SKY CRIES MARY

SKY CRIES MARY, known recently in 2020 with her previous album, had seduced me to breathe a melodic, soaring, psychedelic and stoner prog rock; a sound reminding me of the trances of the crazy and still young PATTI SMITH. A 13th album after a debut in 1986, an interlude at the end of 2007 and a revival since the new decade. Their music is a true synthesis of sounds, feelings, thoughts leading to meditation in this pandemic period; isolated but determined to give the best of themselves, they were assisted by Jack ENDINO to design this psychedelic, spiritual and metaphysical album, a singular adventure coming out of Rodrick's dreams in part.

"Crystal Gazing" begins with a dark wave rock trance entry, a powerful space rock stamped reserved tune. "L Train" over a cold groovy pop melody, greasy, rough, aggressive 60's pop that's already getting back to basics. "Red Red Fox" with the drums clear and dry, distant metronomic, psychedelic sounds and a vocal on a mantra for trance; an aerial dreamscape from a different world. "Can't Find the Time" raw rock with some youth sap ROLLING STONES!! A psychedelic break on punky, rhythmic, expressive MOTORPSYCHO or MONSTER MAGNET; it starts on a beautiful melody with the alternating voices of Rodrick and Debra. "Chaos at the Port" and a long piece with western slide effect, sound with guitar from The EDGE; when the associated voices combine with the hippie fashion of the 60s and still invite meditation.

"Bright Biggest Eye" for minimalist southern rock and a nice delicate psych rock-stoner rise that continues on "The Dolmen" for the jungle, Indian, oriental mantra sequence with tribal percussion and sitar synth, continuing with "Jodo" and its violins, an omnipresent bass, synths in reverberation. Musical madness, perhaps the best piece with ambient on the old TANGERINE DREAM, amazing. "Brifge Sleepers" on The CLASH, the POGUES, a raw folk rock tonic tinged with punk, confusing after the previous ambient passages. "Raga Metal Machine" oh there the intro that takes your breath away, the 60's with a good dose of LSD and other toxic substances approved at that time, voices chanted backwards in a long crescendo and this sitar synth that goes very far. "A Lonely Deer" for the standard title, the voices sharing the limelight on a slide guitar, talkative and the drums which follow. "Dream Yourself to Sleep" again on a psychedelic mantra; pads, more percussion, a vibrating wood saw, a psychedelic flute, disturbing reverberation; confusingly, the pace picks up for the final mantra crescendo that takes us to Neptune and Saturn.

SKY CRIES MARY offers an hour of spatial digression mixing psychedelic soaring rock with bewitching mantra sounds; well you have to hold on and open your ears if you don't have your chakras, but time plays in favor of this completely hypnotic album where I find myself tapping on the keyboard in tune with the djembe. It's vintage, melancholic on the wanderings of Jim MORRISON, it's vintage without being old, it's trance and rock without drugs but as read elsewhere, it's also good with it.

Welcome back on the horse, Roderick. This is the follower effort of the acclaimed 2020 album 'Secret Of A Red Planet', that was highly praised by me. SKY CRIES MARY are offering a chain of 12 more compressed tracks this time. Social distance. Like in many similar cases the COVID-19 conditions have forced them to alter the modus operandi, to record in different studios. Song-writing dominates jamming appeal overall on this occasion. That evolved into a thoroughly wide range from a stylistical point of view, including weird psychedelic excursions up to rather simple rocking songs, let's say close to the Rolling Stones. In best tradition the album again was released on the acclaimed US label Trail Records, the 4th in a row in the meanwhile to be precise. Jack Endino, producer and engineer for Nirvana and Soundgarden for example, is in responsibilty here once more, also contributing guitar and drums concerning one song at least.

Crystal Gazing is making a powerful kick-off, as well as Bridge Sleepers showcasing a bit of a punk attitude I'd say. Somewhat getting similar to the band Beyond-O-Matic, the atmospheric space mantra like Red Red Fox and Chaos At The Port later are providing perfectly complementing male and female vocals. This yet is SKY CRIES MARY I learned to love during recent years! Debra Reese is involved now since 2017 as the vocal counterpart to band founder Roderick Wolgamott, who is providing the lyrics in general. This is contrasted due to the straightforward rocking Can't Find The Time, one can say akin to the Rolling Stones in sound, just to emphasize the stylistical range. Or Bright Biggest Eye which bears some distinct Americana psych pop appeal.

The song couple The Dolmen and Jodo then sees them more on the meditative respectively experimental, weird side. As noted beforehand already, this is serving great variety. A big plus, they don't have repeated themselves, which would have been an easier practice probably. And then it's quite obvious, just important to note that the musicanship appears to be flawless again. Speaking of the also involved Ben Ireland (keyboards, drums), Curt Eckman (bass) and main guitarist Kevin Whitworth. Just from a very personal view, as it is always more or less, I would not count 'Wandering In The Vastness' among their absolutely best efforts, though this still is a properly made and recommended album anyhow. Three and a half stars out of five.

[Originally published at The Progressive Aspect]

A long time ago, in a galaxy far away, I listened to a band called Low Pop Suicide, formed by Dave Allen (Gang of Four and Shriekback), and released by Allen's record label, World Dominion. I loved Low Pop Suicide and wanted to hear more from the World Dominion label. The first, and it turned out, only other band from the label I did listen to was Sky Cried Mary. That band was nothing at all like Low Pop Suicide, but they were incredibly impressive. I ended up owning three World Dominion releases from Sky Cries Mary, and their first on Warner Bros. For some reason, that WB release (Moonbathing on Sleeping Leaves) was the last I heard from the band. It is only after picking up the latest Sky Cries Mary album that I've found out the band released one more album on Warner Bros. and a further album in 1999 before breaking up. The band have had an on-again, off-again career since then, and this is their first full album of new material since 2007, as far as I can tell.

So, not having listened to Sky Cries Mary for many years, and not having heard how their sound may have changed since Moonbathing, what do I think of 2020's Secrets of a Red Planet? Well, I was initially quite shocked on first listen, but I've actually come around to thinking this is probably my favourite Sky Cries Mary album yet. And if this is a signal that the band is back, then I'm happy to go along for the ride and can't wait to hear what's next on the journey! Or, should I say trip, for Sky Cries Mary remains a glorious progressive mix of psychedelic and trance. I admit I've never taken drugs of any kind, other than those prescribed by a doctor, but for my non-addled mind (at least non-addled by drugs, as I've never been known as "normal") this is a trippy delight, and it's so easy to get lost in the music. I can leave this album on repeat very happily.

The first thing I noticed when listening to the album, is that the upbeat electronic and trip-hop elements of the earlier Sky Cries Mary albums I know and love are almost entirely absent, or at least, subdued. This, I guess, is why I found the sound, as aforementioned, rather shocking. However, there was no doubting that this was the same band ? even though, once again the membership has changed. Like many bands that play this sort of psychedelic music, Sky Cries Mary are less of a band and more of a collective. There has always been a revolving door of members coming band going (including for some years, a certain Jon Davison who found more fame singing for Yes), but in this incarnation are still founding members, Roderick Wolgamott and Ben Ireland, so there is some continuity.

Also present, even if the female vocalist is different, are the wonderful male/female vocal harmonies. I really like Debra Reese's vocals, which I find very reminiscent of Norma O'Malley from seminal Dunedin (New Zealand) band Chug. From my experience of the band, Waves of Mourning started in an incredibly relaxed manner, but as soon as those characteristic dual vocals kicked in, in an almost ethereal chanting manner, I knew I was listening to the same band. The same, but different, and it's a difference after several repeated listens that has completely won me over. The song beguiles and enchants as the psychedelic factor increases over its seven and a half minute duration.

The following song, Die of Laughter, is even longer (almost twice the length), and this gives it ample opportunity to change throughout. It sounds almost chaotic and was born of improvisation, but it's an incredibly clever and almost structured chaos, if that makes sense. There's a lovely collision of the English psychedelia of Pink Floyd and American psychedelia of The Doors, wrapped up in the more modern psychedelic sounds of Porcupine Tree. The guitars of Kevin Whitworth and Jack Endino can be quite intense, with lots of meanderings into quirky and spacey noises along the way. This is definitely another trip, with only the drums of Ben Ireland seeming to keep things in check. There's an awesome extended instrumental passage that comes in about halfway through which crescendos then falls away with only two or so minutes of the song remaining before it rises again for the final vocals. In fact, because of this instrumental passage alone, Die of Laughter might be my favourite song.

The short Intermezzo that follows is an entirely necessary comedown. I say short, but at three and a half minutes that's a fairly lengthy interlude. In no way is it filler though, and I definitely enjoy it. After the pounding of Die of Laughter, the more subdued sounds of Intermezzo are a welcome relief. It's not a track that would necessarily work in isolation, but in context it is perfect ? like the sorbet that cleanses one's palate between courses at a restaurant. In addition, it helps bridge the gap perfectly between the quite disparate sounds of Die of Laughter and Trapeze Dancer.

Now here is my biggest surprise. Trapeze Dancer is easily the song most similar to the Sky Cries Mary that I was used to. For that reason, it was the first song that really took my fancy when I initially listened to the new album. And if you're listening to the band for the first time and wanting an indication of their earlier sound, this is a good place to start. And yet, as much as I still definitely love this song, it's gone from being my favourite on Secrets of a Red Planet to my least favourite! But if this is my least favourite, that only goes to show the overall quality of the album as this is still a great song. The vocals of Debra Reese soar over the top of those of Roderick Wolgamott, taking the song with her as the listener floats away with the psychedelic guitar runs and drum fills. It's another long number, so again expect quite a few changes along the way. I'm reminded again of Porcupine Tree with this song, particularly the second half, which is somewhat reminiscent to Voyage 34 (to me ? your mileage on this trip may vary), before the chanting of the final minute or so.

I suspect Drunken Pilot may be too much for a lot of listeners. Not because it is too heavy or brutal (this is psychedelic trance, remember), but because it is so minimalist, and if anything more indicative of a bad trip than a good one. The vocals become more and more manipulated, and less and less harmonious. The instrumentation, what little of it there is, becomes equally more and more desperate and disturbing. I have a feeling it's not meant to be an entirely pleasant listen, but I guess I may be a masochist because I love it!

The final track, Born From My Mouth, is far more appealing though, and Curt Eckman's bass introduction to the song, while still fairly minimalist, is entirely groovy. And if you were not already aware of the more upbeat nature, some birdsong is added, and it's a lovely touch. From there, we are slowly and steadily taken into the æther. The vocals are the softest and most ethereal so far. I'm reminded of So Gently We Go by I Mother Earth, and it's definitely a gentle, if very spacey, groove. This is probably the catchiest song on Secrets of a Red Planet, and the most accessible. But just in case you were wondering why it wasn't the opening track for that reason, the song blasts off at the halfway mark, jettisoning any pretence of gentleness. This is a perfect closing number, and the crescendo and climax provide a truly glorious final passage.

And it's straight back to the beginning for me. When Born From My Mouth ends, I find it incredibly difficult not to hit play all over again. Once I'm in the groove, I really don't want to leave it. And as much as I've enjoyed previous Sky Cries Mary releases, I've never felt that compulsion before. There's something terribly addictive and enjoyable about this release. It's a more mature Sky Cries Mary, but aren't we all after 30 or so years? I suspect I wouldn't have enjoyed this so much in the 1990s, but I love it now. I also suspect many people probably still get more enjoyment from Sky Cries Mary with a little assistance from certain illicit substances, but I find my mind enjoyably bent with the music alone. More where this came from, please!

US band SKY CRIES MARY has a career that stretches back to the tail end of the 1980's, and were active in their first phase of existence until sometime around 2010. A few years back a new version of the band was formed, and earlier this year they released their first album of new material since 2007. The album is called "Secrets of a Red Planet", and was issued through US label Trail Records in the spring of 2020.

"Secrets of a Red Planet" strikes me as a fine comeback album and a good way for the band to kick off the next phase of their existence. A bit rough around the edges, maintaining some of their core traits while also arguably moving closer to what relatively traditional improvisation based space rock bands are doing. Hence fans of space rock bands as outlined as well as existing Sky Cries Mary fans strikes me as a likely key audience for this band as of 2020.

Never ever expected! For quite some years the band's trademark was presented due to the congenial front couple Roderick and Anisa Romero, no doubt ... but then they unfortunately divorced. After that SKY CRIES MARY occasionally appeared live on the stage, a regular studio album though seemed to be far away. Now finally in 2020 the renewed band line up was capable of creating a fantastic rebound, featuring rather extended tracks, yeah! Debra Reese is dedicated to fill the position of the appropriate female singer now. Partially the vocals are departing from the known familiar standard to a way more spaced out expression. And the compositional and instrumental scope is enhanced, strikes more than ever I would say. Concerning that I suspect Ben Ireland (drums, keyboards) has a bigger share than ever, for the good of all.

'A cosmic telepathy of sorts evolved our music into orchestral compositions' he tells us. The band intensively goes progressive psychedelic here at any rate. Spacey synths all over, some hidden treasures given, which solely unveiled after several listening sessions. The Drunken Pilot for example is shifting them into really new wayword dimensions. Curt Eckman on the bass as well as both guitarists Kevin Whitworth and Jack Endino are delivering an excellent job too. Trapeze Dancer comes a bit triphop infected. Finally Born From My Mouth somehow sounds like a fruitful collaboration with Robbi Robb. With more than 50 minutes of playing time this album is a recommended sonic journey. Probably you may meet somebody who will claim that the psychedelic space genre is running out of spirit. Just introduce him/her to this item. 4.5 stars.

US outfit SKY CRIES MARY has been around for 25 years at the time of writing, with a string of albums from the late 80's and throughout the 90's that saw them build a good-sized following. In the last few years the independent US label Trail Records has taken an interest in this act, issuing a compilation disc in 2009, followed by "Taking the Stage: Live 1997-2005" now in 2011. The latter item is a remastered version of the band's live recordings made between 1997 and 2005.

As far as progressive rock goes, this is a disc residing on the border between psychedelic art rock and indie rock. If you're a newcomer to Sky Cries Mary and have an interest in psychedelic music, I'd recommend getting hold of the compilation disc "Space between the Drops" rather than this live CD initially. But if you know and like the band, be it on a superficial level or as a dedicated fan, "Taking the Stage" is a production that can be recommended with ease. This is another high-quality production courtesy of the US label Trail Records, where the level of interest is determined by musical taste alone.

SKY CRIES MARY are an insiders' tip when it comes to rock music coupled with the emphasis on a spacey atmosphere and exceptional vocals Trail Records already had masterfully produced the band's studio compilation 'Space Between The Drops' in 2009 ... so consequently they were also entrusted with the task to elaborate this new one. Cover art is carefully designed by Alexander Tsalikhin and Vlad Milyavsky again. New album does not mean new song material, to make it clear - here we have a collection of live settings, most of it already placed on their sold out double album 'Here & Now', so that points to recordings around 2004/2005 on different locations.

The first two tracks however were taken some years before in 1997 by Krist Novoselic(!). Taking The Stage represents a more straightforward rocking behaviour. The band featuring Ben Ireland (drums). Michael Cozzi (guitar), Juano (bass) and keyboardist Todd Robbins celebrate a short warm-up first, until the Romeros - attended by applause - finally enter the stage. The following Rain then is band typical, speaking of the implemented cosmic vibe, especially due to the gilmouresque guitar and interesting synthesizer gimmicks. Cornerman belongs to their top songs by all means, now additionally featuring William Bernhard and Jill Wangsgard, both are alternating on keyboards and guitar. This, when necessary, guarantees a really lush sound.

Don't Forget The Sky expresses extraordinary vocal presence. As for the main chorus Anisa cares for the lead voice with celestial sentiment where Roderick backs a bit restrained. In between the band jam a little. A brillant implementation which shows great spirit. I would also point out Want in the same breath. The trippy flow - soaring guitar, keyboard patterns sounding like strings respectively mellotron, wow ... and the Romeros are acting with great harmony again. While rocking the venue with much dynamic Elephant Song is leaving the common path a bit. Roderick undertakes the lead, his vocals are more of recitative though.

The Ant, The Stars, The Owl And Its Prey convinces with nicely interacting guitars and finally they add an interesting remake of The Mamas & The Papas song California Dreamin' as a bonus track - the sole studio outake and previously only digitally available via download. It all proceeds in an hallucinogenic ambience first and definitely takes some time to recognize this very popular melody.

The compositions are not of a complex respectively experimental nature mostly, so this may not challenge every die-hard prog music lover. SKY CRIES MARY are unique though in any case, those dual vocals at foremost, however the band's instrumental section alone is worth it at all events. Furthermore on 'Taking The Stage' you can listen to songs reworked with top-notch audio quality, so this overall is a real treat if you like dreamy rock songs presented by a technically skilled band - 3.5 stars.

A really nice and at times stunning compilation of tracks from the long career of this US band.

Sophisticated, dreamy compositions is the name of the game for this ensemble seemingly, with drawn out psychedelic tinged guitar licks and soloing as something of a key feature alongside the dual male/female lead vocals.

Rhythms are either subdued and meditative like the rest of the compositions or more energetic, the latter often with world music touches, and symphonic backdrops are used to good effect on select occasions.

While the musical canvas the band explores is a somewhat limited one, at least on this compilation, there's a high degree of sophistication to their dreamy excursions, and on tracks like opener Cornerman and the following Elephant Song the end result are stunning creations, managing to utilize subtle sophisticated features to perfection to create intriguing songs as well as interesting moods and strong atmospheres.

Those who enjoy the dreamier parts of the back catalogues of acts such as Hawkwind and Pink Floyd should investigate this outfit, if they haven't already.

SKY CRIES MARY are driven by US couple Anisa and Roderick Romero. Formed in the late 1980s they work out ethereal dreamy (rock) songs often provided with exceptional vocal harmonies. Before I got this album the band was unknown to me - a new surprise quasi. While the Romeros are responsible for songwriting, lyrics and vocals they have excellent musicians alongside. 'Space Between The Drops' is a new compilation including their most spacey/trancy output so far - eleven tracks, predominantly already published material, but some songs are even new.

Starting with Cornerman they immediately catch you with an intriguing hypnotic behaviour. Interesting delayed drums are striking and a stoic bass which rarely gets out of control. Triphop adapted tricky effects, above all male/female vocals and guitars which are lost in reverie. The Elephant Song is puzzling because up-tempo and ponderous at once where Rain convinces with top-notch keyboard work speaking of decent organ, synth and sparkling piano.

The album's gem is Four AM - a 15 minute trippy cosmic example. It all starts similar to a typical soundcheck of a space rock band when opening the performance. Ambient keyboard patterns are initiating and after a while it all fades into a relaxed flow which I really like. Anisa's extraterrestrial vocals give me the shivers really, supported by a sensitive guitar work, obviously inspired by Pink Floyd. Okay, this is applicable for nearly every second album in the meanwhile. But this time they really make it, believe me.

Then I should mention the extended version of Want - initiated by a nice percussion drive - another worthy candidate for the album's crown comprising a cool bass. This is so melancholic and catchy - but dramatic pure as well! Gliding follows as an example for a mainstream psych folk orientation and Missing finally appears with two differing sections - the first wraps you up in a charming dreamy mood supported by trumpet and the second is folksy with acoustic guitar and accordion.

This album features wonderful melodic songs, hand-picked from their comprehensive ouput, provided with excellent musicanship and passion for detail. It's the trippy atmosphere headed by charming vocals and a bunch of psychedelic guitars which strikes. So it could be easily considered as a best-of compilation if you ask me. Would really like to know how this works on a stage. Another big hit offered by TRAIL Records. Suitable for special laid-back moments you definitely need in your life ... and which not necessarily must be proggy the whole way through.