According to a post on facebook by Mariusz Duda
When I got back from the riverside tour, I went straight to the serakos studio to shut down the new lunatic soul album. Came today 
🙂
I am pleased to announce that after more than one written journey through various types of intersection, popękania and breaking to pieces and after the recent study marathons successfully reached the end.
Cosmic Fall | Kick Out The Jams
Label : Clostridiumrecords
Release Year : 2017
Country : Germany
Genre: Heavy Psychedelic Progressive/Space Rock/Jam Band
Band Members
Daniel Sax – Drums
Mathias Rosmann – Guitar
Klaus Friedrich – Bass
Track Listing – CD Edition
Saturn Highway
White Stone
Earthfull
Interstellar Junction
Stairway Jam
Cosmic Conclusion
Track Listing – Bandcamp Digital Edition
Saturn Highway
White Stone
Earthfull
Purple Weed
Interstellar Junction
Stairway Jam
Cosmic Conclusion
Contact LinksÂ
Cosmic Fall Official Facebook Page
Cosmic Fall Official Bandcamp Store Profile
Cosmic Fall Official YouTube Channel
Band Biography Courtesy Of : Cosmic Fall Official Facebook PageÂ
Whatever fell from the cosmic sky, it landed in our home town Berlin. And is ready to take your mind on a beautiful journey. Bringing Earthless-level Heavy Psych into the local scene! Taking you into the endless universe, the lonely desert and the depth of the ocean as relaxing sounds and moody melodies will go along with you on this journey. Do you smell it? It’s time for another take off !
To understand a band like Germany’s Cosmic Fall in the present, we must take a journey to Germany’s ‘Krautrock’ past. The very definition to ‘Krautrock’ is ‘Cosmic-Rock’, very contrary to how it was labeled in the United Kingdom. The term “krautrock” was originated by English-speaking music journalists as a humorous name for a diverse range of German bands whose music drew from sources such as psychedelic rock, the avant-garde, electronic music, funk, minimalism, jazz improvisation, and world music styles. You could say that ‘Krautrock’ had a wild west mentality with a broad and vast range of experimentation. Largely divorced from the traditional blues and rock and roll influences of British and American rock music up to that time, the period contributed to the evolution of electronic music and ambient music as well as the birth of psychedelic improvised long form jam band rock, post-punk, alternative rock and New Age music. Important acts of the scene include Amon Dull ii, Can, Kraftwerk, Neu!, Ash Ra Tempel, Tangerine Dream, Popol Vuh, and Faust.
Cosmic Fall definitely falls in line with this rich tradition of improvised jam band songs that are practically played out more than a premeditated write, record, produce process. This form of progressive/psychedelic rock depends more on all the sum of the parts of the instruments to produce a unified wall of sound instead of the instruments coming in off the hands of virtuoso’s with intricate interchanges in time signatures. It allows for every instrument to both breathe and be heard allowing the listener to decide how they will absorb and digest the individual compositions. In modern time bands like Cosmic Fall, Oresund Space Collective, Earthless, Pharaoh Overlord, Hydria Spacefolk, to name a few have really opened up different dimensions of progressive/psychedelic rock that have not recently been tapped until now.
Cosmic Fall’s Kick Out The Jams is a bold and ambitious follow up to their debut album First Fall released back in 2016. Although the band were gracious enough to send me the physical CD copy I am reviewing the Digital Bandcamp Edition with the extra track Purple Weed. Kick Out The Jams Digital Bandcamp Edition contains 3 more mind expansive tracks over their debut First Fall taking the album to just about 90 minutes. Keep in mind Cosmic Fall are only a three man unit but this does not deduct from the vast huge wall of sound they are capable of. Now allow me to analyze this vast expanse of music track by track.
Saturn Highway is a monster 19+ minute epic that opens the album gracefully. This track immediately paints a picture that the listener is experiencing space travel on a deep interstellar level. The guitar opens it with a very heavy 1970’s psychedelic chord progression on the lead and the drums and fuzzy stoner style bass come in and pick up the rhythm off the guitar lead. The guitar also serves in a heavily atmospheric induced capacity during this time. The band already displays in uncanny prowess to add layers upon layers with the instruments at their dispose. Mathias Rosmann – Guitars has a intricate knowledge of guitar pedals and the various sounds they make possible. The same can be said for Klaus Fredrich – Bass. Their effective work on the bass and guitar pedals allow for the track to move forward creating a wall of various progressive and psychedelic atmospheric layers.
Daniel Sax – Drums really has a very flexible vibe about him top adjust to the various chord progressions from the bass and guitars. At about the 8:50 mark the entire composition takes on a strong interstellar echo as if the journey into space gets deeper and deeper to where it takes a subtle break. About the 11:11 mark the track starts to build again with layers upon layers. There is a brilliant isolation with the drum beats and soon the fuzzy style stoner bass comes into compliment the drums. The remainder of the track remains on point towards their objective of quality improvised psychedelic space rock with some heavy elements.
Video Courtesy Of (Cosmic Fall Official YouTube Channel )
White Stone opens up with a very heavy psychedelic progressive passage that is more rooted within 1960’s style psychedelic rock. The track is very up tempo with plenty of well crafted fuzzy rhythm based guitar and bass. The drums completely carry the vast up tempo that the guitar and bass set up quite eloquently. About the 3:02 mark the track begins to taper off peeling back the layers towards a subtle finishing passage.
Earthfull This is another lengthy epic and longest song on Kick Out The Jams clocking in at 21+ minutes. It begins with a very deep bass drum complimented perfectly by a deeply down tuned bass drum and bass rhythm section. The guitar comes in more as a lead again running congruent with the deep rhythm section. The opening minute reminds me heavily of the band Earthless’ Sonic Prayer from 2007’s Rhythms From A Cosmic Sky.
The chord progressions on the guitar are also a very heavy 1960’s influenced progression in the vein of Paul Kantner of Jefferson Airplane meets Robby Kreiger from The Doors. Mathias Rosmann – Guitars has a very intricate knowledge and ability to use both guitar pedals and a wammy bar to produce the maximum sound distribution with minimal energy. The bass/drum rhythm section give the listener the appearance of a well choreographed dance between the fingers on the bass fret board and the tom tom, hi hat, snare combinations the drums continue to experiment with. This track has some serious stoner rock fuzzy passages throughout it. From a free flow improvised perspective this track has heavy Earthless and Oresund Space Collective influence all over it. About the 10:00 mark the track starts to take a more Lo-Fi minimalist approach very much in the spirit of Can, Popol Vuh and Faust from ‘Krautrock’s’ past. Cosmic Fall are not shy on full experimentation which makes for a very unique listening experience. At about the 14:40 mark the band allows the ‘objective listener’ a strong sense in floating into deep interstellar space. It also allows breathing room for the listener to digest the epic before picking back up again at the 16:00 mark where the band takes a more heavy prog approach.
Purple Weed is the bonus track on the ‘digital version only’ of Kick Out The Jams which is what I am using for this review. It starts out like it is a cut away from another song. It opens more with a bridge style passage instead of a traditional genesis where they star off simple and proceed to build layers upon layers. The opening also captures the band in a more straight away psychedelic rock passage. This track does break and takes on another direction around the 2:30 mark allowing for the listener the choice to breath and digest or be alert and anticipate. Cosmic Fall have a unique and distinctive way of allowing the listener a choice of how they want to experience the music. The ambiguous jester within is very on point with the music as well.
Interstellar Junction in a strange backhanded way is probably the bands ‘most’ tangible track to attract people that are new to the band and their genre of progressive/psychedelic rock. It starts very up tempo with straight away 1970’s stoner/psychedelic chord progressions. Think Amon Dull ii meets Can meets Vanilla Fudge. The passages are very heavily progressive laden with various psychedelic atmospheres. This one is also recorded and performed live and is one of two on the album. This track also gives the listener the impression that there are two distinctive personalities on the album. Those personalities being of course, psychedelic and progressive. The last three tracks are more progressive/stoner hard rock than the previous four which are more experimental.
Stairway Jam starts out with a very seriously deep down tuned bass. Soon the methodical and sometimes off timed drums come in and start building a very organic rhythm section. Within that rhythm section and its progressive thunder comes the guitar that is allowed to breathe and take a more front and center approach, allowing the rhythm section of the bass/drums to lead it into various layers and dimensions. This jam takes on some very very heavy fuzzy chord progressions like those from the late 1960’s to middle 1970’s when psychedelic rock carried some heavier doom style elements. In the middle the rhythm section takes a more laid back approach and the guitar is allowed to take the listener on a strange , yet genius, cosmic journey towards the inner-space of the mind of the audience.
Cosmic Conclusion starts out with some seriously heavy hi-hat to tom – tom back to hi-hat drum blast beats. The drums immediately start out more in the aesthetic of doom metal in a very odd progressive kind of way. They literally even take the bass and make it initially as a percussive instrument until they both balance out with a more melodic rhythm section. The bass/drum rhythm section elegantly produce such a thunderous wall of sound that if envelopes the fullness of senses within the listeners audio pallet. For the most part this is a straight away heavy progressive/psychedelic track.
With the rich progressive rock and psychedelic rock heritage from Germany, Cosmic Fall has managed to create their own unique and distinctive sound that separates them from other bands of the genres. They maintain a creative minimalist sound while allowing the fullness of the instruments speak for itself. Kick Out The Jams certainly will give the band a ever growing fan-base while giving the band a much fuller live set. I give Cosmic Fall’s Kick Out The Jams a 5/5 for integrity to the genre.
The Return of the Peacock is from the upcoming album 3rd Ear Experience album – Stones of a Feather.
07. Spacetripping (live) 20:02
3rd Ear Experience Is
Robbi Robbi, Amritakripa, Alan Dude Swanson, Richard Stuverud, Dino Archon, Dug Pinnick, Eric Ryan, Joey Vera, Butch Reynolds, Jorge Bassman,
California based prog band Celluloid Winter is this weeks featured artist. Not much is known about them other than a small blip about the music on the bands Facebook page that states:
Meloprogistic Rock = A fusion of melodic art rock with progressive intentions 🙂
08. Feigning Insanity Pt.II 06:03
Celluloid Winter is Nate Hammer & John Garcia
All songs written, performed & recorded by Celluloid Winter.
Additional Musicians: Patrick Hassani (Drums) & Mike Geluz (Keys on Kodachrome)
Mixed by John G at Cerise Studios
Mastered by Kent Verderico at Blue Ribbon Studios
[bandcamp width=100% height=406 album=2724269744 size=large bgcol=ffffff linkcol=0687f5 artwork=none]
Melodic Revolution Records Series (#3)
Murky Red | Time Doesn’t Matter
Label: Melodic Revolution Records
Release Year: 2012
Country: Belgium
Genre: Progressive Stoner Rock
Band Members
Stef Flaming – Songwriting/Guitars & Vocals
Joery Masson – Drums
Yolanda Flaming – Keyboards & Vocals
Patrick Dujardin – Guitars
Tom Kockelmans – Bass
Marie Vancamp – Backing Vocals
Track Listing
I Came A Long Way
On New Years Day
Galadriel
Cold Outside
I Give You My Soul
Saturn
Last Chance Hotel
Willow Tree
Boots For Hire
Heal My Bleeding Heart
Black Beast Rising
Contact Links
Murky Red Official Melodic Revolution Records Profile
Murky Red Official Facebook Page
Murky Red Official YouTube Channel
Melodic Revolution Records Official Website
Melodic Revolution Records Official Store
Talk about a very modern band with a timeless sound, Murky Red are just that and much more. Murky Red are a band that takes the listener back to a time when rock have very little restrictions, radio DJ’s actually had a choice of what they wanted to air which allowed for some bands to make it on pure talent. Murky Red take you back to a time when music was not as fractured into a entire forest of sug genres and take the listener back to a time when rock was not only fun for the recording band or artist but fun for their audience as well.
Murky Red’s sound really stems out of the late 1960’s into the middle to latter part of the 1970’s. Some bands Murky Red have been compared to according to their sound are Pink Floyd, Black Sabbath, Led Zeppelin, Deep Purple, The Doors, Steppenwolf, Bad Company, Fleetwood Mac, Rival Sons, Gary Moore, Mark Knopfler, Snowy White, Nazareth, etc … They accomplish such a vintage sound while including some modern day elements such as progressive rock, stoner rock, light doom metal and psychedelic rock. Murky Red also are a band that has much more appeal to adults as many of their songs are more adult oriented in their lyrical subject matter. Â Â This is totally and completely evident with their very first release in 2012 Murky Red Time Doesn’t Matter from Melodic Revolution Records.
When Melodic Revolution Records CEO Nick Katona introduced me to Murky Red, I honestly did not know what to expect. Once I began to listen to it, I was instantly transported back to my earlier years of life mentally, spiritually and culturally. It was like I went back and started to raid my Baby Boomer parents’ vinyl collection and creep them off to my bedroom to my turntable. Murky Red’s sound truly embodies those earlier Led Zeppelin, The Who or even Deep Purple and Black Sabbath records I remember cutting my melodic teeth on as a child.
Before we take a more in depth look into Murky Red’s Time Doesn’t Matter I will say that this is the first of my Murky Red double presentation. Look forward to seeing a review also from their most recent 2015 release Murky Red No Pocus Without Hocus that will have a link to it at the end of this article. To some of you this review will be a revisit of Murky Red’s Time Doesn’t Matter, to others this will be a first time introduction. Â
Now let’s enter the tranquility of fuzzy distorted guitars and bass, old school vintage Hammond organs and take a step back when rock was allowed to breathe within various styles without much discrimination.A look into music with a real sense of humour about it. Let’s look at some highlights from Murky Red’s Time Doesn’t Matter.
I Came A Long Way takes off in a unconventional up tempo rhythm and stringed passage. It still maintains the classic fuzzy distortion elements with many many progressions in step with the bass drum. The vocal is unusually alternative in nature almost in the vein of Steve Kilbey from The Church of the 1980’s meets Paul Rogers of Bad Company. Lyrically the song can be taken as ones infatuation with a love interest. About the 3:11 mark the track goes into a heavy psychedelic passage with the Hammond organ styled keyboards. The guitar solo is brilliantly fuzzy yet ethereal.
On New Year’s Day begins with some wonderful synth atmospheres that are accented by semi electric atmospheric passages. The guitar comes in with a more crunchy distortion that is accompanied by a very tuned down rhythm section. The harmony between the instrumental and vocals is setup to not overwhelm the listener but to allow for the listener to be drawn into the band’s main focus and objective. The guitars and rhythm sections apply layers of atmospheres.
Galadriel begins with a very dingy tuned down guitar that is almost a two fold passage of both rhythm and lead guitar. On a lyrical front the band display’s such a sense of humor in their message. This is more of a track in the vein of a stoner vibe. The female backing vocal adds a very unique and wonderful feminine quality to the song. The subtle drums within the solo is a very under rated progression on the track as well.
Cold Outside starts out in a more bluesy rhythmic chord progression. It even is so bluesy it almost has a Zydeco sound you would hear from New Orleans. The raunchy chord progressions remind me of a lot of earlier Stevie Ray Vaughn. This maintains all the atmospheric staples within the composition. The vocal is partially a melodic vocal and a semi spoken word vocal as if it is telling a story to the listener. There is also some very thought provoking subject matter lyrically. It also has a heavily psychedelic influence passage for the outro.
I Give You My Soul starts off with a very upbeat Neal Young vibe. The female vocal really takes a more progressive direction much like a Renata Knaupf of Amon Dull ii or even Annie Halsam from Renaissance with a little Joni Mitchell. Even in its modern form the track pays wonderful homage to vintage singer songwriting from the latter 1960’s .
Saturn starts out with a very lush piano guitar stringed passage. This track demonstrates the band’s wide diverse talent to play a little of everything. The vocals are really soulful. The rhythm sections really take you are a true adventure within the confines of 5:20. The guitar solos layer many atmospheres to establish a well talented progression.
Last Chance Hotel has almost a Johnny Cash storytelling vibe about it. Instrumentally it is a cross between Cream and Grand Funk Railroad with a twist of Chickenshack in it. The track is very heavy on the psychedelic and blues side while keeping a uptempo rhythm section to it.
Willow Tree is a very beautiful lush ballad on the album. The female vocal adds such a perfect feminine quality to it. This track has a very strong mass appeal that a little bit of every audio pallet is able to digest. The layers of atmospheres make this a very easy to follow track as well.
Boots For Hire continues with the lush atmospheres. This starts out with subtle drum beats with a beautiful synth right in step with it. The lead guitar opens up with a solo right at the top along with the subtle start. The guitar soon takes a very Sabbath doom laden progression. Lyrically this is a song about military service in war. The rhythm sections are as if a march is going on. There are some nice breaks and interchanges featuring brief moments of every instrument isolated. Soon the track takes off like a steam train and soon kicks the listeners ass with blistering passages. It soon takes a drop and the instrumental becomes more subtle as the vocal continues the story.
Heal My Bleeding Heart takes a very psychedelic direction with the opening passage. This reminds me a lot of Led Zeppelin meets Jefferson Airplane. It is a rocker, a bluesy track with the solo’s with the psychedelic atmospheres laced throughout the passages. Once again this one is heavy on solo’s that allow the listener a very relaxed listen. There is also some very subtle yet fine percussion work that lays back creating a soothing rhythmic passage.
Black Beast Rising starts out with some really heavy Floydian psychedelic influence with the guitar solos and vocal chants used more as instruments than actual vocals.The lead vocal finally comes into play as well as a very smooth rhythm progression. The guitar really takes on both a lead and rhythm based psychedelic vibe. This track is one of the more atmospheric and cleaner tracks that has of the lesser distorted fuzzy sections as the previous track.
As I was really allowing this to sink in, I felt transported back to rock’s past while still listening to a band and album that was just as modern and relevant as anything within the progressive, stoner and psychedelic rock communities. Murky Red may draw most inspiration from the past with their sound but make no mistake they absolutely do not sound dated. I appreciate and enjoy their modern approach. I also like the sense of humor they articulate lyrically within their music. I am giving Murky Red’s Time Doesn’t Matter a 4.5/5 .
For Part 2 Click Melodic Revolution Records Series 3.2 No Pocus Without Hocus
[youtube https://www.youtube.com/watch?v=sLnVI7oIWQQ]
Video Courtesy of (Murky Red Official YouTube Channel)
