ARBORESCENCE

1. "Astro Cortex" (5:21) raunchy rock sounds drive this high speed song. I like the cleaner, more nature-infused OT better. (8.66710)

2. "Yog-Bar-Og" (9:40) opens with a weave of some minimalism and cheap synths. Have the band members had to retool with a low budget? In the third minute we finally get some wonderful premier keyboard playing and sounds, but then Ed's raunchy guitar strumming and some crazed vocal ejaculations take it into another, seedier direction. Keyboard reset is joined by bass before Ed finally gets with the POT program with some very impressive guitar playing around the five-minute mark. The JON HASSELL-like breathy flute in the sixth minute is cool. Thank the gods that the band has the sense to break things down and allow a gentler, calmer support weave for this section. A song that began more frenetically and irritatingly than I'd hoped finally presents some magical moments. (17.75/20)

3. "Arborescence" (4:54) flute and jungle noises open this one before synths enter and perform a section that sounds like an underwater piano concert. In the second minute an equally aqueous bass joins in before return of flute and other incidental voices, etc. also flit in and out of the sonic solution. THough this is not one of Ozrics' typical move and groove tunes, I like the textural experimentation the band have undertaken here. Too bad they felt the need for a shredding electric guitar in the end section as it quite spoils the mood and feels incongruous with the aqueous vibe being presented here. (8.75/10)

4. "Al-Salooq" (5:03) the sheer ordinary-ness of this music is so disappointing! As if the band is just free form soloing with no regard for cohesion or consistency. Just throw a million riffs, sounds, and/or random ideas into the mix and call it a song. Yuck! (8.5/10)

5. "Dance of the Loomi" (5:15) Finally, a smooth space groove! It delivers all the dance and move power that you want (and expect) from a OT classic only it lacks some of the melodic punch from the top. (8.75/10)

6. "Myriapod" (5:59) back to the raucous rock sound with Ed's hard-rockin' guitar leading the way--overwhelming all of the synth work. Drums and bass continue to speed the song along as Ed takes a reprieve to allow some synth play to show through--which makes for an overall improved experience for me, the listener. Still, nothing melodic really gets established, it's all just filler solos and sounds, no melody. There is some impressive guitar soloing in the second half, if you're willing. (8.667/10)

7. "There's a Planet Here" (6:40) one of the band's routine Reggae-infused bass-and-drums slow jams over which synths are allowed to fill and play (which I like). Why the band is choosing to avoid melodies--or leave them to the bass or free-form incidentals--is beyond comprehension to me. Maybe they're going through a bored, free-form jazz stage of development. Halfway through some percussion, synth chord play and flute make it a little more interesting. (8.667/10)

8. "Shima Koto" (6:24) very quickly the band establishes a very satisfying full-band weave within which synths take turns throwing a vast array of sounds and flourishes at us. The rhythm track in support sounds very much like The Police's "Synchronicity II". Without the presence of Ed's abrasive electric guitar the OT music scapes are so much more enjoyable. (8.75/10)

Total time 49:16

I'm so sad at how ordinary and uncreative the music sounds on this album! It's as if the band were caving to the pressures of time and money to create something--as if they never had any time or inspiration to really get into their music--to enjoy and celebrate their creativity. Plus, I think I'm just not enjoying Ed Wynne's guitar sound any more; as accomplished as he is a guitarist, he needs some fresh sounds.

B/four stars; a nice addition to any prog lover's music collection--though, in my opinion, this album represents a low ebb if you're a fan of Ozrics music, but then, again, Ozric Tentacles are in a class all by themselves and, therefore, never a complete waste of time.

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