DAEVID ALLEN & MICROCOSMIC

For whom the gong tolls.

Where are those cape crusaders who defend Gong to the bone? Where are the eager preachers of the word of Deavid?

Nowhere to be seen. Now seriously, where are the followers of "all terrain" Steve Hillage? I guess the Progressive Electronic labeling would not help much to this by itself obscure Deavid Allen´s non comic musical ensemble by the names of Sacred Geometry Band (or Deavid Allen Microcosmic) . Well they say that knowledge is material so the few get more.

Sacred Geometry 4, (a perfectly disposed 7 track, 2016 release), stands up to any post-Berlin/Bay Area/Krautrock/Psychedelic electronic music notable work.

The so loved hippie mood has not been lost in translation, so Gong fans, do not feel excluded. Steve´s to the rescue with his motivation radio guitar along a heavy artillery of ethereal synths happy go band and Deavid Allen´s glissando guitar but this is not Canterbury stuff, close to (NOT THE SAME) Hillage´s Rainbow Dome Musick (1979) reloaded and refined in today´s high tech recording standards, to set it somewhere in close range to the Progressive Electronic field where this band was settled.

Rich in musical ideas, maturity & cohersion all seven tracks add up to its perfect pitch flow. Its playful, misplaced in time, electro/acoustic musical language goes back and forth the retro-modern mode which keeps it from being old or new thus running free of this burden.

If not for the more than needed glissando guitar appearances (imnho) this could get 5 full stars, but Deavid Allen´s eagerness to play kind of takes away the element of surprise for a 55 minutes only album. But it´s his band and he can cry if he wants to.

Meditative music for the restless dreamer. ****/*

A sublime mix of gentle psychedelic atmosphere, subtle electronics and meditative ethnic flavours, the third volume to appear under the Sacred Geometry title, an outlet for main Gong wizard Daevid Allen and Mikey Cosmic to offer delicate and spiritually fulfilling ambient instrumental compositions, is another precious fragile gem. Aided by a few additional musical friends and guests, these releases are for listeners who appreciate thoughtful and reflective music, perhaps to aid in meditation, quiet reflection or as a way to unwind from everyday stresses. Although delicate and laid-back, devoid of any percussive elements or even light beats and frequently highlighted by Mr Allen's ethereal glissando guitar, this volume is, as are all the Sacred Geometry-related releases, full of colour, variety and supreme taste.

Opener `Neeeoooooiiii' instantly weaves a spell around you, as Mikey's wavering synth clouds float between immersive hypnotic vocal drones that call from beyond time, Daevid's glissando guitar tendrils flittering at the corner of your mind. `King Arthurs Court' is not nearly as obvious as its title. Trickling harp glistens into infinity, placid flute wisps around the lightest of shimmering gliss and low-key synth washes, laying you down in a lush soothing garden of the lightest coolest grass. Middle eastern mystery and ancient mysticism permeates `Man Made Desert'. Dusty reverberating guitar ruminations approach and retreat, electronic ebbs delicately fall like raindrops around lonely wafting sax and weeping glissando that cries to the heavens. `Meet the Teacher' is a brief sitar, flute and electronic drone interlude, almost a reprise of a piece from the first `Sacred Geometry' release, and just as exploratory and blissful.

`Cymbercelt' is a soothing collage of world elements that seamlessly bridge the ancient sounds of old with modern electronics. It's a stark and gently sombre meditation, with serene pools of deep space phasing Moog and synth spirals, backwards effects and trickling flute like its running water. Against softly blowing winds, `Cropcircleconstruction' is an brief electronic soundscape, full of wonder, also quite mischievous and playful, but most wonderful of all, it's also deeply comforting and sheltering. After a short reflective invocation from Mr Allen, `Higher Shelf' closes the album on the softest of organ drones, cascading synths, strengthening glissando strains and the most crystalline celtic harp to bring an environment full of love, hope and contentment.

Those who can listen to calmly and quietly, as well as anyone who appreciates the more meditative elements of Mr Allen and Gong's music will treasure this wondrous work. Embracing and magical, `Sacred Geometry 3' is the perfect antidote to negativity, feeling lost and alone, a work that brings inner peace, spiritual healing and a renewed joy for life.

Four stars for this timeless music.

A fascinating blend of electronics, blissful ethnic world music elements and drifting psych, the first Microcosmic/Daevid Allen (here credited as Daevid Alien!) collaboration is an evocative and intoxicating instrumental work for those looking to drift away from the world! Just over 50 minutes of tasteful and spacy electronic atmosphere full of beauty and wonder. It still has enough slight similarities to associate it with Allen's Gong work to keep fans of that band interested, but this aims for something more tranquil and thoughtful.

There's an air of mystery throughout opener `Laxman Jewel' - a drifting sea of sitar, Tibetan chimes, flute, Mikey Cosmic's phasing synths and Allen's trademark glissando guitar. The moody `Isralieglis' has delicate plucked lute, humming background synths and Graham Clark's sad violin that alternates between slightly darker passages and almost joyful Ashra moments. The Eastern influenced title track has throaty wordless chanting, brief low-key electric guitar and eerie shimmering keys. The urgent `Star Tetrahedron' has ethereal glissando mixed with gentle trance-like electronics and subtle pulsing percussive beats that remind me briefly of some of The Orb albums. `Murwillumbah' has hypnotic electronic washes and brief chanting that calls from a faraway place, it can easily send the listener into a serene and meditative state. Celestial glistening synths and flute weave together throughout the ambient and calming `Isle Of Avalon' which finishes the album in a cosmic and deeply spiritual way.

An album to absolutely treasure and love, this is a perfect musical experience to unwind to, whilst never drifting into background music, becoming too light or bland faceless New Age dreck. The first of a series of highly worthwhile Microcosmic releases, `Sacred Geometry' is an emotional combination of deep space and old world earth, music to become truly lost in.

Four stars.

Sacred geometry II is very similar to the first opus, same instrumentation plus Gilli Smyth on space whisper and vocals, reinforcing that Gong trademark sound. Even more cosmic than the first, a delight of glissando, harp and flute, sitar and cosmic synthe. A real Gong follower.

Thanks to a perfect balance between electronic and natural instruments, Daevid Allen Microcosmic band creates a unique world ambient cosmic music. While it borders on New age meditative music, it never fall into insipid background music. Several climates are developped through the different pieces: acid, celestial and always ethereal thanks to the floating synthe reminescent of Gong Venux de Lux aka Time Blake. Daevid Allen's glissando guitar contributes as well to that Gong sound. This is cerebral music for higher states of consciousness.

Some tapes from 1985 have been discovered under Gilli Smyth's house. According to the Gong Appreciation Society, these tapes consisted of 'pure' drone which was largely layers of glissando guitar played on (and being glissando around) the chosen note. The B side was a more melodic affair with guest musicians invited to base a composition or improvisation on the drone. The concept of the B sides of those tapes has been the guide used by Microcosmique as he uses both old and new drone recordings by Daevid as the foundation on which to build these compositions. He has also called on the talents of among others Gilli Smyth and Harry Williamson, both of whom contributed to the original 7 Drone series of tapes. The result is very good, in the mind of the two recent Allen Microcosmic albums (Sacred geometry I and II), but maybe more eclectic. It's still cosmic psychedelic ambient with Gilli Smyth on vocals. It's really reminiscent of Gong's glorious years. Warmly recommended to all Pot-head-Pixies looking for a real Gong follower. The sound quality of this CD issue is good.