PIECES FROM A BROKEN STAR

1. "First Piece" (2:07) a gentle birth-of-the-universe-like ambient intro. (4.375/5)

2. "Second Piece "(3:23) one continuously droning piece that digs deep and never lets go. A piece that MASERATI would be quite proud of! Awesome! (10/10)

3. "Third Piece" (4:21) the use of the piano buried deep within the Trip Hop electronica is pretty ingenious. This piece reminds me very much of the Massive Attack song, "Everywhen." (9/10)

4. "Fourth Piece" (5:31) very much something rooted in the world of the 1990s Trip Hop scene: like a MASSIVE ATTACK song that's been sent through an engineer's effects box as a whole, complete song, and added to, here and there. The synth sword-spark swipes and strikes along with the drum and bass additions in the second minute also feel old school despite their heavily-processed sounds. I'm glad that the song's composers have adhered to some kind of ABABCAB form so that we, the listeners, get a break from some of the Star Wars/2001/Alien creepy sounds. Otherwise, I consider this song very entertaining. (9/10)

5. "Fifth Piece" (2:08) this one seems to owe its rhythm track to Graham Sutton and Mark Simnett and their BARK PSYCHOSIS project. The field of swarming and travelling bees, however, is all their own. (4.5/5)

6. "Sixth Piece" (2:36) a highly-processed 1980s techno drum-and-bass beat is given astral creepiness by the droning guitar strumming and vocal "oo-aah-oos" floating around within the mix (somewhere in the background but still in the center of the brain). (8.875/10)

7. "Seventh Piece" (2:17) the floaty vocals carry over from the previous piece but the rest of the music turns more future Industrial tech--as if we're inside an engine room or huge power plant. Then an intense radio signal enters at the end, clearing the soundscape of its chaos (maybe ending lives in the process). (4.5/5)

8. "Eighth Piece" (2:57) for the first 1:20 this is pleasant and gentle--a welcomed interlude--but then all hell breaks loose over a disco bass drum line. A little too grating and irritating, despite the calming "center" provided by the gentle piano notes. (8.6667/10)

9. "Ninth Piece" (2:50) a droning hallway white light in which we have to check to see (hear) what's behind every door we pass. (8.75/10)

10. "STAR" (11:45) steady clouded cymbal hits backed with scratchy, droning synth as an even more grated ride cymbal rises slowly into the mix, to the foreground, with a severely-mangled Hohner organ-like bass line also slowly joining the party in the third minute. Electro-cymbal crashes pick up in the fourth minute as more active heavily-distorted electric guitar strummed chords also rise and join the mélange. The drums/drummer becomes more active around the 5:00 mark as his drums very gradually emerge from out of the din of distortion. A second electric guitar, also heavily distorted, arises out of a different channel, playing a different melody in short rotation. In the eighth minute a very deep, full, and heavy distorted bass begins to rise and join the field, playing a three-note melody that mirrors that of the most recent electric guitar. At the nine minute mark the instruments begin to leave, just as they came: one at a time, only much more quickly in their fade out/removal than the way they came in. Very much what I think of when I think "Krautrock": music for which the engineering is every bit as important as the instrumental performances (maybe more). A cool listening experience but I'm not sure I need to hear this song again. (22.5/25)

Total Time 40:00

The music certainly drones on: it's all instrumental--without lyrics or vocals--created by a three-man ensemble, but somehow it never gets boring, managing to always maintains its tension and engagement. It feels as if the authors intend the album as a one-listen, one "suite" listening experience; thank goodness the album tends to alternate heavy, cacophonous "pieces" with gentler, almost-ambient ones.

I get why this is welcome/included in the datatbase of a progressive rock music sharing site; I get that this is a direction that Krautrock could have, might have taken (may still be on!) Like many of the original musics and albums that became labeled as "Krautrock" there are often elements or sounds or technologies more developed by the Berlin School of Progressive Electronic Music. The same can be said for this album.

A-/4.5 stars; if you're into the history, current state, and future of Progressive Electronic Kosmische Dance Musik, this is an album you will not want to miss. If you're looking for cinematic space electronica, this may also be for you. If you're looking for musicianship over production and engineering, this may not be for you. I would, however, recommend that you check it out!

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