Introduced recently on Lazland’s incredible Progzilla Radio show, this electronic prog band hit an immediate chord with me, as this specific style is getting increasingly noticed. Whether instrumental or with occasional vocals, building up sweeping melodies with synthesizers that do NOT sound like mechanical objects is nothing really new, as it has been around since Robert Moog showed up with his massively complex modular Zoukra in the mid-60s. Together with recent releases by Holle Mangler, All India Radio, Chakra Vimana, Analog Sunrise, Inner Prospekt, Third Quadrant (which shares keyboardist Clive Mollart here) , Monkeytrial seeks to envelop themselves into lengthier Floydian-styled soundscapes that urgently focus on creating psychedelic/cosmic pieces where even the electric guitars and bass get to shine (Shaun Bailey). The profundity of the arrangements could easily have been provided by orchestral instruments in a classical setting, and it would be just as grandiose. The electronic components insert a sheen of modern stylistics that elevates this to a sublimated level.
The epic length title track is a perfect example of setting an initial mood and letting time and space flutter along, unperturbed by accessible trappings or turn-on-a-dime variations. Acoustic guitar arpeggios support the soft endeavour, the bass supplying reason and a Mason-esque metronome. The bluesy electric foray is all relaxed reflection, subsequently leaning into an early Vangelis-like groove, subtle electronic meandering that has purpose, igniting another torrid bass and drum riposte. Toss in some Steve Hillage of Gong touches on the fretboard, and the interplanetary nature of the piece blasts off the launchpad, straight into the stratosphere, slicing the dark clouds open like a razor blade. A thrilling ride to say the least. Extraordinarily compelling.
Absolutely no impatience heard on the entrancing “Embraced by the Rain”, a 15-minute leviathan that sets the controls to the heart of the universe with an electronic sheen that soothes the ears. Once the sequencers kick in, the bruising bass and drum programming lay down a galactic carpet that covers the horizon, waiting for the selective weather to change as it sees fit, the Kraftwerkian main theme, sliced open with big guitar slashes that emulate the unremittent power of rainfall, drenching delicately the imaginary landscape. The inexorable buildup leads to a sonic downpour, a deluge of powerfully repeated surges that deeply impressed.
A surly bass procession leads to “Dark Seas“, a superlative smaller vignette that visualizes in sound the majestic grandeur of nature’s aquatic expanse, not only content with the calm beauty but also the vituperative tendencies to frighten even the most courageous navigators. The forlorn slide guitar musings blare like a foghorn in the vaporous mist and spray.
The next cosmic megalith spans nearly another quarter of an hour, as the lushly crawling “Time Ships” hushes repetitive narration that seeks only to mesmerize one into surrendering acceptance, as the pirouetting synthesizer vapors ultimately rev up the turbines, propellant aglow. Bailey’s guitar glitter forging into the furthest realms of space, the beat muscular and metronomic, boldly travelling into the night. I can’t forget!
Developing from a simple set of pings, “Rotor” sets the melodic wheels in motion, a galactic hydrofoil gliding over the horizon, a poet piloting the sonic craft, changing course when the conditions dictate an alternate route. Nothing extravagant or even bold, just a flickering quiver hiding under a comfortable melodic trajectory. A delicious finale.
Another new discovery that I intend to pursue, another reason why progressive rock radio is vital in the maintenance of this genre. I saw, I listened, and I purchased. Three easy steps to bliss.
4.5 Dim Firmaments