This is the Spanish version of the Immediate Eternity 2 album by Copernicus. The disc was released in four different editions. The music on each was the same, but Copernicus’ vocals were in different language. English, French and German were also represented. This is the most jazz-like of his discs. It features a different band than the musicians frequently heard in his catalog. Since the music is the same on all, the track by track review here is modified from the review of the English edition for the sake of consistency.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2013  Volume 2 at lulu.com/strangesound.

There’s a real melodic fusion kind of vibe to this. The vocals are distinctly Copernicus.

We get a harder edge, but the general vibe is similar to the opener. I really dig some of the guitar soloing on this beast.

A bit of a piano solo opens things here and Copernicus’ voice comes over the top of that backdrop as it works into jazzy territory. After a time it powers out into a killer rock groove. Then it drops down to more jazz, though. The rock returns after that short section. There is some serious funk on some of the bass lines and the guitar explodes out into some scorching fusion soloing later. Piano takes over again and it modulates to some weird jazz with Copernicus vocal quite in line with that weirdness of the music.

Mellow, stripped back music serves as the backdrop for Copernicus’ rants. It’s frantic, crazed and also very cool. We get some hard rocking jamming later that at times calls to mind Pink Floyd. I really dig the melodic, but quite crunchy, guitar solo later in the piece. It’s quite an intriguing ride that glides between nearly metallic rock and fusion.

The Latin meets classic rock sound that opens this makes me think of Santana. Of course, Copernicus’ vocal brings a completely different vibe to this. The cut evolves into more jazz directions, anyway. There is more scorching guitar work later on this tune.

 Weird spacey music serves as the backdrop for Copernicus’ recitations. At first he sounds almost sad and despondent. This gets louder and weirder at times, but remains reasonably space rock like throughout its duration.

With a stripped down arrangement, this feels like a great bluesy jazz tune with the Copernicus recitations over the top. Musically this is one of the most accessible and mainstream cuts of the whole set.

Frantic fusion makes up the music on this one. It gets rather crazed and dissonant as it continues. This is quite an extensive number and it really rocks out later. There is some serious space rock in the mix later, too. There are parts of this that make me think of Hawkwind a bit.

There’s a mellow and mainstream feeling to this one. It’s a bit like jazz meets reggae and rock.

A gong starts this off. It sounds and fades away. Then it does so again. On the third sounding, other instruments join in sort of a freeform jazz jam. The music is fairly sparse. Copernicus’ voice comes over the top. Then there’s a crescendo after the first spoken section of words. Beyond that, this turns out to hard rocking fusion. It drops to near silence for more vocals and then the band fires back out in more guitar driven fusion. Copernicus comes in over that backdrop and then it drops way down again. This contrast between mellower and harder rocking sounds is great. There are some sections of weird space music later. It shifts to seriously hard-edged music further down the road. There is some jamming later that almost makes me think of Hawkwind a bit. Spacey weirdness takes it near the end and then free form noise jamming is heard.