CRANIUM PIE

There are quite a few details I really don't know about this production, as I have a promo copy on CD rather than the official vinyl release at my disposition. Will the vinyl album consist of unnamed album sides only for instance, or do these songs have a name? Are there one or more songs here, or are we dealing with suites divided into multiple parts? The manner in which these musical excursions play out makes it rather difficult to establish an answer by merely listening. At the end of the day these details aren't all that important though, especially not for a production of this kind, as the music here is rather far removed from anything one might describe as conventional.

The one recurring detail that is a distinct presence throughout the close to 80 minutes of music at hand here is that we're dealing with a band whose affection for the vintage sounds of the late 60's and early 70's is profound. The instruments used are all time typical of that period, or played in a manner that makes them sound like it. The mix and production is warm and analogue sounding, with a slight tendency to a closed in sound I'll always associate with music made in the era where the slogan of the day was Make Love, Not War. And as far as the music is concerned, I guess that tripping is an easy description of what's going on here.

All the album sides here consists of material that sounds like an improvisational jam has had a frantic and elongated intercourse with a studio wizard. Themes come and go, suddenly shifting from one to the other, subsiding into almost silence before a new one arises, and with all manner of effects applied to one or the other as well as for transitional sequences in between. Mellotron, organ and electric piano are all given plenty of room to weave their textures, vintage keyboards are applied and lots of more or less subtle drones, effects, cosmic vibes and extensive amounts of sampled voice effects, spoken word dialogues and what sounds like effects treated varieties of all these elements dominate this album through and through. The band may stop up for a bit to take a run through a classic blues rock oriented sequence, plenty of organ driven escapades come and go too, and a liberal amount of Mellotron driven passages appears as well. Generally speaking these tend to be short and concise experiences however, relatively brief excursions into landscapes of conventional melodies and arrangements, even sporting regular lead vocals at times, in between myriads of parts and passages with more of an experimental character. Experimental in this case should be read as psychedelic, subtly freaked out and more often than not with a cosmic vibe.

This is a case of tripping the light fantastic in a vintage space ship, the soundscape to a cosmic journey planned more than 40 years ago and rediscovered today. It's a sonic experience, a journey through moods and atmospheres that focus and hone in on the moods and atmospheres first and foremost, teasing us with conventional snippets and pieces of familiar and mostly harmonic sounds amidst their more dramatic, theatrical and chaotic escapades. It's all about the experience from what I can comprehend here, where the journey rather than the goal is the important aspect of what's ongoing.

The question I guess many will have is if this album is any good. The answer to that one depends very much on what you desire to get from an album of music. If you fancy an album to contain compositions that at some level opens at a place, establish a route of some kind or other and reach a final goal, or if you are fond of themes, motifs and arrangements of a more conventional, harmony based nature then this production is one you should inspect prior to purchasing I guess. But if vintage psychedelic and cosmic rock from around 1970 is something you fancy, you are fond of improvisational escapades and music of an unconventional overall nature, then chances are that you'll be intrigued by this double vinyl album. Especially if you regard words like freaked out and Krautrock in a highly positive manner.

The band seems to have been forgotten somewhere in late-60's/early-70's, having as an ultimate inspiration the luxurious music flexibility of Syd Barrett-era PINK FLOYD.''This was now - The awakening of the birds'' opens in a very psychedelic mood with Electronic effects, distorted vocals and calm acoustic guitars producing a really obscure piece, that leads to ''Rememberrr''.This track was already issued by the band as a single in 2010 on Bracken Records, following a typical FLOYD-ian enviroment with psychedelic grooves and extended organ solos in a strong jamming approach as well as great vocals with a beautiful British color.The two-part ''Zones - Mothership'' opens with a low-tempo guitar-driven groove, followed by distorted vocals and later some cosmic synth effects, a bit like OZRIC TENTACLES.A beautiful theme with a folky atmosphere on theremin opens for ''Drying in the sun'', that soon transforms into a massive battle of organ and synth effects, followed by a nice and mellow lyrical, acoustic texture.The eponymous track, which clocks at almost 10 minutes, is absolutely satisfying, old-school British Psych/Progressive Rock with organs and bass/drums in evidence, sometimes close to early SOFT MACHINE, yet again PINK FLOYD seem to be the major influence.Plenty of acid solos and jamming rhythms appear in a very good composition.''Run to survive'' won't escape the same rule with Herra's guitar scratching all the way over the HAWKWIND-alike vocals of Appleton and a steady rhythm section supporting.

The early PINK FLOYD sound is still alive with Cranium Pie...a band that denies to conform with the new world era and produces vintage material both in musical and productional values.Recommended.

"Mechanisms Pt. 1" isn't a production that will surprise anyone, other than for the fact that it has been released in 2011 rather than in 1970. But anyone with affection for psychedelic progressive rock of the true vintage variety should find this disc to be a very interesting one, true to form in sound, performance and production. If you can get hold of it that is, as this album shares the fate of most other productions issued by Fruits de Mer: the album sold out within a few weeks of its official release date.

This Was Now, The Awakening of the Birds opens the album, during five minutes they are spreading a wonderful ethereal flair coupled with krautrock leanings. Rememberrr then distinctly refers to the early Pink Floyd movement, musically shines especially due to Rob Appleton's fine organ decoration. With Zones, Mothership they first remind me of the jamming Cary Grace band, wow, what an expressive soaring guitar! Something dramatic somehow, decorated with different sampled voices. As for the final minutes they sink into a strong Pink Floyd sentiment again initiated by swirling synths.

The irresistible album title song represents some hypnotic mechanical behaviour indeed, mainly caused by a simple corresponding bass line and organ riff, speaking of the fundament. As for that the title suits fine ... on the other hand the composition is certainly entertaining too due to some twists and turns.

This album will be assigned to my best-of list for 2011, definitely ... a fantastic atmosphere CRANIUM PIE deliver with this six songs. I would call up the great organ/synth input by mastermind Rob Appleton first and foremost. And Julian Smith's cool and relaxed drumming also counts, as well as the impressive fuzzy electric as well as folksy acoustic guitars provided by Dan Herra. All together they successfully pick up the early Pink Floyd/Syd Barrett spirit I would say, and create something contemporarily new on top of it. Highly recommended!

CRANIUM PIE evolved gradually as a psychedelic progressive quintet since 2006, from the darkest subterranean caverns of Wiltshire, in the South West of England. They have released several singles via UK independent labels Fruits De Mer and Bracken, and finally they released this fascinating creation - "Mechanisms (Part 1)".

Via this whole album, we can realize CRANIUM PIE have been pretty influenced by Pink Floyd, and their Floydish essence can be found here and there. But simultaneously I'm sure they should not simply be an imitative project of Floyd. They have more garagey texture and, like a Japanese pride Far East Family Band, definite Oriental moonshine, blended with Floydish mellow and gloomy basis. Their versatile sense opens widely from the beginning of the first spacey track "This Was Now, The Awakening Of The Birds" (with such a meaningful title). Eccentric electronic emblems and keen kaleidoscopic kicks can be used so effectively that their cranial world with hypnotically delicious pie goes forward.

The following track "Rememberrr" (previously released as an EP) obviously can remind us Pink Floyd in Syd period, and notify us also more spacey, more spicy seasoning with keyboard solo and fine synthesizer splash. Not a simple copy of Syd they've shot, but they've expressed high waves of cranial ocean in this tune I feel. Vaster and vaster their inner world and soundscape gets, leaning toward Far East Family Band ... at least for me. The former half of "Drying In The Sun" is a dreamy desert. Not heard such a dry, but warm sound storm, that blows me into another shock. The last song "Run To Survive" can throw us heavy blues touch with a bit pop footprints (my love). And yeah, the title track is a collective edition of CRANIUM PIE's sound essence - with heavy, deep riffs created by Dan's guitar solo, Steve & Julian's dark and strict rhythm section, Rob's flexible keyboard flood, Tim's addictive sound creation, and sticky, crazy voices - killa one.

Exactly a promising project, I'm looking forward also to their "Part 2".