a scenic roadside stop. This is where I finally notice the strong importance of Mellotron. In the 14th minute a continuous stream of multiple voices begins whispering, all of them at the same time, until a sequenced weave begins at 14:25, perhaps signaling the band getting back on the road. The programmed sequence stops in the 21st minute, leaving a harmonium-sounding organ to finish out the song with a very Celtic-sounding dirge as the birds play on. Very nice! Feels very well planned and executed. (45.5/50)

2. "Somnus" (22:57) a looped broad spectrum of Mellotron flutes is girded by organ and strings on the low end to open this one--until the flutes finally fade away after 90 seconds, replaced by strings. This feels like a piece from BRIAN ENO's Discreet Music or Ambient 1: Music for Airports. The Logan String Melody synth becomes the dominant instrument of the fifth minute before ARP Odyssey begins to join in and enlist its magic--also taking it out of Eno-land and into Vangelis territory. In the seventh minute things thin out and quiet down for a little bit while as thick synth chords and sprite-like synthesized tuned percussion sounds start playing their way into the sonic field. (I keep feeling as if David Gilmour's guitar is about to kick in from PINK FLOYD's the opening sections of Wish You Were Here's "Shine on You Crazy Diamond"!) In the ninth minute individual 'tron flute notes start a slow pattern that sounds like something from YES (either the interlude in "Gates of Delirium" before "soon oh soon the light" takes over or the ethereal interlude in the middle of "Close to the Edge" before the multi-voiced "In the white lace ? I get up, I get down" part.) The organ intensifies in volume as one chord seems to rise to the front while the strings continue to slowly snake their way around the organ's monolithic presence. Very cool--and very pregnant. At the end of the fifteenth minute a few injections of Mellotron voice chords begin to make themselves known--male, female, and mixed voices appearing at all sorts of unpredictable octaval ranges. All the while the massive organ chord remains strong, resolute. In the nineteenth minute the massive organ chord finally begins to recede--ever-so slowly--as the voices and strings and flutes continue to encircle and dance. I love the processional feel of all of this "controlled chaos"! In the final 90-seconds the central core organ has not given up despite the swarming of the strings, flutes, and voices. Impressive! But the song does finally end, with the spectral flight of ascending Mellotron flute chords, of course. Another very well-planned, constructed, and performed piece. would that all Prog Electronic music felt this composed- -this intended, this professional! (44.75/50)

Total Time 47:57

A-/4.5 stars; an excellent album--perhaps even a masterpiece--of very seriously-crafted Progressive Electronic music for the modern day.