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Rating: Stone Machine Electric returns to break through the sound barrier of 2020 and transit into 2021 with a dense doom album crafted in their own way, infused with impending fluid gloom.
They're not too worried if the three tracks are lengthy dives into the depths of the cozmik muzik, tasked with dissolving temporal expectations, deadlines, and the impatient beat of frenzy. They ride calmly, absorbed by the sidereal maelstrom like transparent-violet-colored space jellyfish, harmonizing what is their natural spiritual evolutionary mission, perpetually traveling by annulling space-time, and any other sort of reference, in contemplation of cosmic events.
So here they are engaged in Journey on the Nile, following choruses and munificent reverberations, pressing riffs, and giant strides among the planets, resulting in a deadly digressive empowerment, their fabulous 'great gig in the space'.
The backlash struck by the methodical and never chaotic drums expels the basal thread, by virtue of which the guitar sparkles tracing magmatic trajectories connected to sub-cerebral dystopian tones, surpassing their former jazzy attitude in favor of a cathartic oxymoron of rare beauty, a snapshot of the new personalities dialoguing remotely 'in & out', the fruit of the metamorphosis in progress.
Ancient pyramids have run their course, metaphysical colors typical of galactic nature take root on the ruins of former imperial colonies of interspatial realms lost in superhuman memory, and the immense dried-up rivers - at the moment, we examine what was the Nile near the fifth dimension - due to atomic desertification [the fault of the incomparable Desert Records] which has generated solarisms and crossing black holes, favored by dances triggered by the corpuscular attraction of gravities, as soon as the magnificent immeasurable darkness meets the imperishable detonation of sound dawns, the reason for birth, growth, and development.
Dub (Guitar/Vocals) and Kitchens (Drums/Vocals/Keyboard/Theremin) are certainly experiencing a very special and important moment for their personal progression, in every respect. Musically, they are positioned in that place close to the state of arrival resulting from the sublimation of ideas, which seriously affects their physicality, charged with filtering the surroundings; moreover, I would say the duo is no longer physically in Texas, where they claim to live, but at the sidereal meta-border, among the stars and supernovae, auscultating black holes and photonic rains to the full advantage of the title of the work, exceedingly focused on the quest for unheard frequencies: "Le inspiegabili vibrazioni delle frequenze nell'Oltretomba cosmico."
At Crystal Lake emanates the noble sense of vibrokinetic calm, or bi-static, I would say at this point. The supporting section engraves a played code that stirs up bands of astral gastropods, while nebulae pushed by moving sonic vibrissae by black muonic cats, here arrived from Carmelita's home, act as catalysts to condense the passage toward the 'non-zone', within the 'non-world' possible of the overturned reverse.
Absence of corporeality and unique divine mood that manifests by overwhelming silence.
One remains observing the glow of atmospheric sections laserized by spreading atomic reflections. The mind becomes supreme, recharged with splendor purifies its nostrils seduced by unusual fragrances.
The lymphatic system of Stone Machine Electric is in a slow evolution, caught between the splash of cymbals and exciting strikes on them, whereupon the necessary arpeggio of the six strings appears as a motile need, and indeed transports us beyond the 7 notes that move the universe of radioscanning astral poliphenomena. A new melody is born and burns what is no longer present to it.
What was left behind eternalizes in cosmic ash and the pace becomes trembling; tearing the impalpable appears daunting beyond any construct of thought and is perhaps an overly ambitious peak even for the SME.
But fortunately, the little trip to the underworld has produced something truly good: taking an acid with Jerry Garcia in anti-gravity suspension. What an imaginative encounter!!!
Let's not disturb Dub and Kitchen in the company of Jerry, although Brian Eno from the black planet sends disturbing temporal signals (what's gotten into him? Jealousy?) that the brave Dub must combat and silence by raising the tone of the guitar-sword to impose his command over the entire operation and not strip the delicate current moment of its sacredness.
It's time to regain strength and altitude. The pause was regal.
See you soon Jerry, thanks, and heartfelt greetings! Now away, once more in flight to conquer the perfect meta-metonimy, wielding the fervent Free Though with its intense quantum flavor, as the third and final episode of SME's doom-dogmatic experience, which has taken on the title "The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld".
See you soon, travelers of the ferocious cosmogonies.
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