Radio Massacre International Greenhousing Play: Lo-Fi   Mid-Fi   Hi-Fi   Download: Lo-Fi   Mid-Fi   Hi-Fi (Excerpt from track 'Crossing in the Distance')

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The opener 'Osmosis' is a short introductory piece, rather twittering and cosmic. 'Shed of Light' starts up, there is a very faint sequence in the background accompanied by high hat courtesy of Steve Dinsdale, gently echoing guitar licks from Gary Houghton and what I assume is guitar bass from Duncan Goddard. The Guitar and bass become more strident as we move to a Space or Kraut Rock sound. It's like a mix of Ash Ra Temple and Can (with even a little Jane?) but without the vocals. In other words it's a long way from the last two releases, nothing like the cosmic drift of 'Startide' or the sequencer based 'Maelstrom'.

It might be something of a shock to some RMI fans but as I was actually into Kraut Rock slightly before discovering electronic music of the Tangerine Dream variety I very much enjoyed it. It goes to show what excellent musicians they are in that they can turn their hands to conventional instruments as well as keyboards. It's very tight but also freaked out at the same time with Gary particularly going rather ape. As the drums subside Steve turns to the Mellotron, Gary's guitar almost weeping as we float into 'Cold Soup'. Touches of cymbal and drum punctuate the silence, as does the delicately played guitar. With a couple of minutes to go Steve becomes more animated behind the kit. 'Plasmolysis' features electronics and distorted guitar / effects. It's all rather dark and ominous. In complete contrast 'God of Electricity (Slight Return)' is a very melodic, quite beautiful actually, interlude mainly featuring guitar and flute sounds. It only lasts a couple of minutes however before we are back to Kraut Rock realms with 'Shed of Light (Part 2)'. The sequence is a little higher in the mix than on part one and the drums are just as evident but there isn't any guitar thus it's much more restrained.

'Not Too Long' begins with a very deep bass throb to which a high register sequence is added. Some lovely Mellotron comes in as the track slowly develops into something of a cracker. The throb turns into an almost explosive rumble giving things an even meaner edge. 'Crossing the Distance' also features deep dark electronics. It's very atmospheric with no real structure. In the second minute we get distorted noise from the guitar, not pretty but adding a sort of tension to proceedings. Very slowly some sort of rhythm starts up and the drums enter in the sixth minute backed by nice bass guitar playing- moody stuff. The last track is also the longest at almost eighteen minutes and makes fun of the famous Tangerine Dream track '3 am at the border……' as it is called '3 pm At The Edge Of The Village In Claremont Waiting For A Train That Never Came'! A steady sequence pulses from the speakers to which another is added. A two note melodic motif makes an entrance as does electronic percussion, a great bass sequence rumbling in the background. Things build slowly in classic style. In the fifth minute some restrained guitar can be heard but it is really just giving a little colour. It's a lovely brooding piece which I kept thinking was going to take off but they keep things very tight and in control right up to the end. (DL)

Nederlandstalige versie

Het openingsnummer "Osmosis" is een korte introductie, erg kosmisch. "Shed of Light" begint met een verre sequence, bijgestaan door hihats van de hand van Steve Dinsdale, gitaar van Gary Houghton en ik denk basgitaar van Duncan Goddard. De gitaar en bas komen meer op de voorgrond en het gaat een beetje op de Space- of Krautrock toer. Het klinkt als een mix van Ash Ra Temple en Can (ook met een beetje Jane?) maar dan zonder de stemmen. Met andere woorden, een eind verwijderd van de twee vorige uitgaven, niet kosmisch klinkend zoals 'Startide' of sequencer gebaseerd zoals 'Maelstrom'. Op sommige fans zal dit als een schok overkomen maar ikzelf zat eigenlijk in de Krautrock vooraleer ik elektronische muziek leerde kennen en kon dit erg waarderen. Hieruit blijkt wat een geweldige muzikanten dit zijn, ze kunnen met andere instrumenten even goed hun gangen gaan als met hun synthesizers. Dit is heel strakke muziek, toch gaan ze behoorlijk uit hun bol. Wanneer de drums verdwijnen bespeelt Steve de Mellotron, Gary's gitaar gaat bijna aan het huilen en we gaan over naar "Cold Soup".