- Sound Of Confusion Spacemen 3 Rats(18.12.2018)
- Sound Of Confusion Spacemen 3 Rats(18.12.2018)
Sonic Boom's liner notes from the 1994 reissue in many ways capture the whole point of Spacemen 3's full-length debut: '[It] was basically an exorcism for us of our early material.we began our discography with an equal nod to our influences and our inspirations.' Indeed, calling Sound of Confusion derivative misses the point entirely, where calling it anything but a clear and specific homage to a sound and style would be a complete mistake. Three of its seven songs are cover versions -- 'Rollercoaster' by the 13th Floor Elevators, 'Mary Anne' by Juicy Lucy, and the Stooges' 'Little Doll' -- while the originals are at once very much Spacemen 3 songs and clear distillations of everything the band members were tripping out on at the time. Though Sonic and Pierce later expressed a preference for the takes included on the Taking Drugs to Make Music bootleg, the rough garage energy throughout still makes Sound of Confusion a fine listen, if nowhere near as stunning as where the band would later go. As was the case throughout the band's early days, Pierce handled all the vocals with the right amount of diffidence and low-key intensity, while he and Sonic cranked up the amps for minimal, bluntly entrancing riffs and the Brooker/Bain rhythm section chugged along. Of the originals, leadoff cut 'Losing Touch With My Mind' is the strongest of the bunch, a perfect fusion of the psych/proto-punk/drone influences of its creators sent into the outer void. Meanwhile, 'Hey Man,' the title audibly playing off the rhythm and sound of the word 'amen,' is the first of many overt references to gospel music that Pierce would incorporate for years to come.
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Sound of Confusion is the debut album by British psychedelic band Spacemen 3. It was their first for Glass Records, who’d signed them on the strength of their demo to a two-album deal.
Some later CD versions included the Walking With Jesus EP for bonus tracks, along with one of the many demo takes on '2:35.' ~ Ned Raggett Medewerkers.
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And in truth, that’s a great statement to make. It says that the band is consciously aware of their fans, that we are out there listening, that Spacemen 3 are not so caught up in their own world that they’ve forgotten us. And that my friends is why this band has and will continue to make some of the most consistent fuzz guitar driven, layered, and textured psychedelic music for years to come. In the front of their space driven minds, they keep the fact, that we are on this journey with them, that we are giving them the time and space to take us on their trip, and they in turn have made the effort to allow us sit back and do nothing but enjoy the ride. This disc is like a vial of warm liquid, it’s produced and executed as well as anything that will come from the band in the future, and that consistency will be appreciated.
Now this may sound as if I’m saying that contextually this album is the same as every other. It is, and it isn’t. One must look at the music of Spacemen 3 as variations on a theme.
They are constantly exploring and developing this theme, every outing has taken us just a little bit further, or shines a light on an aspect of our inner galaxie we may have over looked. Much like the disembodied voice of the spaceship captain, through a crackling speaker saying, “Ladies and Gentlemen, if you will look out of your right side porthole you will catch the splendor of Andromeda rising through the purple rings of Saturn.”. Dedicated to British psychedelic folk. New issue of printed version projected from the well-known, leading psych on-line site It’s Psychedelic Baby. After the previous issue covering exclusively the US psychedelic folk scene (IPB 002, 2016), this new issue covers the 1960s and 1970s British folk scene, with exclusive interviews of members from acts such as Fresh Maggots, Comus, Mellow Candle, Dr Strangely Strange, Spirogyra, C.O.B., Incredible String Band, Fairport Convention, Pererin, Courtyard Music Group, Magic Carpet, Sunforest, Oberon, etc. Also includes a few pages of record reviews. Cover by Justin Jackley.