Harvestman for Psych/Space

Just heard "Triptych:Part One", and enjoyed it tremendously. 

It's an interesting mix of things, but it is very soothing and "quiet" in terms of how you end up thinking about this when you hear it ... it doesn't necessarily bring up a lot, which is really far out ... a very meditative thing ... that carries on through the different pieces. 

There is one piece that has spoken words, and it sounds really nice, and fits, but I have to be honest that I was "tripping" so hard on the sounds themselves, that I did not exactly pay attention to the words, and will be looking for them in the next listen. (Give Your Heart to the Hawk)

Interesting stuff ... I would hate to compare this to anything else, since it is so different, but us thinking that it has some of this or that is probably a bit confusing ... don't go into this looking for any of these things ... go into it listening for it "ambient" feeling which is really nice and enjoyable. 

For me, it was just super not to listen to something that breaks into a song or some sort ... it was just very enjoyable to flow along, and never take the mind away from the whole enjoyable experience.

Now, onto "Music for Megaliths" ... nice to have something different to listen to once in a while ... this is neat!

Demonstrating his more progressive side compared to the more Americana albums issued under his given name, Harvestman sought to bridge Von Till's myriad influences from krautrock, space rock, ambient music and 1960/70s British acid folk, reconciling the worlds of Flying Saucer Attack, Skullflower, Coil and Heldon with the likes of Bert Jansch, John Martyn, Steeleye Span and particularly Sanny Denny and her various projects. But it's perhaps the presence of Hawkwind which looms greatest over Harvestman, a love which manifested in the 2010 Hawkwind Triad split with like-minded artists Minsk and U.S. Christmas, each band covering a handful of their favourite tracks.

Von Till generally handles all instrumental duties while building his albums, wielding guitars, bass, synthesizers, Mellotron and vocals, with the studio the ultimate arbiter, though each of his LPs sans Trinity have featured a bevy of guest performers such as Om's Al Cisneros, Crash Worship's John Goff and current and former members of Amber Asylum.