US pressed musiccassette. Purple cassette with white text.

Just like thedrug, all of the acid-drenched stoner rock in the early 21stcentury can become a bit of a drag. The Japanese have their owntake on such things to keep them fresh, but often American bandsturn on the down low, so slow and so deep in the riff departmentthat the notion of what an electric guitar can do when played withcomplete inspiration backed by a symbiotic rhythm section evadesthem. Enter San Diego’s Earthless, who blew pretty much everybodysmind with their debut full-length Sonic Prayer in 2005. They jam asJimi Hendrix jammed, as Cream and Free and even Humble Pie jammedwhen they took it outside. But Earthless are always outside. Theyliterally enter the sonic maelstrom of inspiration and freeflowing, molten, deeply emotional energy where most felt it was atits peak, and they go up from there, moving into dusted rock realmsnot even dreamed of by the current jam band crew, the stoners orthe droners, or even the heaviest of the doomers. They could hangwith the most progressive of the metal bands around if they wantedto, but it’s not in their credo. They don’t see how long they canextend a chord; instead they see how many notes can fit into one,and how groove-oriented a tripped-out riff can get. They know theother side: these guys belong more with the Japanese bands, withStars or Acid Mothers Temple, when they choose to find the grooveto take them there instead of pure power. But there is no lack ofpower on Rhythms from a Cosmic Sky. Beginning with Godspeed (afour-part suite lasting 20 minutes) you are on a ride into theunknown spaces. Chaos, feedback, slamming snares and shimmeringcymbals (courtesy of drummer Ruby Mars, who used to be Rocket fromthe Crypt’s Mario Rubalcaba) adorn the first three minutes, so onethinks he is on board with Kawabata Makoto or Musica Transionic.Then it begins. In earnest. The sheer rock power domination, theblues, the boogie, the Sabbathian power riffs, the speed andclassic power metal, and the freedom to go wherever the hell onepleases are all woven in. There are song structures and they takeover for a few minutes before guitarist Isaiah Mitchell lets hisfreak flag start to fly into the stratosphere, and as bassist MikeEginton pushes the riff into the loud Mars double- and triple-timesthe band. Mitchell is an astonishing guitarist who takes his timeand lets fourth gear move into fifth, sixth, seventh, and thenpushes the throttle way past the redline mark. On this set,producer Tim Green plays Hammond B-3 and adds a certain mesmerizingdimension and texture to this otherworldly, deeply heavy flip-outset. Mitchell doesn’t forget the riffs, he simply fills the spacesbetween them with seemingly endless solos. And in a way, they are.Is this indulgent? You bet. Is this excessive? Totally. Is itcalled for? Oh God, yes. They shake the deafening rock tower ofBabel as they climb it into an oblivion of their own genuine andinspiring creation. The listener is tempted to keep turning thestereo box up until the ears begin to bleed a bit. The second jamhere, named for their first album, “Sonic Prayer” begins with aslow, sitar like drone, gentle, gentle, and then the bloodyenormous riff kicks in as a wall of controlled feedback creates itsown drone as Eginton provides that hypnosis with a constant thrumand Mars breaks his beats in between the phrases: squall, noise andspace are all parsed out as Mitchell begins his dreamy trip to theouter kingdoms with beautiful effects like wah wah, echo and delay.Before long, this 21-minute journey into the realms of the sorcererstarts to move and shape shift: the riffing returns en masse toremind the listener that this is no hippy jive, but something farweirder, more beatific, darker and heavier than anyone else outsidethe Japanese realms, and they give all of them a run for theirmoney with their unique melodic improvisation and spaceexploration. Think of Hendrix playing with Sabbath without thevocals and add Cream’s sense of movement and thud. “Sonic Prayer”is simply one of those tracks that should be destined as an exampleof prime acid rock jamming taken to a whole new level. Mitchell.Eginton and Mars are the almost insanely gifted Earthless: they’rea whole other thing in American power rock right now. They point away that few will be able to follow.

Track list:
1. Godspeed
a) Amplified
b) Passing
c) Trajectory
d) Perception
e) Cascade
2. Sonic Prayer
3. Cherry Red

Condition cover:nm

Conditioncassette: nm

Tänk på attfrakten blir billigare per vara ju fler du köper (se vårafraktvillkor för en portotabell). Så se mina övriga annonser,kanske hittar du något mer

Skickgradering:

M (mint)/NM(near mint) = Nyskick/Mycket bra exemplar
EX (excellent) = Mycket fin och välvårdad
VG+ (very good +) = Bra skick, normalanvänd skiva
VG (very good) = Sliten men spelar ändå bra
G (good) = Väldigt sliten skiva som kan hacka
+/- = mindre skillnader inomgraderingsområdet