https://houseofprog.com/ambient-den-australia-same
Inaugural album from Down Under. a project that features the masterful talent of guitarist Ben Craven, alongside mates Tim Bennetts on keyboards and drummer Dean Povey, all contributing vocals. The chosen musical path is space rock and science-fiction, one of the cornerstone progressive genres, with a superfluity of storied albums by a slew on international bands. This album will be released in late July 2025, and I am privileged to receive an advance file. Let us blast into orbit and boldly go where many have travelled before but where endless discovery awaits. Of course, the spirit of the legendary Pink Floyd, Hawkwind (still going strong more than a half century later), Eloy and countless other space explorers is impregnated into the very fiber of the music displayed. They are claiming to invent or even dare to reinvent the style , the are simply offering a tremendous upgrade.
“Future History part 1 “ is the obligatory liftoff, and once the stratosphere is left behind, “For All Mankind” throttles forward into the great 8 minute and some seconds beyond. The set-up is wondrous contemplation emanating from the keyboard command module, booster rocket thrusts from the drum package and the searing /soaring electricity from Craven’s guitar settles the agreed upon Warp speed vector. When the crystal-clear whispered vocals enter the cabin, the galactic melody coalesces into mind numbing bliss that cannot fail to please even the most jaded cosmonaut. The swooping synthesizer loops emulate the ever so rapid time travel, a kaleidoscope of colored shapes and glowing stars zipping by the cockpit with streaking abandon. The repetitive chorus is outright intoxicating and unrelenting, slashed by a myriad of meteoric guitar intrusions, this is an immaculate space rock track that should enter that genre’s Hall of Fame.
Now firmly entrenched in full auto-pilot mode, the lush instrumental “Provenance” keeps the sonic journey in full acceleration, a cosmic platform where Craven gets to split atoms with his laser-like bluesy beams, at times sizzling in intensity, swerving with ferocity and scouring for the loftiest realms. Bennetts’ piano is a fascinating addition, provide an elegant keyboard-driven rhythmic alliance with the drum percolations, and the solo at the end is simply pure heaven.
Nearly 10 minutes long , the eloquent “Earthrise” reignites the vocalized thoughts of our planetary travelers with an intricate set of lyrics expertly sung, buoyed by a crafty usage of acoustic guitar among the ongoing trembling guitar shafts that dominate the arrangement, never wandering too far from inspirational melodious arches. When the ornate piano tethers itself to the slide guitar, the shaking riffs still in place, the acoustic solo leading straight into an electric spacewalk, yearning to see beyond the crater at the earth awakening from the horizon. Utter magnificence.
The procession towards a whopping colossus, the 16 minute+ extravaganza “Terraforming”, comes across as a prefect summary of all what went on previously, compressed into one global planetoid of sound. Obviously, the dimension of this composition gives the players enough room to stretch out their interventions and really let the juices loose. A desperate piano sets the controls to the heart of the sun, with stinging acoustic guitar in tow, the discreetly camouflaged organ creeping in underneath, the Gilmourian flurry in full view , all held together with the sovereign pace of Povey’s kit. Toss in some e-piano musings (a perennial fave of this reviewer), choir vocalizing to add majesty as if in doubt and let the groove hit the fan as it may. The extended organ section is an asteroid’s throw from the fury of a Brian Auger, as Bennetts simply mauls the lunar daylight (as well as the dark side) out of his instrument, broiling, chugging, humping and destroying the entire span of his ivories within his reach. Engaging Craven’s rabid guitar comes as no surprise, as the three just conflagrate into a colossal outburst worthy of a super nova saying sayonara. Talk about a jam, the absolute ferocity of the solos is awe-inspiring, literally blowing water right at the mason (oooh, wordplay again), a complete lapse of reason. The zenith is reached with an apotheosis of emotional utterance that veers on insanity (a mini-Carmina Burana-like choir folly) and a climactic sonic ejaculation that will leave any listener spent. The extended afterglow is all sensual and soporific, with extended guitar notes caressing the senses, as if slowly building up for a second orbit around the sun, as the band sadistically ratchets up the madness. Mercifully, a detailed choral section of aaahs provides only temporary relief to the cosmic melee, this is perhaps the wildest Floyd track not written or played by the famous foursome. Ridiculously awesome, I could not help giggling in giddy astonishment.
“Future History Part2” closes the main album, as the following 4 tracks are single versions of the existing tracks (save for “Provenance”), which is fine for a debut album as one may want to cover all the bases at the onset. The choppy organ/ flickering guitar combo sets the vibe, a psychedelic essay on the impending chronicle of our times, and I am gratefully reporting that it has no pessimistic, gloom and doom feel to it, quite the contrary. Cheery, hopeful, lovingly redolent of a time when smiling, laughing and having a good time was the norm.
As close to a 5 star ever for a debut album, what the galaxy! : 5 environmental lairs