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Progressive Rock CD Reviews

├śresund Space Collective

Dead Man in Space CD

Review by Gary Hill

This is the CD release of the LP only disc I reviewed last year. That said, some changes have been made here. The opening cut, “High Pilots” has been extended by ten minutes from the version on the vinyl. A new cut, “Who Tripped on the Chord?” is added. And the title track has an all new mix. Still, this is similar enough that my track reviews from the previous set have been used or modified for inclusion here for the sake of consistency. While the original vinyl version was great, this CD is better, in my opinion. Whatever format or album, though, you really can’t go wrong with OSC. 

This review is available in book format (hardcover and paperback) in Music Street Journal: 2011  Volume 4 at lulu.com/strangesound.

Track by Track Review
High Pilots

This number is extended by ten minutes from the version on the LP, but overall this review still holds true. This rises gradually up with space keys and guitars weaving the sound and creating a definite Hawkwind like atmosphere. After a time it works out to a more full arrangement and there are jam band elements in the mix, making this feel a bit like the love child of The Grateful Dead and Hawkwind. It intensifies at times and also takes on some definite jazz-like qualities at points as they continue to make their way down this space roadway. Around the eight minute mark the guitar leads us out in a new journey that’s got some more modern rock elements but also feels a lot like very early Hawkwind. It shifts eventually back more towards the earlier sounds and space keys dominate at points. This is quite a tasty piece of music that really hearkens back to early Hawkwind while still maintaining a modern sound. Around the seventeen minute mark they wander into more pure psychedelia for a while. The extra material at the end is decidedly Hawkwind like and includes some killer guitar work.

Who Tripped on the Chord?
Pure space leads out here. It grows gradually upwards from there. Lines of sound swirl around in an almost dream-like fashion, but each wave of sound rises above the previous one as this keeps ascending. By the five and a half minute mark it’s really rocking, yet the changes were so gradual. Around the ten minute mark it powers down to eventually end.
Space Jazz Jam 2.2
This has a more open and purely spacey sound. The Hawkwind leanings are still here, but tempered with elements closer to early Pink Floyd. There is some Traffic in the midst here, too – bringing some hints of jazz –as the title suggests. A cool jazz meets space guitar solo emerges later and takes the cut into some tasty territory. It works through some changes and alterations, but all of them are incremental and organic and this piece glides through space at a modest pace. It also includes a section that feels like a modernization of very early Hawkwind.
Dead Man In Space
This is a sound effects and spoken word section that feels very much like something from Hawkwind. While the mix is different on this version than the LP release, this description still holds true.
 
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