HIDRIA SPACEFOLK

Of course their playing technique, composition, unification of sound, or atmospheric effects should be fantastic. The first shot "Ad Astra" is completely constructed with delightful synthesizer-oriented lyrical movements and challenging phrases. Their splendid performances can take the audience onto the bright star (ad astra). Overdubs of guitar plays in the middle part tickle our inner mind. Unstable keys are also our gems. The following "Cycloop" has higher-tempo rhythmic energy filled with deep heavy texture and keen drumming power hitting our brain away. Synthesizer-based (maybe) xylophone-like sound agitation exactly like a cyclone is our hero. Basic lines are complicated but mysteriously we can digest them easily. In "Badding" we can enjoy various colourful sound tensions provided by them - a calm keyboard departure is developed to speedy heavy rock collective. In the middle part their playing tempo changes dramatically and fascinating repetitive spacey exposure blooms in front of us. This stream is such a killer. "Endymion" is another antipop psychic agent drenched in mystic melody complication tinged with ethnicity or orientalism. Simple electric guitar vibes are pretty supportive for the whole track. Sounds like they claim this cool soundscape should be their policy. The last "Seirenes" is quite kinetic and magnificent. Theatrical environment around the tune is full of passion. The very final phase involves SPACEFOLK's ultimate destination.

We might say that no incredible novelty nor innovation is found via "Astronautica" but who avoids this superb Space Rock Golden Road? Let me say I'm definitely immersed in this album veiled in the wonderful ad-astra sleeve.

While the Ozrics relied on a lot of reggae for its canvas on which to paint a more surreal and psychedelic rock style, HIDRIA SPACEFOLK added more classical and ethnic instrumentation in the lines of cellos, violins, flutes, marimba, mandolin, sitar, jawharp, vibraphone and even a didgeridoo. Dressed up in folky flavors that merge with high energy bass driven rock with swirling Hawkwind styled synth and Gong tinged space whispers, HIDRIA SPACEFOLK fancies its own musical style with the term Astro-Beat which isn't a bad descriptor for this electronica meets rock meets folk fusion-fest of danceability. SYMBIOSIS, the band's debut album consisted of five main members that cranked out guitar, bass, drums and the synthesizers along with some extra sounds like the accordion, sitar and mandolin along with five guest musicians that added the strings as well as the lone vocal performer on board from the feminine charm of Sabrina who only delivers wordless utterances.

As far as the Ozric references go, it's certainly a major staple of this band's overall sound as they churn out one hypnotic high energy groove after another in a similar fashion however it's the extras that really give SYMBIOSIS its charm. The double guitar attacks meander all over the place ranging from funk and space rock to even bluesy solos however its the presence of the flute and vocals that keep this rooted in some sort of modern take on Scandinavian folklore with references to some of the region's prog acts of the 70s. While the incessant bass groove and subordinate percussive drive provides the mesmerizing backbone of the band's style, the synthesizers and guitars slink around all over the place with the relative freedom to do whatever they want. The intros often usher in some folk references before the more incessant grooves burst on to the scene.

Some tracks stand out more than others. 'Jahwarp' for example takes on some jazz-rock features with a stellar vibraphone presence and a syncopated piano roll a la Scott Joplin but not quite ragtime, that is before the heavier guitar trades off and the two styles alternate. The overall effect is sort of a massive release of bubbles of sound that sometimes gel together and sometimes sound quite separate however the hypnotic bass driven grooves always keep the focus on the ostinato effects and therefore keeps things from spiraling out of control. While very much retro rock from the 90s with some 70s Daevid Allen trippiness thrown in for good measure, HIDRIA SPACEFOLK isn't an album that will dazzle you on a technical level but on the contrary is set for total escapism where you can simply let your mind free and feel the waves of sound roll over you like a day at the beach on some mind altering substance. Perhaps too close to the Ozric sounds for some but for me it works.

My only regret would be that there are no tracks from their first EP, "HDRSF-01", which could have bring a little more variety with folk/ethnic sonorities. Anyway, those who enjoyed the albums will enjoy this live release. Not sure that this disc should be listened at 11 A.M. though, this may result in a rather strange lunch...

As a conclusion, "Live Eleven a.m." should please every space rock and OZRIC TENTACLES fans. If you don't know HIDRIA SPACEFOLK, this live album is also a good place to discover the band.

Five years after their last studio album, here comes the awaited "Astronautica". The finnish space rockers become more and more ferocious year after year. The music is not very folky or ethnic anymore. Does this mean HIDRIA SPACEFOLK mutated into a complete copycat of OZRIC TENTACLES and lost their identity? Not really. While their guitar sound is definitely heavier, the band explores new sonorities and musical directions. As you will see, there will be a few surprises in this opus...

The opener "Ad Astra" is simply bombastic! Cosmic metal in the style of a boosted HAWKWIND, and featuring a great finale. A modern space-rock classic. "Cycloop" has also very agressive riffs and alternates mystical and dark atmospheres with discrete softer moments. The 12 minutes "Badding" is the longest track of the record, and also one of the most progressive by HIDRIA SPACEFOLK. It's a patchwork of different ambiances, such as melancholic, space, pop rock, metal or heroic. It even contains some jazzy keyboards! Although less remarkable than the other tracks, "Endymion" is also nice with its strange opening. However, a bigger surprise approaches with the ending "Seirenes". This composition is the heaviest of the record, and sounds like a lost obscure doom metal song with its gloomy organ.

This is definitely not the space-folk we knew on "HDRSF-01" and "Symbiosis" anymore. Not entirely space-rock either, it shows the finnishs emancipating from their initial OZRICs influences by incorporating other genres such as symphonic, jazz or metal. In fact, in ten years, the band's style has more changed than their british elders'. HIDRIA SPACEFOLK is just building their own new identity.

Anyway, "Astronautica" is quite recommended to HAWKWIND and OZRIC TENTACLES fans. It will be interesting to see which musical directions will be taken for the next album...

Second studio effort from HIDRIA SPACEFOLK, "Balansia" shows a slight inspiration inflexion compared to their previous opus. Despite longer tracks, the music is now less ethnic and more electronic. There is also fewer variety concerning the percussions and the sonorities. By losing a piece of their identity, the finnish space rockers sound more and more similar to OZRIC TENTACLES. Nonetheless, the composition quality and the listening pleasure are still present.

The opener "Kokkola" is cool, although a bit lengthy. "Modus operand hermetik" is an ambient electronic oriented piece, with discrete trumpet incursions. The best passage of the disc is "Astroban", a 8 minutes track featuring various ambiances. Opening with a spacey strange introduction, it alternates energic rythms with short jazzy and funky moments. "Pajas" sounds sometimes very 70's krautrock-ish.

The guitar weaves spacey patterns over hypnotic electronic sequences on the "Pako originaux". Cool, but a little long. The 14 minutes "Tarapita" is the longest track of the record, and one of bests. It starts with bizarre sounds to later display an egyptian ambiance with discrete trumpet incursions. Then appears a nice bass line, unveiling a dark cosmic passage before the calm finale.

Despite a few lengthy moments, "Balansia" remains a quite good album from the finnish band, however a little less innovative and personal than its predecessor, "Symbiosis". Recommended to OZRIC TENTACLES and space-rock fans.

First studio album from HIDRIA SPACEFOLK, "Symbiosis" is in continuity with their free debut EP and confirms the band's talents. The musical style is still mainly inspired by OZRIC TENTACLES and, to a lesser extent, GONG: an ambient psychedelic / space rock jungle, but in a softer, folkier manner than their british elder brothers. The compositions are rather homogeneous, do not contain any vocals and feature numerous various instruments.

For example, the opening track, "Terra Hidria" has some middle-eastern touches, while the short ambient transition "Reversion" introduces "Kaneh Bosm", an electronic piece with indian sitar. The dark "Kaikados" alternates agressive and acoustic passages, whereas "Nasha Universo" is softer with its flute incursions. Back to middle-eastern lands with "Jahwarp", maybe a bit too lengthy and repetitive. "Agents Entropos" possesses a catchy hypnotic bass line, and "I- Mantra" could stand for a lost OZRICs tune. The last and longest track, "Pangaia", also sounds like their elder british brothers, however displaying a more vaporous and mystical atmosphere.

"Symbiosis" is a consistant first album, propelling the finnish band to the front of the modern space rock scene. The musical style and quality of the compositions are constant, while the ambiance and the inspiration are present. A good record to start with, and which should please all OZRIC TENTACLES or GONG fans. The succession is insured.

The difference between the two kindred bands was always in their relative level of aggression. While the Ozrics appear content to glide among the stars in a solar-powered trance, the Spacefolk prefer to kick serious cosmic butt. The guitars are louder and the rhythms stronger, as heard in the dynamic head-rush of the album opener "Ad Astra". Even more typical is the fast and furious "Cycloops", a juggernaut of concentrated intensity held aloft by soaring anti-gravity guitar sustain: Hidria Spacefolk at their energetic best.

The lavish, almost laughably mind-expanding artwork is a reflection of the band's renewed musical ambition, heavier than ever but also surprisingly lyrical. Note the new, user-friendly melodies in "Badding", the longest track on the album (and also its least focused). There are moments when the arrangement of music is almost too accessible, sounding not unlike a genuine song, without vocals but suggesting a conventional verse/chorus structure.

I have to applaud the band's attempt to climb out of the same rut the Ozrics have been plowing for decades, even if it meant diluting their elemental power of their music with added structure and sophistication (the album is stronger when the template is simpler: fewer chords equal more adrenalin). The Finns have long been named as rightful heirs to the Ozric throne, should Ed Wynne ever decide to abdicate. But it sounds like the Spacefolk have other plans.

The lastest album by the Finnish masters of instrumental Space Rock is bursting with energy, and the cover art indeed suits the music very well. The opener 'Ad Astra' starts with a massive- sounding intro riff and continues in the familiar OZRIC TENTACLES -reminding trippy heights. Their sound is however harder rocking than Ozrics, with a stronger rhythm section and louder guitars. The momentarily calmer part somewhere around the sixth minute comes very handy in order to make the music feel less monotonous speeding ahead in one determined direction.

'Cycloops' is similarily mostly in high tempo with some brief slow-downs. As if the intergalactic bus is changing its passengers along the way. I continue this image of mine for the final minutes: "This is your captain speaking. There's an asteroid rain ahead and we have to use an extra protection shield." Or maybe that's not so fitting image after all, since there's no majestic arrival in the end.

It's quite strange to see a Space Rock piece titled as 'Badding', which is the nickname of a bygone popular singer (mainly of the seventies, but his certain worn-out hits are still heavily played in the radio... You guess it, I really don't like Rauli "Badding" Somerjoki!). I fail to see a logical connection in the music. Anyway, this longest track (12:20) starts promisingly with jazzy flavours of electric piano and vibes / xylosynth. Also the bright guitar sound can be spotted at first, but later on the soundwall gets thicker. The vibes - or whatever - remain there nicely. In the halfway there's again a calmer moment, this time slightly longer and with delicate New Age -synths, but the return to the HAWKWIND-reminding normal (fast) speed nearly becomes monotonous by now.

Equally fast piece 'Endymion' (5:55 - the shortest one) has bitingly riffing guitars and the hectic, bubbling trippiness in the OZRIC style. 'Seirenes' (11:15) continues the album's overall mood without notable changes, that is, hectic, trippy and rather thick soundwall, with those familiar slower moments along the way.

I haven't yet listened to the whole HIDRIA output in order to evaluate Astronautica against it, but I have a feeling that in the earlier years there were more fresh and jazzy details in the playing. For example the flute is sadly missing here altogether. This album offers A class Space Rock on an international scale and is technically very solid, but maybe the sidesteps away from the usual formula are too scarce on the long run. Wider differences between tracks would give the album that final big enjoyment. I believe this won't become my favourite album by this band, but it's worth recommending nevertheless.

Hidria Spacefolk demonstrate a heavy background of driving rhythm sections that keep the album exciting. There is an abundance of head-bobbing melodies which isolate the songs in their own right. "Ad Astra" opens with the feeling of one beset on a mystical quest or journey; no doubt related to whatever is happening on the album cover, which is honestly wonderful to look at. "Cycloop" may be the least exciting on here but that does not mean it should be ignored. Better to know the full album than just four songs, in my honest opinion. "Badding" is my personal favorite because it appears to be the most mature. It truly progresses into a wonderful song that stands out immediately after the first listen. "Endymion" incorporates the use of bells in an interestingly successful way. Another great walk through space. "Seirenes" is close to the third track in maturity. There are several change-ups that keep the song fresh and invigorating. It ends the album almost abruptly and in the tone like posing a question, allowing us to interpret the final chapter of whatever story has been traversing our mind the past 46 minutes.

While most people (myself included) would tell you not to judge a book by its cover, you are free to do so here. A psychedelic adventure through space and probably time as well. This album is an excellent one, and I would recommend it to any fan of the genre it belongs to.

The 9½-minute opening track 'Amos Ame' is simply gorgeous. The playing is lively and fresh, actually approaching jazz / fusion in some way. The flute and acoustic guitar are perfect additions into the OZRIC-reminding trippy sound. 'Kafar-I' also works well even though it's more repetitive than jazzy. 'Sindran Rastafan' sounds very much like OZRIC TENTACLES. Is that a fault, especially on a debut? And in fact, in closer listening, one can hear some differences in the sounds of these bands. Still I wouldn't pick this track among my favourites.

'Gnomen' (4:02) is probably HIDRIA at the shortest. Starting with hand drums it grows into more electronic, JARRE-like soundscape, accompanied by jawharp and didgeridoo to give a world music flavour. Hmm, this track doesn't quite flow, easily the weakest one here. 'Marastronaut' is another track I'm not fond of, its edgier sound is slightly unpleasant and it lacks the freshness of the CD's first half. Though there are one or two tracks worth of high rating in their own rights, this 35-minute CD falls short of four stars. I also would have loved to hear more of the flute, but Teemu Väisänen was only a guest musician. A promising start anyway!