After Taylor's Universe released Soundwall in 2007, a mix of jazz and prog that featured guest metal guitarist Michael Denner from Mercyful Fate/King Diamond fame, Robin Taylor and company decided to put together the supergroup called Art Cinema. Their self-titled debut dumps most of the jazz leanings for a more melodic prog-rock flavor, something that might surprise many of the fans of Taylor and his rather diverse avant-garde back catalog. The line-up for this release is Taylor (guitars, keyboards, percussion), Denner (guitars), Jytte Lindberg (lead vocals), Louise Nipper (lead & backing vocals), Bjarne Holm (drums), Carsten Sindvald (sax), Flemming Muus Tranberg (bass), Jon Hemmersam (guitars), and Pierre Tasson (violin)…
Ben Curtis' desertion of Secret Machines and the breakup of On!Air!Library! was justified by this group's first single, a sky-gliding confection that modernized the sighing, swirling, private dancefloor sides of Medicine, Seefeel, and My Bloody Valentine. Included as the finale on Alpinisms, the debut album from Curtis and O!A!L!'s singing Deheza twins, "My Cabal" has the feel of a bonus track; the later recordings that precede it, despite remaining squarely within the domain of late-'80s/early-'90s dream pop in terms of inspiration, are relatively individualist, going well beyond the lucid psychedelia and discreet flickers of Afro-beat and contemporary pop. What pushes these songs past mere worship involves cunning collisions of robust rhythm, caressing noise, and heavenly melody, with each element equally crucial. Good shoegaze/dream pop bands mastered one of them; the most exceptional of the heap, like this group, had all three down. The most striking example here is "Wired for Light," seemingly spawned by Siouxsie and the Banshees' "Peek-A-Boo" and M/A/R/R/S' "Anitina," full of clacking percussion that rattles the ribs, Middle Eastern accents, gale-force atmospherics, and layered vocals that could be casting a spell.
Peter Lindahl is a well known Swede in the psychedelic underground scene. Being a multiinstrumentalist and performed with the likes of In The Labyrinth, a painter and true dedicated hippie of the old school. For the first time, Transubstans gathers his 70's recordings into a unique compilation from the time when bands like Tyrannosaurus Rex, Pugh Rogefeldt and Pink Floyd were the main influences. The album consists of 16 impressively well written pop-psych songs. You'll hear heavy folk influences, flower power vibes, bits of novelty song, and all very psychedelicized. Peter played all the instruments on the album except for some assistance on a few tracks, chiefly his brother Niklas and father Sven.
Vancouver guitarist David Gogo is oozing confidence on this blues-rock album, beginning with the barroom pleasing "Love in the City" with former Junkhouse lead singer Tom Wilson, who is also a member of Blackie and the Rodeo Kings. The piano only adds to its luster. Gogo isn't reinventing anything here, just good time, old-school, feel-good rock & roll accentuated by his great guitar playing. He can rumble as well judging by the slower and moody "Hit Me From Above," sounding a bit like Doyle Bramhall II or some other Austin blues-rock musician. A slower, soulful "300 Pound Shoes" takes the album down in tone but Gogo goes for broke here, pulling the song off with relative ease. "Hey Juanita" doesn't seem that strong and is rather ordinary in a roots rock type of vein like Mike Plume or Steve Earle. The piano driven "I'd Do Anything" shows a softer, bluesy vein that sounds like a long distant cousin of "Ride On" by AC/DC complete with horns. The funky "Silk and Stone" is a sleeper pick in line with the likes of Bonnie Raitt or Delbert McClinton.
This special once-in-a-lifetime set is housed in a replica of the original Motown headquarters: the "Hitsville U.S.A." house on Detroit's West Grand Boulevard, now the home of the internationally renowned Motown Museum. It's a true collectible. Inside the house are 5 digi-paks - containing 10 CDs. The box set comes with a beautiful 100-page mini-photo book, including rare and classic images, track annotations and an introductory essay by the man who started it off, the one and only Smokey Robinson. Limited to 30,000 copies.