RETROPOD

This is what keeps me going, reading reviews to determine the next heart throbbing release that may have ducked under the otherwise effective radar. The Thrill of It All as Roxy Music once stated. You simply never know what musical jewel lies only a few clicks away. Eyes of Etheria is an absolute discovery, "Retropod" representing my first encounter with these Aussies, in large part due to Bertolino's review that possessed enough tantalizing bait to hook me in, line and sinker as well. The cover art similarly caught my nostalgic attention as the retro style harkened back to late 60s Jonny Quest cartoon character (Dr. Benton Quest, Race Bannon, Bandit, Hadji) and the opening episode " The Mystery of the Lizard Men". But I digress, this is about music fantasy, not cartoon fantasy!

While Ozric Tentacles are definitely the most well-known and prolific band associated with a strong Gong vibe style ( I have well-over a dozen studio albums in my collection), these hitherto unknown lads from down under are quite a different kettle of fish (Hello, Steve Hillage). In fact, Eyes of Etheria is perhaps more organic in that while it does use a lot of synths (even the bubbly ones a la Tim Blake) , the main element on keyboards is the powerful Hammond organ , which is sprinkled throughout and abused accordingly by the avaricious fingers of Daniel Briggs , surely more inspired by Dave Stewart than Tim. The guitars are slippery smooth like the Hillfish but also veers into bluesier realms, loaded to the gills with impressive stylistic alterations that keep the listener guessing.

From the opening electronic swoon of "Sublevel", the mood is set for the next hour with a divine flow of celestial space/fusion progressive rock that establishes a distinct style to great effect. These are damn fine musicians, with high level of creativity and sense of pace and tone, blending contrasts effortlessly, sudden raunchy riffs welding to first some e-piano phrasings and then letting loose on the lead synths , sounding like Jan Hammer one second and Camel's Pete Bardens the next!

"Every Point in Time" is an extended blues guitar-led space romp, interspersed with whistling synthesizer leads , bruising bass courtesy of Tom Bajor (or 'Tom Ozric' as he is better known on PA, according to my covert intelligence sources) and finally unleashing a ripping organ flurry that forces one to smile devilishly. Ebb and flow, intensity and calm all mesh together most coherently, never dull or contrived, this is clearly genius level music.

"Treeline" veers into more ambient atmospheres, where smooth crystalline swells, bell-like tingles on guitar and synthesized bliss unite, clearly a set-up for the title track .This caught my attention the very first audition and has not left since an impression of sleek comfortability as the main guitar riff kicks in putting down the foundational theme for the organ to start its rampage. And what an assault it is, sounding like a mad Brian Auger at his best, aided by that funky rhythm not too far from Booker T & the MGs, but in a more modern sheen. Dazzling!

Then the mood starts getting starker and more experimental with "Darkstar", nice Floydian instincts at first, morphing into a delicious cosmic groove that expands slowly into deeper sonic realms, the ideal platform to start soloing like madmen. The guitar riff is quite ravaging, hinting at a mellower version of "Love like Blood" by Killing Joke, the synths whistling seductively to the finale.

If you all thought the previous tracks were tasty, lo and behold the big killer piece is next (and an absolute classic track it is), "Bootsequence" being an absolutely stunner! A highly familiar sounding guitar theme is laid down, solidified and then the orgasmic ride takes off into the horizon. Both electric guitar and organ get it on, unrelenting. Divine! The mysterious, voice effects laden "The Hubble Effect" creeps methodically into the space between reality and dreams, proposing a sweeping keyboard feast tenderly sequencing along, with tinges of Middle Eastern sounds. Another splendid slice of superb music.

"Fractaldactyl" is probably the most Ozric influenced composition, armed with bubbly and gurgled synths leading way, burping bass, and huge guitar slashes. But then, Daniel Briggs whips out his organ (oops!) and lays down a thunderous barrage that pants, huffs and puffs like no tomorrow, on which he overlays a wicked synthesizer solo that just keeps on giving. Twinkling piano stars put this one to bed. Amazing!

Moody and reflective, "Falling World" is used to set the final master stroke, the epic 10 minutes+ "Vonadawn" closer that seals the deal. More akin to Tangerine Dream, a long electronic sequence right out of the Edgar Froese songbook builds the framework on which the musical expanse will take place, gradually ripening for adventure. From gentle beginnings, the arrangement keeps the eerie, spooky and disturbing pace (a glance at the cover art really sets the mood, in my opinion).

A sensational closer for a sensational album. Expertly paced, sublimely played, with great melodies, a perfect sound in a more organic, less programmed way, it has all there is to enjoy. A precious gift to all fans of Space/Ozrics/Gong/Hillage/TDream/Khan who enjoy a tinge of jazzy input and endless adventure. 5 Archaic shells