COSMIC TRIP MACHINE

This schizophrenic double vinyl confused me first quite much; Is it an artistic solution or cheap market trick to release two separate though different mix downs of a nearly same album? After longer consideration and several returns to the enigmatic theme record I started to buy the idea of presenting this end result of oG's and Cosmic Trip Machine's fellows recording sessions. Belgian musician oG helped the band to finish their earlier "The Curse of Lord Space Devil", which yet felt slightly incoherent though promising to my ears. Now the elements from general idioms of psychedelic music have matured to more solid tonal texture, and wholeness borne from shorter songs, reminding slightly early Pink Floyd and The Doors, are unified with longer and more ethereal spaced out sound apparitions. The two vinyls have quite much same songs, but their playing orders are different, along with nuances in edits and mixing solutions. The story goes that after recording the original Cosmic Trip Band members and oG didn't reach consensus how to finish the achieved studio recordings, and after their separation both were used to this mysterious record. I think the vivid artworks on the psychedelic gatefold sleeve picture this concept quite well; two quite similar but still different beautiful entities leap away from each other. The vinyl version has also quite extensive inner sleeve texts about the musicians and their straits, plus CD versions for more casual listening at the car, office or such.

I really hope this kind of production solutions would not become a fashionable standard, and that the musicians could settle their arguments for more unified artistic achievements, but I admit there is special charm in this weird outcome. I'll leave the consideration of its justification for anybody considering the purchase, and personally found surreal method for choosing randomly the disc from coin spin's head or tails result. Actually I was so convinced by these illusions, that after obtaining free promotional copies of the album, I spent my hard earned money for the actual album from the local LP dealer. The leap from previous records was certainly towards both better and weirder directions, and I also found the marketing slogan "find out which one of them is better" as false approach from my own perspective; In spite of the duality and split between the musicians, this unclear source of beautiful psych beats radiating from either disc through edge of vinyl player's stylus as a singular force for me.

The most recent album of Cosmic Trip Machine continues the slightly occult themes found also from their earlier album, and deliver a rich display of psychedelic music stylistic choices. The record kicks in dynamically with a folk-oriented psych tones, and the lysergic rock guitar and vocals phase out to void of cosmic soundscapes. "You" moves to some acid folk dronings with leanings also to classic European traditional music, having very pleasant guitars and shimmering abstract aural backgrounds. The story continues with more oppressing tribal horror movie feelings of "Jessica's Nightmare", which is the soothed with acoustic hippie ballad. A really beautiful acoustic guitar cadenza leads to a minor ballad ending to stinging guitar soloing, which merges to a more cosmic space tones and experiments. The concrete tonal elements reappear with a mellow keyboard driven downer ballad, which switches as open guitar experimentation phase in space rock sounds, leading later again to more close to earth feelings with folk rock and tribal music phases. The longest track on the album is the cosmic ender "Son Of Lord Space Devil", sounding little like a more tamer version of Acid Mothers Temple's experimentations.

The album sleeve has a detailed history of the band, and also a description of the journey building the musical entity of this record. From my personal tastes point of view, I maybe did not feel very comfortable with the intensity of changes in moods, as the music has quite strong alterations. I guess this record should be taken as kind of movie for your ears, as Frank Zappa once stated in some of his record, and allow one to be carried with the scenes. The album quality is good in all technical standards, like one might expect from a Nasoni release, and for a psychedelic prog music listener this album is certainly a record worth checking out; there are good changes this might fit to the central of your musical fascination.

This album was my first introduction to the music of Belgian Cosmic Trip Machine, so I have not heard their first record without drums, mentioned to be more acid folk oriented. The first impression was brought by the beautiful psychedelic cover art, and after entering the CD successfully to the player, I was allowed for wandering to the surreal heartland of these musicians inspiration. The album is divided to quite many tracks, which follow each other without pauses, forming a solid flow of music, which however has many vivid twists and changes. I admit that in some tracks I felt these changes happing too quickly, as I would have liked to hear longer explorations of the themes, deepening the meditative ecstasy I get from good long journeys with flow. However, this is a matter of personal taste I believe.

The record and the story starts with a mellow acoustic folk track emphasizing oriental hippie flavors, resembling slightly some songs from the albums of Emtidi and Bröselmaschine which I listened recently. Soon the band kicks some amplified grooves in, and the two following songs chart the groovy and casual lounging style association earlier Jimi Hendrix recordings. "Welcome to Roussos" is then a Jade Warrior oriented ethnic short idea, followed by "(Not) Very High" delightful oriental rock ballad, which sounded to me little like Kula Shaker going very experimental. Two next songs are then more heavier stoned rockers, leading to "White Lodge", a short tune resembling little the sound style established by Hawkwind. The flow of album lands back to more earthbound territories with two next tracks, giving glimpse of cool Motown oriented tones. Song "Forest / Lost Island" was quite interesting, first starting as kind of Dario Argento horror movie's forest sequence, which changes as a delightful sitar folk glade sequence. "Zorba Goes to Hell" in a quite pleasant boogie way, where "Cerbere" is waiting for him, presented as a heavier tunnel leading to cosmic chaotic aural sequences. The destination "Black Lodge" has some ancient Asian ethnic soundscapes, which morph as wild acid rock sabre dancing. Then finally after a hazy flash, a tender acoustic folk playing follows, visiting jazzy themes, and after a pretty oriental Indian raga chiming the album gets closed with wild psych heavy rocking.

I felt that the musicians have a deep knowledge in the stylistic spectrum associated with the classic psychedelic music genre, and there is very good sound quality in recording. I liked especially the evident virtues of the guitar player, and also bass grooves in the funkier parts. I would recommend this album and band for the fans of soulful and imaginative streetwise psychedelic music most sincerely. The only factors which made this little less interesting for me were the some stylistic choices, which are just cases of personal preferences, and I also thought there's maybe little too much content here for so short record. But on the other hand, it certainly is an intensive roller coaster ride of stimulations! So if an adventurous concept album in realms of psychedelic elements including also some humor seems an appealing choice, this album and group can certainly deliver it to you. I personally would be yet more interested to hear the first album of this band, which I understood was done as a duo, and focusing to the acid folk side of psychedelia, and grab it if it would appear to my reach in the local psychedelic record vendor's shop.

This one came up under problematic circumstances. Will and Majnun have already released two promising albums, which I really liked, because they are brimming over with ideas and inspiration. In 2009 plans grew to work out the follower 'Son Of Lord Space Devil' as a double album with four different suites. Many difficulties occured though, disease, depression, technical problems to name a few. Back and forth ... finally they decided to compress and rearrange their material and to call the new album 'The Curse Of Lord Space Devil'. The result is more of an unplugged thing, except the last track the rocking component takes a backseat.

Tribal oriental flavoured percussion, many acoustic guitars and repetitive patterns - they offer a trippy psychedelic atmosphere basically, which is mostly suitable for a campfire session. Will's voice is charming as usual. Quiet Night Thoughts holds a fantastic electric guitar solo and ends with a spacey downfall. Remains Of Amethyst is an excursion which moves deep into cosmic fields. The short Jessica's Nightmare comes as a mourning thing with decent organ adds serving a slight menacing touch.

Hence Son Of Lord Space Devil has failed to reach for the album's title track due to the aforementioned reasons. This extended track contrasts with a rather heavy psych outfit towards the end and probably is useful to defuse an atmosphere which otherwise would have been too dark mooded overall. They start very spacey and then regular acoustic drums appear after a while until finally the last minutes are rrrrocking the studio really.

'The Curse Of Lord Space Devil' is a nice album, not really thrilling though, which means I'm missing a reasonable advancement when considering their predecessor stuff. However, the great guitar work is generally striking and again they offer many haunting melodies. So this one surely is dedicated to fans of trippy psych music.

The COSMIC TRIP MACHINE is back again. Last year Will Z. and Majnun threw their debut 'Lord Space Devil' (LSD) across the genre stage on which they are constantly exploring the folk/raga/psych fields with much trickiness. Variety is the spice of life - both fellows are proving this motto once more on 'Vampyros Roussos' - that's for sure. The album is concipated as a rock opera - a soundtrack of an imaginary movie with other words. As for the inspirations a systematic backfall again into those years where the prog music was born - but obviously provided with other preferences now.

What makes it different ... first and foremost because they have drummer T-Bone contributing here, who does a great job too by the way. This means it's more rocking on the whole. While the opener Vampyres links to the predecessor album for the moment with a typical dreamy psychedelia start, it all surprisingly turns into a jazzy behaviour after some time. This song is really symptomatic for the whole production filled with well thought out twists and turns. Which immediately points to the next grooving Psychedelic Twist provided with playful drumming, multi-layered guitars and mysterious female narration.

And so the following songs take you away on a rollercoaster trip through the 60/70's, bouncing from one event to the other. Poppy charming beats like on Revelation Evil are competing with lots of heavy psych guitar solos and fusionesque bass lines. Oh dear - really damn rocking this time what I never expected - way more powerful because of the drum kit presence of course. It Feels Good even appears in a funky James Brown outfit. Heavy riffing and sawing guitars are corresponding with swirling synths on the space rock tunes White Lodge and Cerbere which temporarily seems to get out of control in between.

When it looks like that Deep Purple is on the wrong track here for a while - never mind - by way of variation you're shortly forwarded to India on a hallucinatory trip with sitar accompaniment. And being completely restless Will and Majnun later on switch to a horseback ride crossing the prairie with a mouth organ at their lips ... I hope you're slowly but surely obtaining a hazy notion how it works? Okay - I really try my very best ... anyhow ... you have to check this on your own to get the ideal impression. It's something you won't find every day - believe me!

For the second time they put forward 18 song snippets exactly - probably this number is something magical for them. The album sleeve offers ten clues which are supposed to help for assimilating the album - especially concerning the concept, the lyrics. Nice idea ... however ... generally I don't care much for lyrics (except they are in German). But I don't want to keep it secret - the (weird) story deals with young fellow Jimmy who fails to rob a bank, escapes from the police and eventually gets caught by a vampire ...

.... no not eventually of course - the adventure goes on. Even when you're not interested in the story behind, 'Vampyros Roussos' offers enough challenge when you only explore the music as such. COSMIC TRIP MACHINE have worked out an entertaining album once again - a rather eclectic approach with a wondrous blend of genres and styles. Listen as much as you are able to - I'm sure it will remain an enjoyable freaky event because you are always sent into a labyrinth of contrasting impressions - 4.5 stars.

— First review of this album —

Belgian freaks Will Z. and Majnun are managing the COSMIC TRIP MACHINE. Last year they offered their debut 'Lord Space Devil' which was a great surprise for me spiked with a cornucopia of ideas. Short compact songs representing their inspirations which reach back to the 60s psychedelia. Now this single production consisting of two free downloadable songs is an appetizer for their new album 'Vampyros Roussos' - concipated as a rock opera, a soundtrack of an imaginary movie - once more provided with 18 tracks as if this number is something magical for them.

One difference attracts attention immediately when listening - this time they use acoustic drums. Compared to the predecessor album's mainly folk/raga/psych mixture this cares for more rock music impressions. Stylistically the short songs seem to be excerpts of a rollercoaster trip really. On (Not) Very High swirling organ and a sitar are opening for a more popular rocking behaviour coupled with nice vocals and a great guitar solo, later gliding into hallucinatory territories.

The (almost) charming Revelation Evil is presented with a happy mooded beat plus 'lalala' vocals and when you are totally wrapped into this evil outfit they stir you up suddenly when turning into something weird avantgarde with sawing guitars and furious drums. Well - this foreshadows some very interesting listening sessions I'm sure. 3.5 stars for a short but successful foretaste of the new album.

I take my hat off for the competence to create 18 excellent songs for one album. Except the title track and the last one they don't reach the four minute mark. Most bands of the genre take it more easy probably and offer some extended jams which requires not so much sophistication. But COSMIC TRIP MACHINE eventually differs. The project is made of two mates from Belgium who are deep in the flower power mood of the 60/70s. The recording quality prevents you from assuming somebody has digged out a lost gem from the cellar or the attic somewhere.

Well - where should I start? Okay - let's say you're running across sitars everywhere, for example immediately on the opening title track. Very cool and provided with a rich instrumentation - percussion, acoustic/electric guitar, bass and synths are additionally acting - a mellow thing with a nice melody - only the electronic weird end is somewhat contrary and another hint for a modern production. Will's voice is excellently matching by the way. All in all the tile song manages the task to make curious for more.

You will fail to detect some drum playing on the album. This is kept for the next one which is announced for 2009 - and for the live performances. Acoustic guitars are dominating - but more than in a simple singer/songwriter vein - so to hear on Floor which has a nice decent electric piano accompaniment. Mantra #27 pleases me because offering a more weird combination of oriental feeling and heavy psych guitar plus nearly aggressive bass playing. This is one of the songs where you might be disappointed about their shortness. The same for Giallo (Profondo Argento) with fantastic spacey guitars.

Another Venus - american westcoast feeling comes up here. Excursions into a more bluesy terrain are also integrated with Plastic Hippie. Mariachi - The twilight and Chiaroscuro are hijacking you to South Europe in a more classical mood. Lonely Grave with dual acoustic guitar is probably the most melancholic tune you can find - gentle and mellow. But the following contrary Conversation wakes you up immediately with doubled hard rocking AC/DC guitars and some whacked-out statements. The last two songs belong to the longer ones. The ballad In the Haze of drugs deals with the tempation of drug use and shows some scary sound samples. The Last Song is wonderful asian flavoured with suitar and percussion but soon counteracted by a heavy psychedelic guitar and last but not least provided with a 'hidden track' gimmick.

'Lord Space Devil' is a psychedelia drenched album recommended for a listening session from the beginning to the end. Take your time and let the music flow. Monotony or boredom - what's that? A diversified piece of work with a professional sound mixing - rich on ideas and instrumentation.