MAAT LANDER

Even though this is listed as an album by the band Maat Lander, it is actually a split album with the first 3 tracks by Maat Lander and the last 3 tracks by Sounds of New Soma, the first band being a Psychedelic/Space Rock band while the latter is a Progressive Electronic project, and both bands are listed in Prog Archives.

The band Maat Lander is a collaboration in and of itself, between guitarist Ilya Lipkin and Ark and Ivan Fedotov. The trio is from Russia, and first met while performing on stage with the Fedotov brothers in the band "Vespero" with Lipkin (The Re- Stoned) playing in a special appearance with them. The started working together through the internet and in the process created new songs and this new project released their first album in 2015. For the "Split-Album", Ilya (guitars, Fx, mixing), Ark (synth, Fx) and Ivan (drums, drum machines) remain as the original trio.

"Matt's Way" (6:50) bases itself with a repeating guitar riff, staccato synth patterns and very active drumming. After a while, a rousing guitar solo and effects take the music into space rock territory creating a trance-like atmosphere, but with enough activity in the guitar to keep your attention from wandering too far. The music backs off a bit, generates another foundation with pulsating percussion that generates tension while the guitar plays fuzzy chords and atmospheric tones while the synth plays looping patterns underneath. The music wanders along quite nicely creating a loose sound that generates a few great guitar solos. "Volga Dream" (8:57) comes in more dreamlike and atmospheric. The music is more spatial this time, with airy sounds swirling around loose guitar improvisations and light percussion. All the while, the synths create the usual space effects. This track meanders on for quite some time with only a few minor changes, but becoming more direct and interesting around the last minute and ending just as it starts getting good. "Lunar Module" (6:11) is even looser than the previous track, at first, taking it's sweet time to get going, but finally kicks into a solid beat with heavy guitar layers playing against each other well into the 2nd minute. All of this becomes further solidified as one of the guitar lines takes over the main melodic aspect, the drums settle into a regular beat, and the synths continue their whirling and spinning effects.

Sounds of New Soma is the name of the other band that takes up the 2nd half of this split album. This progressive electronic band from Germany was founded in 2013 by Alexander Djelassi (guitar, bass, synth, effects) and Dirk Raupach (synthesizer, effects). Since 2014, they have released four studio albums, and offer us a taste of their more experimental style in the last three tracks on "Split-Album".

"Auf Fahrt" (5:50) (translates loosely to on-ramp) shows you immediately the very noticeable difference in the styles of the two bands, this time, as the genre designation suggests, much more electronic sounding, sparse and minimal, with outbursts of heavily processed sounds, bent waves and minimal percussive noises. The music is more sustained and approaches an avant- garde style. A drone carries on as the basis for the track as a synthesizer plays in the foreground and whirling noises come and go. "Radweg ins Gluck" (5:20) (loosely translates to lucky path) starts with another drone, but it soon moves on while a suspended synth loop plays behind a synth-piano/guitar line. The music is quite simple and has a feeling of floating or suspension. "Ab Fahrt" (5:43) (departure) has a harsher and more intense feeling to it. Fuzzy percussion underlies a throbbing bass line and warbling effects, all of it with a sharper feel than the previous tracks. Electronic percussion provides a feeling of movement while the music provides more of a soundscape than anything else.

The two bands feature two different styles that have some similarities to them in that they are wandering and mostly improvisational, yet one has definite ties to space rock while the other is more of a psychedelic, non-melodic electronic style. You can definitely tell the difference in their styles. However, the music really never develops much on either side from the norms of both genres. In other words, there is nothing new and interesting here, and there is definitely nothing that is memorable when all is said and done. The music is all just "ok", average improvisations that fall under two sub-genres, but there seems to be nothing here among these 6 tracks that would really entice me to explore the music of either project any further. It's all good, but that is pretty much it. Even lovers of both styles of music will be hard pressed to find anything really exciting here.

Once more provided by the German Clostridium Records label, as for the vinyl edition at least, this is the next follow up of their acclaimed Seasons Of Space series. MAAT LANDER is standing for a more loose, though nevertheless successful collaboration during the last years. Maybe even exactly for that reason. The crew is steadily comprised of guitarist Ilya Lipkin (THE RE-STONED) as well as the Fedotov brothers Arkady and Ivan of VESPERO fame. The concept turns out to be something fictional, mystical, goes for inviting us to diverse expeditions their protagonist Maat is undergoing. Up to now he has been underway all around the macrocosm. But, bored by traveling in space, with Book #2 he eventually will turn towards microcosm too.

Gripping, as he's almost losing his life hereby. This is the main frame for preparing inspired space rock tunes, tremendously characterized by Lipkin's virtuoso acoustic and electric guitar work. He also has written some chapters for the associated book, diverse illustrations included. This will highlight the approach in a comfortable manner. Featuring multi-tracked guitars Klaus, I'm Lost Among The Moleculs may be pointed out as the typical MAAT LANDER tune. Nice variations to experience. Again a breathtaking team play is assured overall. Lipkin on one hand caters for a looping line in the back, above all he's soloing a lot, here and there duetting with Arkady Fedotov's synths.

Ivan's drumming is always strong as necessary, straight to the point on this occasion, regularly in opposite to a more diversified appearance on Vespero albums. Quantum Ballad then offers a very nice symbiosis of acoustic and electric guitar. And I shouldn't forget the inspired bass playing on Scum. The last two tracks are valuable arguments to reach out for the compact disc or a download too. This especially applies to The Asteroid Of Living Machinery due to its groovy and lively flow. Well done again. Just put all those Vespero, Re-Stoned and Maat Lander albums in one box, close your eyes, and then randomly select. You definitely won't fail, never!

This album has a couple of different flavors to it. The first 6 tracks could be characterized with the same basic formula: start out slow with some contemplative guitar work on top of some backing synths, slowly work in the rhythm section, do some improvisation and riffing on the guitar, adorn everything with a few synth bubbles and embellishments, then fade out. It's kind of like the improvisation of Oresund Space Collective playing on top of a Hawkwind rhythm section with the Ozric Tentacles adding synth bubbles and VCO sweeps.

Don't get me wrong, it's not bad. In fact, it's quite nice and I like it a lot. Most of the first 6 tracks have a nice groove that leans forward and carries you along, but the dynamics are somewhat muted and subtle. Track 5 (Aquarius) tries to pick up the energy level with driving percussion and pulsating bass, but the guitar and keyboards don't follow suit.

Track 7 (Lunar Rocket) starts off immediately with a rolling rhythm section, while the band appears to attempt a more conventional verse/chorus structure, rather than the improvisational meandering of the first 6 tracks.

The final three tracks introduce some nice synth sequences. With a relentless percussion track in the background, there's a lot of similarity to Tangerine Dream's "Madrigal Meridian" from their Cyclone album, except with guitar carrying the lead instead of (synth) violin. Track 9 (Coma Berenices) makes a definite melodic statement, with lots of bold, energetic passages. It's the highlight of the album, in my opinion. In track 9 (The Birth of Maat's Galaxy), a sequenced bass line and a catchy melodic motif carry the piece throughout. The addition of a (synth) vibraphone adds a nice contrasting crispness. It give the sense of something evolving (or being born, like Maat's galaxy), but it doesn't really go anywhere. Still a nice piece, though.

Overall, I really like this album. I give it 3-1/2 stars. If some of the early tracks were remixed to bring some of the guitar solos to the foreground and emphasize other synth passages to give the album more dynamics, I could envision adding another star to the rating.

And now in 2017 Russian space-kraut prog rockers MAAT LANDER are continuing the story of their main protagonist. Announced as a series in fact, what the album title is going to reveal. This is based on an eccentric, fictional, mystical affair, maybe you can also call this a modern myth. It started in 2015 when Maat invented and created his own universe. Meanwhile he has the courage to travel across. And the band invites us to escort him, through the insane world of their space adventurer. His experienced staff, consisting of the psychonauts Ilya Lipkin as well as Arkady and Ivan Fedotov, will lead us through all highs and lows, twists and turns. Promised. Hereby we are confronted with intelligent gas-shaped lifeforms and other creatures ... but don't worry, lift-off asap!

As the songs are nearly clocking at 80 minutes in total, the vinyl version, released on the German label Clostridium Records, goes without the last three tracks. Or the other way round if you will, this are bonus tracks when it comes to the CD release. Where hereby, pointing to the debut, the extended The Birth Of Maat's Galaxy comes as a live version, recorded in Abstrakhan. Maat's excursions are mellowed with some short Galaxy Passage interludes exclusively built by acoustic guitar and synths. As it goes with such adventures in general, even be it physical or mental, you will be faced with dangerous moments full of courageous moves. In the same way as calming floating parts then again, when moving from one point to the other. Hence you won't die of boredom.

Exemplarily the hypnotic Crimson Turtles comes with tricky multi-tracked guitars which are looping as well as soloing. Surely an album highlight, concerning the dynamic gradually increasing into a rather furious fast-paced issue. The bass lines predominantly sound like electronically generated, appealing nevertheless. The Constellation Of The Mirror Fish shines due to its mellow spacey flow. And surprisingly the guitar entertains in a jazzy manner during Fields Of Serenity, or a trumpet appears on the meandering Maat's First Mistake. So this is not old school space rock, never ever. Just a very unique outfit with entertaining compositions, where the provided atmosphere is melancholic and somewhat aesthetic, fairly eclectic. With their sophomore studio album Lipkin and the Fedotov brothers ultimately have bundled together, very impressing. I'm sure Book #2 is already in the making.

This vinyl production will provide four already known songs from their debut too, though played live on this occasion. That means delivered without any overdubs and showing some different arrangements. The tracks were recorded at a December 2014 day in Astrakhan, Russia, also known as the homebase of VESPERO. And in fact two members of this band are involved in MAAT LANDER, the Fedotov brothers Arkady and Ivan playing keyboards, bass, as well as drums. Finally the formation is completed due to Ilya Lipkin, a Moscow based guitarist and composer, first and foremost being related to the band THE RE-STONED beforehand.

Hence a rather experienced and competent trio is on the way here for sure. Since their studio album 'The Birth Of Maat's Galaxy' appeared to be a successful entree in 2015, it wasn't a really unforeseen consequence that they would offer some live recordings sooner or later. Now the German Clostridium Records label took over the deal. Well, speaking of missing any overdubs, when listening to Intro at least, you might be inclined to hear a multi-tracked guitar appearance. Just realized by Ilya due to some loops it seems. Additionally including some twittering synth contributions this is a very very emotional start. WOW!

Where the VESPERO sound is also embracing kraut, jazz and some avantgarde impressions, MAAT LANDER are way more focussed on a common space rock attitude. As for that - quite naturally - the drumming for example comes less sophisticated over the course. Anyhow, they are constantly switching between a heavy rocking and floating behaviour, the latter offered with a mesmerizing flow basically. Somewhat exemplary is the song To Johannes Kepler of course. For me this often matches the vision like crossing the endless areas offered in the Russian Federation, just like Siberia, or the Taiga in general.

The closing Space Scum is initiating like a punk tune somehow, yeah really, though soon evolves into an intriguing space jam, first and foremost the lively bass work is impressing me. So this is not ment to downplay Ilya Lipkin's effect, to make it clear, but for me 'Dissolved In The Universe' also comes as a new chapter of the VESPERO related realm in some way, always a pleasure to experience. Musically up to now I never ever was faced with a disappointment, whatever album might be chosen. Consequently this will make you a fan at some point, or what? I'm sure there will be offered more to explore from this space crew soon.