SUPERAUTOBAHN

This album offers a flashback to earlier collaboration of Kawabata Makoto and Niko Potočnjak from year 2007, allowing visuals of trinity formed from three monolithic stoner epics. The development towards relentless math-rock calculation is already prevailing under the surface, but main emphasis on this nocturnal glide upon motorways towards atavistic visions is still emphasized on acid oriented guitar massives and hypnotic rock dronings. Though the recordings are from same year as the marvelous "The Men from Dystopia" LP, the stonernauts of these sessions are different except for the two leading guitar slingers.

"The Wall" of sounds opens dynamically the highways to heaven, choral echoes curving the topography of logical rolling of mathematical rock sound textures. The instrumental tapestry relates powerfully to psychedelic sacral atmospherics, and the repetitive nuances of drum works give hints of the polygonal straits of Seven That Spell recordings done after these recordings. Screaming guitars flavor the glide on sonic surfaces pleasantly, casting shadowlike hints of form to basically quite singular and simple structure, still twisting with vivid details and shimmering with powerful energy, gaining strength from few thoughtful contrasting arrangement solutions.

"The Pyramid" starkly visible on the horizon of the motorway is cave-painted to the asphalt surfaces with archaic piety and reverence. Reverbed guitar chord weavings, tribal singing and Lovro Zlopasa's saxophone arise from the fog, introducing a slowly pulsing euphoric stoner passage, allowing the amplified phallus symbols explode to their grandest heights on the twenty minutes long admired observation of controlled chaos. This massive pulsing gains really carefully more force during the process, and the long process fades out with persistent runs on the chord progression, leaving a vast perception to echoes of the surrounding void.

Finally the "The Colossus" of all humankind's continuum and most respected giant figurine crashes to the field of vision from short euphoric oriental mantra. The level of aggression is again thrown to a quite heavy gear, and thick layer of multiple aural details flow on parallax layers, joining together with vast epic sound elements to the furious beating of the rhythm section. In the end the group leads to life-ensuring mass ejaculation, the motor vehicle crashing out from the lane, and leaving null fuzz of radiophonics ringing upon the accident scene.

What I liked especially on this album was the successful invocation of minimal conceptual offsets, really primeval forces emerging from the iconic controlled acid rock epics, and the potential of ideological associations built to all aspects of the album. On many Seven That Spells albums I have noted sequences which have associated with feeling of driving stoned on the freeway, guided by stars and the moon towards the inevitable destruction. On this album the whole focus has been paid to these elements with most successful erotic emphasis, making this my most favored release of this fine group along with their "The Men from Dystopia" double vinyl album. Thus I would recommend it for those enjoying minimal repetitive stoner rock and fans of music similar to the discography of Acid Mothers Temple collective.