This album is an extension of the Egyptian mythology themes explored in his first solo album, though more laid back and drawn out. It's more of a Nik Turner influenced effort than anything else. Subsequent releases did not involve Nik and it is easy to see why they aren't anywhere close to the coolness of this particular release. The music is an amalgamation of techno, electronica, middle eastern themes, and psychedelia.
None of this is earth shattering or genre defining. It's simply light and trippy, something that requires little thought from the listener and yet it lets your mind wander of its own accord. Something about this album drags me in again and again.
It's been one my faves since the day I bought it. There are times when an album is more than the sum of its parts like when the concept works and doesn't try to be more than what it is.
Review by hdfisch Prog Reviewer. At times it's sounding trippy and poppy as in the first two tracks, at others it's becoming a bit monosonic and mesmerizing as in The Locusts Call which combines repeated drum loops with some spheric sequencer sounds and an ethnic touch.
Didn't work out that well I've got to say. Ali Mamoun's Broken Entranceway offers a little bit more variation, but still sounding rather samey, an hybrid of TD-type of music and Techno I would say.
Actually this band would fit better under electronic music than space rock. Frequency Of Sand features again some electric violin but it's dominated by a very monotonous repeated drum loop with synths and sequencer sounds. Occasionally there are some ethnically sounding sampled vocals. Atoms Of The Gods is the first one I think which is dominated by "real" instruments and here we can listen to the listed sax, unfortunately it's very short, Album) so far the best one.
As Seen In A. The twinkling keyboard loop provides a solid core for the other sonic elements to prance and entwine. Then you get a 9 minute live dose of "Soul Herder", one of the standout tunes from "The Eternal Sky" album.
The tribal essence is in full bloom with the powerful rhythms and astral guitar and lively flute. Turner's chant transforms the barbarity into celestial religion.
You get a powerful 11 minute retake on "Pulse of the Nile", subjecting the familiar melody to severe electrification that manages to soften the composition, stretching it into an ever-ascending pattern.
Again, this take is more sedate and pensive than the album version. And you get another remix of "Jackal and Nine", this Introduction - Anubian Lights - Naz Bar (CD being more abstract, pruning the mix down to a simpler structure. This music still bears the signature blend of Egyptian and space rock, indeed in a more Introduction - Anubian Lights - Naz Bar (CD form. Tighter and less tribal, the music draws from more modern roots, splicing dance, pop and space with airs of the Nile.
Even the Middle Eastern influences possess a modern touch, bringing the ethnic edge into the present day. Truly a solid evolution for the band's sound. Throbbing electronics swarm, dodging sinuous E-perc and haunting guitar. Infrequent vocal comments pepper the songs, sampled snippets and chants. InGrenas and del Rio shed the vestiges of antediluvian moods to pursue a wholly modern dose of modern Middle Eastern techno.
Fed by a bevy of electronics and sophisticated sampling equipment, this music manifests in a variety of instruments and curious noises, aided by traditional guitar, bass and drums. A selection of vocal snippets are tossed in to enhance the flow, delivering amusing elocution. Any band can assemble an impressive array of technology, but Anubian Nights are blessed with the talents required to generate engaging compositions, peppering them with gripping riffs and trancey passages that convey the listener through a succession of different sonic environments.
Jungle becomes infused with funk, trance gets energized by pop, intensity is softened by luxurious textures. Electronics bleep among sinuous rhythms, organ swoops punctuate stretches of playful weirdness, basslines ooze underfoot and guitars wail with ecstatic glee.
Tracks spiral into each other, sweeping the listener through an entertaining vista of clever melodies, Introduction - Anubian Lights - Naz Bar (CD. There's a strange Fifties mood interwoven with the modern riffs, lending a pleasant nostalgic edge to the tuneage, as if the songs spill from some time warp linking the deco past with the techno present. Although pruned down from the original versions, the "edits" retain an engaging flair that does not detract from the songs' plush and exotic mood.
The remixes are fine examples of deconstructions, dissembling the tracks and restructuring them into mutant versions with additional tempos and treatments that liven without deviating from the original takes. The introduction of acoustic guitar lends an earthy touch to the otherwise stellar pieces. The new track is resplendent with ricocheting notes and complex percussives, nudged along by the voice of travel guide who prepares the audience for their voyage through arcane prayer singing counterpointed by nimble electronics.
Some background first: Suzuki was once the vocalist with Can in the Seventies. During the Nineties, he formed Damo Suzuki's Network, touring extensively and releasing a profusion of CD sets documenting these concerts. This music also features Tommy Grenas and Len del Rio in the line-up performance and composition, since Album) music is all generally improvised live.
Raw and unbridled space rock is the keynote here, with raucous vocals and intense rock-out immersed in a soup of sizzling electronics.
Astral guitars are as prevalent as the kick-ass variety, giving things a fullness that is often a draining experience. The presence of theremin lends a classic Fifties spaciness. Admittedly, though, the central pivot of the music is Damo's earthy vocals and intricate lyrics. Several of the songs are of extreme length, allowing the music to fully mature and mutate with abandon.
This double CD totals minutes, and the set comes in a lovely double pack of a different design than most, comprising a 5.
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