The Soft Machine
Volume Two

THE REVIEW

What is the best album by Soft Machine?

Third by almost unanimous consensus, OK I agree. However, just a step below, I place that manifesto-summa of Canterbury's Jazz-Prog known as Volume 2. The album is structured like a long suite inspired by Pataphysics, the science aimed at finding solutions to imaginary problems. A true gem in the treasure chest is the splendid "Hibou Anemone and Bear", fresh and ingenious, supported by Ratledge's organ not yet overflowing as in later works, and invigorated by Wyatt's original drumming. Wyatt's vocal acrobatics, which would reach their peak in "Moon In June" on Third, form the basic theme of the entire album here; divertissements always supported by great musical technique and brilliant creativity.

Of course, such a psycho-pop-dadaist balance does not emerge spontaneously but is properly prepared by the surreal pop that is only slightly less revolutionary of its predecessor Volume 1, year 1968. Characterizing the sound of the latter was the melodic and deliciously soft vein of the dandy-freak Kevin Ayers, who would make way for the much more serious (but equally brilliant) Hugh Hopper. The result? The sound deepens and gains depth, leaning towards a Jazz drift that would become evident in "Third" and even more so in subsequent albums. It was 1969: if "In the Court of the Crimson King" constituted the introduction to all of Progressive, Volume 2 by Soft Machine represents the indispensable premise of Canterbury's Jazz-Prog, perhaps the most interesting subgenre of the great “romantic” cauldron.