Inner Visions (6) - Control The Past (CD, Album) download full album zip cd mp3 vinyl flac
Aytche by Joseph Shabason. Pop sensibility, vintage effects, and a sophisticated ear for tonal development make this jazz foray truly charming. Bandcamp Album of the Day Sep 1, Blackened Cities by Melanie De Biasio.
No Deal by Melanie De Biasio. Explore music. Inner Visions by Bill Cornish. Purchasable with gift card. CD Version of the Inner Visions album. Inner Visions Behind the Mask Red Sands East County Strut Summer Rain Winds of Autumn Inukshuk He does a good job of singing in a balladic style though this is a Hawkwind ballad and far removed from standard arrangements form ballads you may be used to. There is a sombre almost melancholy feel on this.
The chorus has some reflective lyrics; "How many more times can we hear the echo of the future, screams in the night how many more times must we watch or write. It starts with very quiet pads, and tom toms over a soundscape of spacey sound effects. The very long sustained pads are broken by nocturnal effects, like alien insects screeching and twittering on a distant planet.
It feels like an instrumental from the outset, though I felt here that vocals would be needed to end the album. As usual Hawkwind breaks convention and ends on an instrumental housing very strange effects.
In conclusion the album does not have any weak tracks and in fact contains some of the best Hawkwind material for years. Some of it is similar to "Alien 4" or "The Xenon Codex" in the type of music presented, but it is so much better.
In fact this latest album is one of Hawkwind's most vibrant approaches to music for years. For that reason the album is highly recommended. Who says the Hawkwind spaceship has crash landed. If it did at one stage it certainly is airborne again. As far as this reviewer is concerned the spaceship is cruising at warp speed. The journey is complete, the silver Hawkwind spaceship is returning to the atmosphere and on its way back to the solar system.
Who am I to complain? It has been a pleasant experience and a return to familiar terra firma. Many tracks appear like bands 's-era songs performed with modern sounds, and this philosophy has been realized most strongly in the modernized version of "You'd Better Believe It".
Jokes have mostly been left aside, and this record dives to more serious and threatening themes. Overall feeling is full with tension and sorrowful, released in a while with powerful space rock anthems, and soothed with sequences of abstract aural flows.
Sounds are great, having very low bass frequencies, making this album a pleasure to listen with proper gear. The intensive musical trip is enhanced by good judgement used when building the song order selection. Distorted guitars have also really nice raw but not too tight tones, and all instruments are well heard after the mixing.
Playing performance is also fine, drums rolling really energetically, supported by firm bass, and the guitars shine awesomely in solos and power riffs, mystified by rich cloaks of various synthesizer sounds.
As an unnecessary anecdote, some of these pulsing sounded quite much like the sounds left familiar from Commodore 64 classic game Wizball. I consider this as a very recommendable album for listening, whilst enjoying "the days we made", as the predicted future has became the truth like foretold by the band's seers earlier. It is both accessible, thought provoking and Album) touching non-elitistic cosmic progressive rock music from a classic group, which introduced me to the psychedelic progressive rock music.
I see it as a huge leap forward when compared to the other 21st century recordings of this band, in my most humble opinion. Then spacey and experimental sounds take over with samples. A heavy beat comes in before a minute. More spoken words 3 minutes in as the heavy soundscape continues. It all stops after 5 minutes then the spacey sounds return. A killer opener. It blends into "Blood Of The Earth" where spacey sounds continue. This turns haunting quickly.
Very spacey. Sampled words 2 minutes in. Love this stuff. Kicking ass and taking names! It's building then it kicks back in around 5 minutes. The atmosphere is simply beautiful to start. Guitar, synths and a beat eventually join in as the atmosphere continues.
This is fairly heavy. Vocals come in early. Cool song. It opens with a loud sound then the music kicks in. This is uptempo with the guitar grinding away. Vocals before a minute. Great sound! Guitar to the fore 3 minutes in. Great track. The vocals are lazy and we get some flute when the vocals stop then keyboards.
Gorgeous ending. Vocals join in. The guitar after 4 minutes sounds fantastic. Killer track. This is catchy and uptempo. It's laid back and simply gorgeous. Tasteful guitar 3 minutes in and late. This will be in my top five of A must for fellow space freaks! For sure, the band spent more time on writing good decent tunes this time. The obvious result is an attractive album and that listens away easily. The disadvantage is less experimentation then usual and songwriting that remains very old-school and predictable.
In fact, most songs sound like they could be on any other Hawkwind album released since An exception comes from the interesting opener Seahawks. A nice surprise comes with new recruit mr. Not a bad thing of course, both are amongst the better tracks on the album, together with the space ballads Comfy Chair and Sentinel. We've heard that type of material so many times already. The sound has found a good balance between the solid grooving rhythmic basis drums, bass and guitar and their lush synth carpets and electronic sounds.
The only thing missing to bring it all Inner Visions (6) - Control The Past (CD is the energy boost that the band gets when performing live. So rest assured, if the band performs this material in their live set it will rule. A welcome return for Dave Brock and cohorts but it all pales a bit against the younger bands that took over galactic space in the last decade.
This album is a nice addition for fans but no match for the many excellent releases of At time of writing, "Blood of the earth" is the latest studio album from Hawkwind. Released inthe album sees the return of keyboard player Tim Blake to the line up, and the arrival of Niall Hone on guitar. Sadly, keyboardist Jason Stuart passed away between the previous album and this, but he does appear on one track recorded prior to his death.
The majority of the songs are new, but there are a few which are not. On the bonus disc, "Long gone" is a cover of a Syd Barrett song recorded for Mojo magazine, and "Tide of the century" was the title track of a fine album by Tim Blake. For example, although "Wraith" is one of the few tracks not written or co- written by Dave Brock, it could have been lifted straight from and album such as "Palace springs" or "Electric teepee".
The Niall Hone composed instrumental "Green machine" is one of those all too rare reflective Hawkwind instrumentals, clearly designed to display his credentials on lead guitar. Tim Blake adds some fine spacey keyboard effects to the track too. The influence of the band members other than Brock is further emphasised by the following Tim Blake composed "Inner Visions", which is very much in keeping with his solo material.
The strong riff on which the track is based will surely make this a live favourite. The only disappointment with the track is the rather abrupt fade. The consistency of this album when compared with its illustrious peers from the band's early years is perhaps most apparent in the way the re-recording of "You'd Better Believe It" fits in so well with the tracks which surround it.
The song has been spruced up forbut it is instantly recognisable. The fine instrumental passage which is at the core of the track is that a theramin? The standard album closes in surprisingly downbeat style, with what might be described as a space rock power ballad, "Sentinel". The vocals here are among the most refined to appear on a Hawkwind album. When combined with some sympathetic lead guitar and floating synth, it all adds up to a highly effective piece.
There are various editions of the album, each featuring different additional material. This is a dreamy, ambient instrumental which acts as a sort of coda to "Sentinel". The LP has a further brief bonus track called "Sunship". The 2 CD version contains a second disc with live versions of songs old and new, plus that Syd Barrett cover. Tim Blake steps up to the mike for his "Tide of the century", a song which for me is the highlight of the live tracks here.
Overall, a superb return of this legendary band. There is something reassuring about a band who can embrace their past, rather than disowning it. This one starts off with a mostly instrumental track "Seahawks". There are some vocals here, but they are intermittent and dominated by a synth washed track with a lot of spacey effects, a drum loop and a mostly subdued guitar. For most of the track, we get an upbeat, two chord space jam, but the last few minutes is a psychedelic and ambient soundscape.
The entire track is quite psychedelic. A sudden burst of energy kicks off the next track "Wraith". This one carries more of the heavier sound of Hawkwind of the past.
The guitar is solid in this one, but so is the synthesizer. In the middle of the track, we lose the percussion for a short period, but effects and psychedelia continue. A subdued base is played as more layers are built upon this. This one proves to be more improvised having a more organic and rocked-out sound than the first track.
Effects are going off all around this. It is somewhat reminiscent of Tangerine Dream electronica, but with more effects. This is supposed to be an updated re-recording of a song from Dave Brock's solo album "Earthed to Ground". I haven't heard the original, but surely it must be better than this, and probably better left alone because this track is awful and a definite low point of the album.
Next is "Comfey Chair" also penned by Brock, but original to this album this time. This is a slower track and quite psychedelic feeling. There is a nice build to the music on the second half of the track which is where the track gets interesting, but prior to this it is rather lackluster.
The feel is somewhat heavy, but with lightweight vocals. It starts out in a normal space rock mode, sounding much like the original, but at 3 minutes, it quiets down to a walking tempo with a keyboard and effects. There is a bit of guitar there too, but it's pretty much atmospheric. This goes on untilwhen things suddenly spring back into space rock mode again. Not bad, much better than the previous re-make. It starts with sustained keyboard chord with shimmering synths, a mid tempo beat starts and a guitar melody.
Album) vocals start soon after. The vinyl edtion had 2 bonus tracks following this. The first of these is "Starshine"which features a different synth player, Jason Stuart. It is a 7-minute instrumental that sounds more like electronica than it does space rock as no real beat is established, it feels a bit meandering. The 2nd bonus track is a short, 2-minute "Sunship", Album), featuring echo-y vocals and light instrumentation. Overall, it's not a bad album, but it is nothing really ground breaking either.
It is hard to compare this with their past efforts, since this is pretty much a different band than what they were in their heyday in the 70s, but the feel of the music is a lot the same. There are some weak tracks here, and the better tracks don't really pull the weight of the weaker ones, so you end up with a decent 3 star album. It's still a lot of fun to hear the band create the same style of music, but there really hasn't been a lot of progress over the years.
The guitar is present in the album, but it seems to be somewhat pushed to the back, even during the solos. There is nothing wrong with it being a more synth-heavy affair, but I wish they would have emphasized the guitar solos that Inner Visions (6) - Control The Past (CD here a little bit better because with them being pushed to the back, they seem a bit lack luster.
It's nice but nothing really special. When you listen to this album is kinda 'retro'. The sound maintains space and psychedelic prog in most of the album. However, it contains a couple of beautiful new age instrumental melodies that make a complete contrast with the The other reviews giving great appreciation to this Hawkwind recording are accurate. It is close or even better that what is considered classic Hawkind in the early 70's to early 80's.
The Return of the Mighty Hawkbrand Forty years on, Hawkwind could be viewed more like a brand than an actual musical group. As one of the oldest continuous-running rock groups out of England, it's a small miracle that they still exists. The band has sufferred as much turbulence as it has clear I got a very big collection of Hawkwind. This band started as psychedelic heavy space rock.
Then a time of symphonic space rock They were inspired times and they were uninspired times. This album is in the vein of their best albums. This album Hawkwind is a band I have ignored for a long time. But a link to a promo copy of this album arrived in my inbox and I therefore feel obliged to review this album. Space rock is not my thing and my only experience with Hawkwind is the excellent Silver Machine track from around I am there You must be a forum member to post a review, please register here if you are not.
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