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January 31, Their supposed classic "Remember the Future" was far outshone by their competition and was a rather repetitive sounding album.
By other bands had covered similar ground more successfully and enjoyably to this listener. The album plods along with arbitrary spacey sounds linked to organ noodling followed by average guitar work and then a little thrown together vocal section.
They really seem to be reacting to the musical scene of the day as opposed to following their own instinctsthey seem frankly like they spent too little time in the composition stage and their album suffers for it. There is one particularly cool section in the middle of the album from "The Dream Nebula" through "It's all in the Mind.
For those interested in the history of psych-rock or the oft-mentioned pollination with Krautrock this may be a title of interest but it seems like a stretch to call it a recommended title to everyone, let alone an essential title as many have. The dreadful sound quality doesn't help matters much but there is a newer remastered version, perhaps if I had that one I might see the light.
Nektar is a band with many different faces. Each subsequent Nektar album, from this very debut from all the way up till their most recent releases in the present millennium, has been different from the previous ones. For the most part Nektar has been successful in trying out these different musical approaches while at the same time always retaining that distinctive Nektar flavour to all their work. However, not all of these different styles have been to my liking.
On this album we find Nektar in a heavy Psychedelic mode and I must admit right from the start that this is not my favourite kind of Nektar.
As far as the Nektar discography goes, I am personally much fonder of the band's later albums like Remember The Future and Recycled, or even the more recent Evolution, for that matter.
I find this debut album by Nektar very much of it's time. It is also a bit immature and underdeveloped, which is indeed symptomatic for Psychedelic Rock albums from this time. We find here some Psychedelic jamming in a rather Hard Rock setting.
During the instrumental passages it often sounds a bit like a live recording by Deep Purple from around the same time. Melodically there is much to ask for! If you like bands like that, you will probably like this one too.
There are some good moments pointing in the right direction, however. Things would improve greatly on Nektar's next album, A Tab In The Ocean, which I find much more interesting, developed and distinctive than this.
I would recommend this album only if you are a fan of the band, or if you are a follower of Psychedelic as opposed to progressive Rock from the 70's in general. Processed vocals after a minute as it settles. Themes are repeated. The tempo picks up 2 minutes in with guitar leading the way. I like this. They don't stay that way for long though. The music kicks in and out. The tempo and mood continues to shift. Drums pound away as they "rock out". The album has all the wailing guitars, spooky synths, and shimmering percussion you'd expect from Saucerful of Secrets-era Floyd, but with a conceptual structure that's tighter and more coherent than any of Pink Floyd's pre-Dark Side of the Moon albums.
Nektar's entrance to the scene may owe a little to their inspirations, but it's still one hell of a start. And the band make into a monster, by all pulling together as a team I am really fond of most of Nektar's material and some of it I would favour highly among the greatest prog rock of the 70s. However, this debut leaves me cold as it feels emotionless and just psychedelic for the sake of it. It is a Krautrock sound that is generated and I would rather Neu!
The band completely changed after this debut and produced some incredible albums with great riffs and melodies. This album is a beginning for Nektar with a seamless track broken into parts though I have no idea where one starts and another ends, and nothing jumped out apart from some excellent guitar riffs and melodies towards the end. By then I have lost interest and I am afraid this album barely rates 3 stars from this reviewer. Though it deserves recognition for the musicianship which is accomplished and daring for its time so it is at least good enough or a listen.
I can't comprehend the strange concept either. It is such a worthless concept when it is incomprehensible. The album liner notes state what it is all about but the music itself gives very little away. The occupants encounter bizarre galaxies never seen before by the eye of man; a state where time and space are immaterial.
However "The all seeing eye", as seen on the album cover and in " A Space Odyssey", is the key to unlocking the secrets of the universe. In other words psychobabble for the 'searching for spiritual answers' acid rock generation. I think the whole sound and concept is very outdated and the band lack the maturity to pull it off as some of the great psych acts have done.
I hate to rate Nektar so low when they produced the masterpieces to follow. I know that some reviewers gave it high ratings as it obviously resonated them in some way, but it is a very odd album with an over indulgence in repetitive acid fuelled ambience, and will not appeal to everyone.
It really is a product of its time but is not quite good enough to stand the test of time by today's standards. I would just like to state emphatically that this album is definitely not the place to start for Nektar.
You would be far better off grabbing the aforementioned albums as they are Nektar at their best. The band had it all figured out with songs telling the chapters of the story, instrumental parts providing music for the story, and lots of in-studio effects created with their equipment alone.
The CD liner notes say that Frank Zappa was very impressed with the band's studio innovation and was interested in signing them to his own label. That, however, didn't pan out. Finding a label to take a new band and release a debut album that was based on a science fiction story and didn't seem to feature any good singles was a problem.
But at last "Journey to the Centre of the Eye" was released with all the band's space effects, loud guitar and organ, and some instrumental segments that bordered on classical music performed by a heavy psych band.
I've listened to this album a few times now spaced out over several months the listening periods were spaced out, not me and some individual tracks a couple of times more. It's not an album for pulling apart, though "Burn out My Eyes" is good enough to stand alone. This is an album better suited for playing all the way through and then while reading the story details provided in the CD booklet. For just listening without knowing what is going on can have you wondering if someone didn't spend a little too much money for a group of guys to make experimental noise in the studio.
There are moments when I could imagine that this is what the Moody Blues could have been if they had dropped all the classical instruments and just went for all out space rock.
Or perhaps there are some wires crossed with Ziggy Stardust. Did some of Pink Floyd's more adventurous studio efforts on "Ummagumma" have any influence here? The vocals often sound like they were recorded in a room down the hall with the door open while the louder instruments sound like the speakers were crowding the mics. Actually, the first three Nektar albums all sound quite similar, though "A Tab in the Ocean" has some better examples of progressive rock in so far as tight and complex compositions are concerned.
Here it's more the effort at creating a space suspense story soundtrack that earns Nektar prog cred. I'd really like to say Nektar started their recording career with a stunning piece of work, but honestly it is not as easy to enjoy as "A Tab in the Ocean" or the much better "Remember the Future".
This is a little too far out on a low budget for me to call it an excellent addition to any prog collection. Good but not essential would also depend. I hate to say it's for collectors and fans only but I can't feel justified in giving this one too much praise. High points for creativity and effort, but I feel the end result is an acquired taste. Thursday 7 May Friday 8 May Saturday 9 May Sunday 10 May Monday 11 May Tuesday 12 May Wednesday 13 May Thursday 14 May Friday 15 May Saturday 16 May Sunday 17 May Monday 18 May Tuesday 19 May Wednesday 20 May Thursday 21 May Friday 22 May Saturday 23 May Sunday 24 May Monday 25 May Tuesday 26 May Wednesday 27 May Thursday 28 May Friday 29 May Saturday 30 May Sunday 31 May Monday 1 June Tuesday 2 June Thursday 4 June Friday 5 June Saturday 6 June Sunday 7 June Monday 8 June Tuesday 9 June Monday 15 June Tuesday 16 June Wednesday 17 June Friday 19 June Saturday 20 June Sunday 21 June Monday 22 June Tuesday 23 June Wednesday 24 June Thursday 25 June Friday 26 June Saturday 27 June Sunday 28 June Monday 29 June Tuesday 30 June Wednesday 1 July Thursday 2 July Friday 3 July Saturday 4 July The orchestration sounds like someone pleading to the listener, and some eerie sounds soon come along, but only add to the yearning of the music.
Out of nowhere, rhythm kicks in when you least expect it, but it doesn't detract from the song, it enhances like you wouldn't expect. The lyrics are based on a text about different kinds of doors as explained by a "Childcraft" book.
The song itself is about choices, how some are important and some are not. Probably one of the weaker tracks here. It utilizes a looping track from much earlier sessions from a song that wasn't released until much later called "True Love Waits" as the sound backing the lyrics. This one is a politically based song about betrayal of leaders that had been trusted, specifically Tony Blair in this case.
Much more interesting than the previous track and also more accessible even with the strange objects that were used. Next up is the track "I Might Be Wrong. It is played under a more robotic beat, so is actually a combination of electronic and standard instrumentation.
The lyrics are sparse but portray hope that a change for good is coming. It is less experimental and really packs a wallop as far as emotion.
Strangely enough, the lyrics seem to be about cannibalism, but they are likening big business, specifically the record industry, to preying on the weakest in the human race. The guitar work on this track is influenced by The Smiths guitarist's style. Yorke said it was included because it came from a different place than the original and it just felt right. The lyrics are mostly the same, but it is a slower tempo accompanied by a chiming sound. This one was originally over 11 minutes and was inspired by the krautrock sound.
Yorke wanted Jonny to write a Coltrane-inspired track and this was the result of that. The guitar has a warped kind of sound and there is an orchestral passage in the background that has a far away sound to it. It is also a more traditional meter than most of the songs on the album. The next track "Hunting Bears" is a very sparse instrumental piece with a looped guitar sequence played underneath another guitar and synth.
It acts as a link between the preceding track and the following one, but interesting enough to not just be considered filler. The song "I Will", which at the time was an unused track and would later be used on the album "Hail to the Thief", is played backwards as the accompaniment. Yorke liked the melody that the reversal of the song created, and he wrote lyrics to go along with this new melody. He then learned how to sing the lyrics in the first verse backwards, which he did.
The backwards vocals were reversed and then recorded against other instruments, and that is why the first verse has that backward-sounding effect, yet you can still understand the lyrics.
Kinda neat trick, huh? The remaining lyrics are sung normally, but many listeners wondered how that first verse sounded so strange. The last track is "Life in a Glasshouse" and is the only one written after "Kid A" was released. The band was unhappy with this song was sounding, because it sounded to much like funeral music.
They contacted famed jazz trumpeter Humphrey Lyttleton, and asked him to listen to a demo of the song. He suggested they make it into a New Orleans Jazz Funeral style. They recruited his brass band to play on the song, and that is the sound you get. You still have that funeral march beat, but it sounds cheery against the bright horns.
Humphrey's horn part is mostly improvised against the original track. So, there you have it. Radiohead at their most experimental, and in my opinion, it works well. With only a few exceptions, the music here is very interesting, even ground breaking at times.
It had a great influence, along with "Kid A" in getting a new generation interested in music exploration and opened the doors to other bands wishing to explore new musical avenues. I don't quite consider it a 5 star album, but it is close. There is just a slight feeling of not being as cohesive as it could have been, and a couple of the tracks are a little too repetitive and weak, but for the most part, it is still an excellent album.
The rest of the tracks are most of the B-sides that were recorded at the same time as OK Computer, but were originally left off the album. It quiets down half way through with Thom's falsetto vocals, then builds again. It consists of a repeating echoing guitar and is later joined by orchestrated sounds. Very mysterious sounding yet nice.
You hear early experimental sounds from Radiohead here, but no vocals. A slow rhythm is established with shimmering guitars and Thom's vocals start. There is a slow build, but it remains mostly mellow until the last minute where guitars start to whine and groan and then eventually drop off just before the end. This goes on for a short time before it abruptly ends seeming like a false start almost, then goes into the full band which carries it through the rest of the song.
This one is an excellent track and would have fit on perfectly to the main album. This is also a fan favorite but is more rock oriented than it is experimental. It sounds simple but is a very challenging song to sing because of it's jumps in range. Percussion starts on the second verse, but it is quite subdued.Apr 13, - Explore hj's board "dem jeans" on Pinterest. See more ideas about Curvy woman, Curvy sexy, Women pins. Sitemap Every Night - Paul McCartney - Everybody Out There In Japan (CD), Reptile - Nine Inch Nails - Hellraisers (CD), Wonderful Night (Thrash Mix) - Fatboy Slim - Wonderful Night (CD), Solo, Heifetz* - Showpieces (Vinyl, LP), Boogie Woogie - Ella Fitzgerald, Teddy Wilson.