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Margin - Psychedelic Teatime CD (album) cover

PSYCHEDELIC TEATIME

Margin

 

Psychedelic/Space Rock

3.27 | 20 ratings

From Progarchives.com, the ultimate progressive rock music website

Matti
Prog Reviewer
3 stars The new German artist MARGIN makes it clear also in the promotional texts that PINK FLOYD is the major influence, and it's indeed audible in the music. To me this is not a problem, but if the idea of listening to a Floyd-soundalike doesn't appeal to you, you may as well keep clear of Margin. Being practically a one-man effort (concerning even the album design) this is amazingly well done, from a technical point of view.

There are many ways to interpret the essence of "psychedelic rock" today. The historical weight cannot be escaped anyhow. One can try and find a unique way of sounding "trippy" and "mind blowing", though it's harder and harder nowadays not to sound like someone. Or then one can underline the word "psychedelic" thematically and make quite safe and accessible music in the style and honour of one of the most legendary and beloved rock groups all time. It's obvious which way is easier and commercially safer. It may also be easy to forget such tribute-like band several years later. I don't mean to be cynical; these were my thoughts about relations between Psychedelia and this album.

'A Mysterious Cup of Tea' is a 23'-minute suite in five parts, numbers two and four with vocals. Definitely lyrics aren't MARGIN's strength, actually they're just escapistic day-dreaming "steps beyond the reality". "Look at this cup of tea, it's turning to a cup of sea with some islands / a saucerful of secrets sounds deep from an unknown ground / up to the highlands, it resounds". Thanks to the soaring melodic instrumental parts the suite is my favourite on this album. The best side-long epic that Pink Floyd never did! But sadly all is not up to that level. 'Psychedelic Underground' is actually a catchy pop song despite some prog rock flavour - including a mellotron sound - but especially the decision to end the album with its 10'-minute 2nd version is not good at all! It's rather disturbing how Lutz Meinert's vocals on it make me think of PET SHOP BOYS, of all bands in the world.

'Landscapes on the Sky' is a mellow and slightly melancholic track. I like the sounds of acoustic guitar, glockenspiel (xylophone?) and mellotron. My associations were the Finnish Folk-Psych group KOSMOS, and for the long instrumental section late sixties Pink Floyd at their calmest (e.g. 'Julia Dream'). Carola Meinert's backing vocals are in a very minor role on the album; I would have wanted to hear more of her, and less of Lutz Meinert himself who's a wonderful multi- instrumentalist but not a great singer. Also 'Last Exit to Pluto' concentrates on calm, Floydian sound painting. As an instrumental and relatively progressive track it's very enjoyable. But I can't help I dislike the re-entry of the weakest song, and the proggy extension of it doesn't save anything.

Three stars for a nice listening enjoyment are earned without a doubt. Weak lyrics, average vocals and the lack of real personality would make the fourth star seem quite undeserved. But in my opinion this is a very nice album to return to when in need of soothing prog-pop without harder edges.

Matti | 3/5 |

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