German-based project SCHROEDINGER’S CAT is the creative vehicle of one Iain Hawk Khan, and he has been creating, recording and releasing material under that moniker for a couple of decades or thereabouts. Hawk is otherwise known in space rock circles, as his name implies he is a rather big fan of Hawkwind and the projects related to that band, and is also known as a fanzine editor and reviewer. As a creative artist he has released more than 100 productions, the greater majority of them using Schroedinger’s Cat as the artistic moniker.
What we’re dealing with in the case of Schroedinger’s Cat is the work of an enthusiast. Khan isn’t what I’d describe as a professional musician, nor do I suspect he has the qualities to be one. This isn’t the kind of creative artist you’d have lengthy talks with on scale movements, how to tune your instruments, effect boxes or equipment to hit just that particular note a quarter note beneath or above what is common, nor do I suspect he will be the guy to chat with if you want to discuss how to produce your album so that it would share similar sound qualities to, for instance, Pink Floyd’s “Dark Side of the Moon”. I experience the music of Khan as the work of the idealist amateur, and I suspect his skills are the ones of the self taught enthusiast, learning by what he does there and then rather than the guy who will spend a lot of time training, studying, reading and getting expertise tuition. As far as creative artists go, my impression is that this is the underground of the underground.
“Fireworlds” may have given me erroneous impressions of course, as I don’t know how representative this production is in the vast amounts of Schroedinger’s Cat productions. But if this album is representative, the high number of releases available strengthening my point of view, this is also music that will have a limited appeal. The recording quality is lo-fi, the sound and production basic to the point of primitive, and the qualities of the music as such ones that will appeal to those in search of a particular mood and atmosphere rather than those who enjoy well made compositions planned in minute detail or stunning improvisations that highlights technical excellence and a collective musical understand. This is music that explores a set mood and a set atmosphere, an pretty much leaves it at that.
Keyboard textures dominate these proceedings, fairly richly textured motifs that all have a strong and distinct cosmic touch to them. Think early space rock and kraut rock from the first half of the 70’s, and as far as direct references go Eloy’s “Inside”, early Amon Duul II and artists of a similar kind. The keyboard textures used here draws on that kind of legacy in terms of sound, mood and spirit. In a much more basic state admittedly, as the technically oriented escapades isn’t present here as such, but rather a fluctuating all encompassing presence. The bass guitar and osme occasional drums caters for rhythms, but most of all the guitar has that role, in a fairly basic and improvised manner, light-years away from the Joe Satriani’s of this world. The harder edged guitar hits alternated with plucked resonating notes, and what sounds like a sitar or at least a string instrument used to create sitar-like notes, is another addition to these soundscapes.
The main variations are if there are few or many vocals employed, and whether or not the keyboards are given standalone sequences to explore their cosmic vibes alone. The different numbers appear fairly uniform in nature, separating one from the other something that calls for numerous re-listens to identify the fairly subtle differences between them.
Those who enjoy music in an ordinary manner won’t find much that will please them on this production. Those fond of detailed compositions, planned developments and material that can be transcribed will have to look elsewhere, much the same can be said for those who enjoy music on a technical level and are intrigued by the individual musicians technical grasp of his or her instruments. But if you have a soft spot for big, ambient soundscapes with cosmic sounds all over them and a certain meditative, hypnotic quality, then Schroedinger’s Cat might be an artist you’d like to inspect. Personally I suspect that an affection for so-called mind expanding drugs might come in handy as well, and that the moods painted on this particular canvas in broad, primal strokes might be best enjoyed with an altered state of mind.
My rating: 40/100
