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This is one of those albums that is loved primarily by other musicians. Like a lot of raga and jazz music, these songs are full of instruments with odd tunings, obscure and finger-contorting guitar chords, and time signatures that don’t often include even numbers. Really entertaining and challenging for some young turk with a guitar and time on his hands who is willing to sit down and figure out what these guys are doing from a technical perspective.

Me, I’m just a neophyte with an acoustic guitar and a tab book trying to keep my fingers from bleeding vibrations from one string to the next. This stuff is way beyond me. But that’s okay too, because in the end music is all about what appeals to your ears and your soul, and whether you can actually appreciate the virtuosity of the artists is really secondary.

This is an interesting debut album from a band that’s been around for nearly three decades but who doesn’t seem to have a very strong following, at least not internationally. I get the impression they are a well-kept secret among their discerning fans.

This album was originally released on vinyl in 1989, actually twice, with one pressing being on a pink label and the other on a green one. The artwork is quite complex and detailed, and I assume the original vinyl was housed in a gatefold from the looks of it. The influences in both the artwork and the music housed in it are middle-Eastern, Indic/far-Eastern, and far northern Europe (Nordic, Russian). I doubt if you’ll find one of these if you don’t already have one. On the other hand, the record was also released on CD in 1994 and that version is a bit more accessible although you’ll still have to look around a bit. The 1994 issue is also a remix with a couple additional musicians added to the duo who recorded the original tracks. Since I’ve never seen or heard the vinyl I can say what’s different, but the mixing and production of the CD is exceptional.

These are all compositions blending raga-like arrangements, slightly psychedelic guitar and sitar, eastern instrumentation, and trance rhythms. Hardcore psych thirty years after the stuff was in vogue. But these guys do what they do very well, and all of them are seriously accomplished musicians with totally mastery over the instruments.

Most of the tracks are shorter than one would expect for this type of music, and the record has the feel of a sampler or EP throughout most of it. But the closing, fourteen-minute near-raga “Solorgy” shows that the band has serious intentions and the ability to generate both complex and substantive art. The psych guitar set against a persistent and hypnotic tabla and hand drums is seductive and mesmerizing, while the occasional forays into screaming speed-demon guitar riffing in spots gives notice that this is modern day stuff, not simply rehashing the sounds of the sixties. This track alone would have made a great debut EP for Tangle Edge.

Their music is a bit hard to find, especially if you don’t live in northern Europe. But Tangle Edge are a consummately talent group of musicians and their music can be enjoyed by both hardcore and serious musicians, as well as simple fans who like to get their ears dusted off once and a while. Four stars and highly recommended to just about any progressive music fan.

peace

"In Search Of A New Dawn" was the debut of Norway's own TANGLE EDGE. I had forgotten that I had reviewed their 2006 album called "Serpentry Quarters" which did little for me back then. This album does a lot for me. In fact I've been so intrigued with their sound as they offer up some ethnic sounding music bordering on Raga Rock but also a lot of fantastic sounding guitar led music. Lots of angular guitar here as well and I like how experimental this gets at times. There's a Psychedelic and Jazz vibe too at times in this all instrumental album. The compositions were split evenly between the lead guitarist and the synth/ bass/ acoustic guitar player.

"Isis At The Invisible Frontispiece" is the 2 minute opener with mostly acoustic guitar but the style of playing gives this a strong ethnic vibe. "Caesar's Integrated Flaw" is one I like better and it's a top five for me as we get this uptempo rocker with some impressive electric guitar as drums and bass support. This really comes across as a great sounding guitar track.

"Nephthys" has acoustic guitar along with electric angular guitar. It turns fuller just before a minute as acoustic guitars take over. Angular guitar is back after 2 1/2 minutes. I like the depth of sound when the bass comes to the fore a minute later. It's almost spacey with acoustic guitar to end it. "A Secret Inside Clopedia" features bowed guitar with acoustic guitar again giving off this ethnic vibe but here Raga Rock really comes to mind. Tablas and percussion too.

"The Approaching Triptykhon Sunset" is a top five and it sounds good to start, quite melodic before it turns experimental rather quickly. It settles back after 2 minutes then it kicks back in again with atmosphere, acoustic guitar and a beat. Nice. It turns lighter but it's still experimental. "The Centipede's Tune" has this melancholic electric guitar that brings fellow Norwegian Terje Rypdal to mind. There's acoustic guitar and atmosphere as well. That melancholic angular guitar comes to the for before 4 minutes. A top five.

"Later Then The Pinworm-Era" is another top five and this one is a more powerful song with electric guitar, bass and drums standing out. "Mushy Shadows From A Lost Caravan" is led by beautiful acoustic guitar melodies. "Solorgy" is my favourite and the 15 minute closer. Water sounds to begin with along with acoustic guitar. The acoustic guitar gets abrasive before 1 1/2 minutes then it kicks in with drums, bass and more. So good! Water sounds continue after 2 minutes as it settles before kicking in again. Love this! The electric guitar pretty much solos over to almost the end as this plays out. Water sounds only late before spoken words end it.

Without question one of the best from 1989, easily in my top ten for that year. Adventerous music that continues to intrigue me.