WORLDS IN COLLISION

With Worlds in Collision we find Stephen branching out into the engagement of other musical sounds and techniques: here the bass 'n' drum lines and World Music weaves inspired by Brian Eno and David Byrne's collaborations from 1979-1981.

1. "Palermo" (6:28) marimba and loads of incidental "noises" and ethnic-sounding folk instruments over which electronic "woodwinds" lead before Stephan and David's electric guitars begin wailing, screaling, and scratching their way to the listener's attention. Clipped vocals and other radio sample voices work their way into the sonosphere along with many other odd, glitchy synthetic sounds. Great thick bass at the bottom with steady, syncopated yet-spacious drums helping to keep the music moving while also attracting their own attention for their odd pacing. An amazing song in that all of these seemingly-disparate elements work. Together. Well! (9.25/10)

2. "Bullet Train" (6:48) despite all of the confusing elements of samples and quirkies the rhythmic foundation of Stephen's SONAR-style compositions remains firmly planted at the bottom. Then add David Torn's Frippish guitar contributions and you really complete the The big difference is the lively influx of Equatorial sounds and tracks woven over and around the bass and repeating keyboard chords and notes. Something in this song reminds me of the direction Norway's JAGA JAZZIST explored in their 2015 Starfire album. Cute and enjoyable--and even a little unexpected. (13.5/15)

3. "Worlds in Collision" (7:13) more pseudo-African syncopated drum/rhythm instruments create another syncopated basis for some interesting Future-Tribal polyrhythmic music. Rising synth strings chords progress toward the end of the second minute before everybody finally falls into place in what feels and sounds like a solid PETER GABRIEL groove. The soloists or artists on top of the mix here rarely make a play for domination or flashy power lead--are more comfortable staying within the over all weave and just contributing to the smooth flow and forward momentum--until, that is, the end of the sixth minute when David's screechy guitar finally rears its temperamental head. I love the way the band sticks to and completes an almost funky weave, taking it straight to the end! Nothing too exciting or just beautiful fluid melody and whole-group discipline. (14.125/15)

4. "Atomic" (8:45) incorporating samples of spoken versions of names and processes related to the history of the use of the atomic bomb with trip hop programming and live ethnic drums incorporated into a very Brian Eno/Talking Heads "The Great Curve"-sounding World Music funk weave with lots of heavy synth and electric guitar Fx makes for a very interesting, very enjoyable (and danceable) song. (In the album liner notes Stephen even pays direct homage to Brian Eno and David Byrne's 1981 landmark album of techno-world music, My Life in the Bush of Ghosts--the album that followed Remain in Light.) (18.75/20)

5. "Kosmonaut" (8:45) the staunch, severe, and almost militaristic/robotic rhythm tracks (drums and bass lines) do give this a rather stereotypic "Eastern European" feel (that we Americans often associate with Soviet, Russian, and Slavic "coldness"). The music here, however, sounds and feels much more like that of French techno-electronic artist Jean- Michel Jarre--especially his ground-expanding 1984 album, Zoolook. The drum and synth workings here are the most entertaining things to follow. (17.875/20)

6. "Voices from the Ether" (8:16) By this point in the album listening experience, the SONAR-WORLD MUSIC blend is growing a little old. Inject a little Phillip Glass tuned-percussive minimalism into the weave and Sonar syncopation and bass rhythms and you still have a song that feels a little too close to repeating other songs (on the album). (17.625/20)

7. "Coda" (3:35) a continuation of, or re-use of, the baseline rhythm track of the previous song, this time re-formed with an entirely different cast of samples, instruments, and a more atmospheric aim, and you find yourself experience something more 1980s Tangerine Dream or Klaus Schulze-like space/Cosmic style music. The long slow fade (first of drum track) seals the deal. (8.875/10)

8. "Atomic" (Bill Laswell Remix) (Bonus Track) (8:17) the treatment of the bass sound is the Laswell tell. A removal/lack of vocal samples is also notable--making this song seem less associated with the previous version of the song and more akin to the musics generated from the way-out-there world/mind of Bill Laswell. As a matter of fact, if you hadn't told me (through the use of the same title) that his was a remix of a previous song, I would never even connect the two! But, this is a good one! (18.25/20)

Total Time 58:07

This was not the music I was expecting from Sonar's Steven Thelen! This is quite refreshing and, in line with my recent Jazz-Funk preferences, quite danceable!

A-/five stars; a minor masterpiece of danceable, SONAR/Stephen Thelen-ed-up World Music.

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