EXPOSÉ - Issue #26
Three reviews from the issue’s Reviewer's
Roundtable section:
MAC BEAULIEU –
Those who are not familiar with Escapade’s brand
of improvisation can leave their preconceptions at the door. Escapade goes
beyond laying down a groove and playing solos over it. Far beyond that.
Escapade lays down a groove and embeds complementing, counterpointing, or
cacophonic elements within it instead, though it should be noted that cacophony
is used to punctuate or create tension, not as a crutch. There’s no pointless
noodling to morph from one groove while searching for another either; the band
has reached an intuitive maturity such that any change is an organic,
telepathic process. This is no fluke or getting lucky with hundreds of studio
hours: when I saw them live, their show was equally solid even though their
bass player was missing and replaced with another ‘improvist’ from the band Nebula
Trip. In fact, the idea that their music is improvised is nearly irrelevant as
this disc displays as much focus as many composed instrumental discs, though it
also has the advantage of having the
tension and spontaneity that composed and rehearsed discs sometimes lack.
It’s noteworthy too that each song is
distinctly unique in its sound and approach; each member is so in tune with one
another’s thoughts at the time of play that the improvisation results in a
track of spirited cohesion, drive, and direction. The disc is solid and
thoroughly engaging from start to finish, though on some listens the somewhat
monotonic “Circumference’ overstays its welcome a bit at 12 minutes.
DANE CARLSON –
Rule #3 is the kind of album you sit down to listen to, end up falling into
only to be rudely spit out (repeat this cycle). The album was recorded over a
period of almost two years. In between and during an array of sonic
disturbances, dark droning themes, dark cyclic themes, offbeat time signatures,
and wailing guitars you get some good cosmic jams. And that is when I liked it
best. My other run-in with Escapade was on their Citrus Cloud Cover
release, and I basically found that one too long. Maybe it’s because I am a fan
of ‘the riff’. And the riff is generally repeated. In spacerock the riff can be
repeated ad nauseum. Escapade plays a modern freeform version of Krautrock,
very little repetition here. And they seem to be on the top of their game for
this release. All the songs move forward, as improvised pieces they must. I
enjoyed the aptly named “A Symphony of Sirens”; a kick ass jam if ever there
was one, with the guitar as the centerpiece (outstanding drumming, dude!) But
for sheer sonic wonderment it’s “Eclipse In Carbon”; heavily treated bass and a
guitar theme that works from a cry to a scream – awesome. The closer has an
outstanding title, “And Then All Silence Was Crushed”, but with its skewed
framework of marimba leading into a pure hellish “crushing”… well, you need to
judge this release for yourself. The album also features an interesting cover
of Pink Floyd’s “Interstellar Overdrive”.
PETER THELEN –
From the three wrecking balls on the front of
the booklet to the dilapidated pier on the tray card, this latest release from
Escapade is their most mind-destroying to date. Everything here seems to be
spontaneously composed, from the side-long opener “A Symphony of Sirens” to the
percussive-intense closer “And Then All Silence Was Crushed” and everything in
between – even the brain-shattering cover of Pink Floyd’s “Interstellar
Overdrive”. A collective of six improvisers, Escapade has spent a number of
years honing their craft, creating a finely tuned improvisation machine, able
to launch into the stratosphere at a moments notice or wind down gently into a
swirling euphoric maelstrom. Following the same ethic as many of the legendary
Krautrock bands of the early 70’s (Ash Ra Tempel, Amon Duul II, and Annexus
Quam come to mind), Escapade creates their sound with the benefit of 21st
Century production values; every instrument can be heard clearly even when
every player is full-on. Explorative and adventurous, their explosive level of
creative expression is always wide open to the spirit of experimentation; this
is Escapade’s forte; so much so in fact, that they don’t even attempt to
produce anything that is commercially viable. All the better, I say. Agreed
that music this far out on the edge may not have wide appeal for the
‘beginners’ among us, but for those of us seeking the penultimate free-form
rock experience, there is no satisfactory substitute, especially in this day
and age. Let the sirens scream!
DREAM MAGAZINE #5
Some inventive and effective space rock. This
2002 release mixes elements of krautrock, drone, improvisation, prog rock,
synth rock, ambient, psychedelic, and metallic, into a heady stew of shifting
stoned sonic regions. Perhaps least effective is their interpretation of Pink
Floyd's Interstellar Overdrive. Elsewhere there are pieces that feel
like lost soundtracks to some sort of disorienting Italian horror film, or the
seasick undulations of a psychedelicized morning after. Green mist and
slithering shapes sliding by. Ominous tension and release; smooth surreal
machinations contrast with rocky hot lava flows. –George Parsons
ZOOPA
Escapade is a NYC based instrumental band,
formed in 1996 by drummer Hadley Kahn. The essence of the band is to explore
spontaneous composition which is something well known from the musicians
involved in the improvised music scene. The band has already released three
records {It's actually 6 other
releases.} which have received lots of
positive feedbacks over the years among people who appreciate innovating bands.
Escapade is one of these bands. Rule#3 is their newest release and as I
just have listened to few of their tracks before, I just will say what I have
felt about their music but I won't compare this new album with their previous
records.
Floating, surfing through the air... The
first time I have listened to Rule#3, I have felt either of these
sensations coming from all their tracks. Their music is a like a long flow of
dissonant guitars lines ( "Circumference" ), drones and noisy walls (
"A symphony of sirens" ), ethereal sounds, synths bubbles which lead
the listener to another sonic dimension where all his senses are activated. The
repetitive swirling structures of their numbers ( "A symphony of
sirens", the cover of Pink Floyd's "Interstellar overdrive",
"And then all silence was crushed" ) are the basis of their music
from where the musicians explore some weird soundscapes.These ones are evolving
between some fluid multi-layered cosmic waves, due to keyboards, effects and
other loops ( "Mysterious utterances" ), and some darker urban stuff
( "Eclipse in Carbon", "Circumference" ). Both sides
combine very well on each track and give a real personal touch to Escapade. Few
industrial influences are even rising up during "Circumference" or
"And then all silence was crushed" especially on guitars arrangements
which sound incisive, quite raw and cold.
Each of their tracks shows a band developing
its own breed of instrumental rock which blends the psychedelic vibes of space
rock, ambient music with a strong urban feel to it which is very important to
surround perfectly the whole personality of the band. Each track flows smoothly
and there are no sudden breaks or any other musical changes which could have
altered this hypnotic flow. It is only during the last track, "And then
all silence was crushed", the most experimental one, that some common
points with improvised music are really visible but it doesn't denature the
soul of the band, it just bring a bit of madness to Escapade's music. Rule#3
is a really great album which should appeal, I hope, to space rockers specially
those who like such bands as Surface of Eceon, Landing or Tungsten74,
experimental freaks as well as progressive fans whom are searching for
surprising instrumental music.
BROKEN FACE
Rule #3 is a bit of a departure from the more fractured, improvised efforts
Escapade is known for, but this is still one seriously fried, out-there blast
of sonic mayhem for those who like their prog lumbering and stoned. While
perhaps it can be said that none of this would be possible without dissecting
the early works of Tangerine Dream, Guru Guru and Tone Float, it's hardly just
another Krautrock tribute album. But like those Germanic forerunners, Escapade
takes the heaviest of decaying radioactive materials and whittles it all down
to some kind of pan-tonal essence while exploring a wide range of trance
inducing psychedelic textures in the process. This stuff is primal and raw
(think early Floyd at their crumbling best), but still genuinely grooving and always
moving deeper into the outer realms of sonic possibility.
Side-long opener "A Symphony of
Sirens" evinces a singular desire to explore the darkest corners of space
and time from the start as rumbling waves of deep bass and percussion, acid
streaked guitars and levitated synth drones veer from full on tectonic jams to
more minimal, clattering free jazz journeys. There's a tightly wound tornado at
the center of their stab at Floyd's "Interstellar Overdrive", almost
entirely improvised with not a second wasted during its seven and a half
minutes.
"Mysterious Utterances" brings more
bubbling cauldrons of synth, loops and treated guitar for five minutes of
minimal ecstacy before the group arrives at the crawling pulse of
"Circumference". Its splattered rhythm guitars slide like black ice
beneath cascading high pitched leads in a way that's pure Ash Ra. Ultimately
it's hard to argue with the final product when the results are this
overpowering.
Escapade takes you to the depths of alien
rock and roll space with definitive results. Fans of Bardo Pond, Subarachnoid
Space,
CONCRETE WEB
Escapade is quite diverse and rather
hard to describe, but this NY-band is certainly rooted in the Sun Ra tradition
of intergalactic doses of experiments in tone, tempo and texture. The album has
five own and one Pink Floyd-cover which musically range from near-ambient sound
track moments to more unusual rambling group improvisations.
This cd opens with the 19-minute
"A symphony of sirens", the album's tour de force. This piece is just
incredible with its dramatic opening moment, a grandiose theme that melts into
Sunno/Ash Ra/Pharaoh Overlord loose droning guitar music. The piece combines so
many aspects - drone jamming, Frippian guitar exploits, tripped-out effects -
that every listen is a new experience. "Circumference" is a free rock
song with enough kraut and experimental touches to keep you occupied.
"Eclipse in carbon" and "Mysterious utterances" sound as a
blur of string instruments with so many effects and noises that it's often
difficult to tell them apart. Due to the drums and the marimba the last song
"And then all silence was crushed" reminds me a little bit of the
great Japanese percussive wizard Stomu Yamashta, but then rather conducted by
Glenn Branca or by King Crimson-leader Robert Fripp.
Trying to follow the music on this album is an adventure in itself.
ZEITGEIST
While Escapade's music might be described as
"difficult" or even inaccessible to the untrained ear, it can also be
deceptively simple, like the ingenuous three note bass pattern played by
Russell Giffen on the outstanding 19 minute opener to Rule #3: "A
Symphony of Sirens". Aside from Giffen's significant contribution, we have
modulation, sustain, Hadley Kahn's influential glockenspiel and drums,
backwards loops on "Mysterious Utterances", a Kahn/Paul Casanova
excursion on synths, sequencer and guitar and- sandwiched in between - a
version of Pink Floyd's "Interstellar Overdrive" that keeps faith
with the spirit of the original (like the Floyd’s version it has an opening and
closing riff with improvisation in the middle).
"Circumference" is almost monotonic
in a rhythmic and melodic sense but is strangely engaging and fascinating with
the guitars flitting in and out disarmingly like bats in a cave (Sorry; it's
the only image I can think of at the moment!) One is not really prepared for
the surprise ending here! Drummer and producer Kahn is absent on "Eclipse
in Carbon", which has the guitarist holding onto one note at times
(getting back to what I was saying at the beginning- examples of the
'repetitive structures and drones' in the press release presumably) and John
Ortega this time on processed piccolo bass. There is the impression here of
Holstian apocalyptic Martian landscapes and an approximation to early Pink
Floyd.
We are taken out with another of Escapade's
finest moments in the 12 minute "And Then All Silence Was Crushed"
with two guitars giving the impression at times of violins a la "Larks
Tongues in Aspic", drumming heavily redolent of Nick Mason, a cornucopia
of synth sweeps and swirls (Paul Hilzinger), Casanova's marimba, the music
threatening to conclude with a guitar solo but of course that would be too
obvious for this innovative band.
I apologize if my descriptions of the music
seem extravagant or even inaccurate in describing certain tracks but what one
is left with when listening to Escapade’s music are soundscapes and atmospheres
that leave a deep and lasting impression. I cannot really eulogize enough about
what Escapade has achieved on Rule #3, an achievement already promised
on Remembrance of Things Unknown and Due To a Faulty Premonition.
Some experimental/ improvised music leaves me
cold- not Escapade though; Rule #3 is one of the most significant
releases of 2002. -Phil Jackson
MODERN DANCE
Escapade are a band who's been reviewed in
Modern Dance before now, and, as I've said before (and often), are, literally,
an American Krautrock band! Sounds odd, and there is material they perform that
falls outside of this, but to go into too much description and detail would end
up taking up the whole mag! Rule #3 is an improv-fest of astounding
proportions, and their cover of Floyd's "Interstellar Overdrive" is
perhaps one of the best suited covers I've ever heard. In total there's six
tracks, kicking off with the remarkable "Symphony Of Sirens", and
basically, there's no let up. As before, Escapade manage to be so bold,
adventurous and spot on due to the drummer and bass player, although they don't
appear on all the tracks, which makes Escapade even more impressive.
"Eclipse In Carbon" and "Mysterious Utterances" do without
the drums, and manage to paint a canvas that explodes in aural colours and
textures. If you thought that Improv was nothing but noise with rare moments of
unity, then try Escapade.
SONIC CURIOSITY
This CD from 2002 offers 66 minutes of
dazzling freeform space rock.
To say that Escapade is a "guitar"
band is correct, for there are certainly a plethora of the stringed instruments
being tortured and strummed to produce the band's wall of noise sound...but the
other instruments contribute with equal verve and fury, generating a cohesion
that often strains the ear to dissect.
Demonstrative drums resound with
authoritative rhythms. Basslines rumble with geological proportions, vibrating
the audience on a cellular level. Guitars wail, cascading like liquid fire
spilling from a rocky precipice. Guttural guitars supply a visceral underbelly
for the tuneage, growling like victorious brutes in some sonic arena. Keyboards
slither through this turbulent mix, delivering a crystalline presence to the
gritty darkness. Electronics and processing abound too, applying aberrant edges
to the already innovative performance. Here, feedback becomes as valuable an
instrument as the notes that triggered the cacophony. The term
"grind" takes on a very distinct influence in this music. Notes are
sustained seemingly forever so that effects can sneakily be applied with
relentless experimentation. Yet the sounds retain an intensity that induces a
clenching of teeth in a pleasant manner.
The band's style of freeform improvisation
creates a vibrant energy to this music. Their anti-commercial sensibilities
flourish in this manner, producing tuneage that is gripping and gritty, yet
slick and meticulously crafted. With most tracks enduring for longer than ten
minutes, the structure is allowed to breathe and unfurl at its own pace,
exploring the emotional content of each compressed chord or tormented riff.
Included is a stunning version of Pink Floyd's "Interstellar
Overdrive" that allows Escapade to excellently display their grinding
style with psychedelic familiarity. -Matt Howarth
PROGRESSIVE WORLD
If you needed a band to create and edgy,
dark, and stark soundscape for your next movie, then Escapade is your band.
Driven by the percussion of Hadley Kahn, Rule #3 gives you six tracks of
moody, dense sonicscapes. One of those is Pink Floyd's "Interstellar
Overdrive," which is as darkly intense as anything on the album. Overall
it is another interesting and fascinating album from this band, recorded over a
period of 19 months beginning in January 2000.
The album opens with the tense and dramatic
"A Symphony Of Sirens" which features the scream of guitars in, well,
siren like wails. While at first listen you may not pick out the siren-like
sounds in the mix, closer listens reveal the various "sirenonic"
sounds at play, presented very subtly. Add in other sonic effects as well, and you
have a spacey, sonic brew that is very Pink Floyd-like. The track builds in
intensity as it plays, though not quite reaching cacophonic levels. It slowly
subsides after reaching its peak. At one point we get a sickly, weak sound as
if the strings of a guitar have been loosened enough to lie limp on the
fretboard and plucked... beneath this keys hold still on a slightly pulsating
note... If you feel anxious at all, this may not be the track for you, and yet
evokes such scenes of extreme and absolute isolation. The end of the world has
come and you are the only one left. In fact, think back to your lower budget
sci-fi films of the 70s -- there was incidental music like this there. I think
of Lucas' THX 1138 in particular.
"Circumference" is taut, playing things
close to the vest, though a sound flares out every once in a while, defying
gravity. The core of the piece is a repeating pattern against which guitar and
effects play off. That core is dark, pulsating... a rough slab of hewn stone,
turning and turning --- the calm, steady center of the hurricane while around
it an angry tempest swirls. The band plays on, oblivious to violent forces
whipping that have plucked them from the stage (and the stage from its
foundation)... well, yes, hurricane Isidore is in the news as I write this, so
perhaps that is the reason for that particular visualization. It is an
interesting and almost exhausting 12 minutes... it ends on a driving rock beat
-- Russ Giffen's bass thumping away, Hadley's taut drums and crashing percussion,
and Rob Giffen's guitar lines cutting across this.
"Eclipse In Carbon" is the darkest
piece here, where keening guitars cry out from the abuse given them by the
massive processed piccolo bass. The mothership has hovered into view, and it is
massive...the enormous intake engines sucking in birds and other small animals,
leaves off the trees... this is the global disaster the sirens portended at the
outset. Only it's far, far, far worse than anyone could imagine. The
devastation is total, and it is only the first wave. All life on earth has been
obliterated -- the surface is as barren as the moon.
At first, you think of "And Then All
Silence Was Crushed" as the epilogue - where we dip down from our
protected spot to see that all life has truly gone. Only, read that title
again. No, it is quite the opposite. Life has survived, in pockets. We'll have
to start again -- tribal-like percussion from Kahn, and marimba from Casanova
suggesting we're starting with "primitive materials." Interestingly,
as Kahn's drums become more martial, you come to realize that perhaps for our
species history is repeating itself. Warring amongst each other still, we go
through a second industrial age, reinvent weapons and so forth, leading
ourselves to not only a renaissance in technology, but to the same point of
self-annihilation that existed before the aliens tried to wipe us out. Or was
that dark mass really a mothership? Maybe it was a mushroom cloud.
Well, even if I'm off base with what the band
are on about thematically, you owe yourself the favour of checking Escapade
out. Like the best movies, this has gripping drama and suspense that will leave
you awestruck with your finger hovering over the play button, wondering if what
you just went through was real. - Stephanie Sollow
BABYSUE
This
YTSEJAM.COM
A dense, noisy affair from these NYC avant guardians.
Incorporating numerous instruments, including piccolo bass, marimba, prepared
guitars and the usual rock combo pieces put to unusual use, Escapade prove that
adventurous and sane, comprehensible tunes can in fact be synonymous.The
dreamy, quirky “Mysterious Utterances” is a stunning, spacey meditation that
resolves into, well, something unknown, while “Circumference” comes across like
King Crimson thraking at low speed whilst Robert Fripp’s main axe suffers from
indigestion, while “Eclipse In Carbon” melds both in a way that gradually
builds to a muffled but nevertheless terrifying scream. The closing, “And Then
All Silence Was Crushed” proves perhaps the most adventurous track unless you
count the wigged-out reading of Pink Floyd’s “Interstellar Overdrive,”which has
never sounded quite as warped as it does here (and considering Syd Barrett
co-wrote it, this is saying something). More than just noise, more than smoke
and mirrors, Escapade’s pushing the envelope without forgetting that music has
to happen. -Jedd Beaudoin
OUTSIGHT
PROGRESSIVE NEWSLETTER
Translated
from German by Gina Zavota
Free-Rock, Out-Rock, Post-Rock, Avant and
Space-Rock: these are the terms which have been used up to now by critics to
describe the music of Escapade. Behind Escapade, which has existed since 1996,
lies the idea of drummer Hadley Kahn: together with other musicians, to
spontaneously allow compositions to come into existence over a foundation of
rock music.
Thus Rule #3, like its predecessors,
is very much characterized by free thinking. The pieces develop slowly; all
have a very improvisational character, but at the same time a dramatic buildup.
Creeping soundscapes, driven by torpid rhythms, over which from time to time
the guitar, keyboards, or partly distorted, unfamiliar sounds arise. In
contrast to bands like Godspeed You Black Emperor!, who proceed by very slowly
increasing the dynamics of the music, building up soundwalls and then tearing
them down again, Escapade's music is more accessible, being more suffused with
audible, comprehensible harmonies and melodies. In their free play, however,
the Americans sometimes also get bogged down in awkward passages, well in the
realm of the avant-garde and of noise collage, which in essence have very
little to do with "music" in the true sense of the word.
The vast majority of this album, however,
consists of very appealing music; an almost completely improvised version of
Pink Floyd's "Interstellar Overdrive" represents the first time
anyone has dared to make a truly free cover version, in which really only the
original opening chords have survived. All in all, a very freaky, cosmic album
- a trip to other, not always easy to understand, spheres. Simply ingeniously
-- or wonderfully outrageously -- out there. -Kristian Selm
SPLENDID E-ZINE
In high school I went through a phase where I
was obsessed with space rock and drone sounds -- not in the sense that it was
all I ever listened to, but rather a discovery that, once made, infected my
record collection with handfuls of sound-alike albums, all reiterating the same
basic formula. I soon saw the light, picked my favourites and quickly got rid
of the rest. The copious amounts of hash I smoked as an eighteen year-old
didn't necessarily assist in my making a clean break from the threadbare genre,
but I made it out with nary a scar. A soft spot remains for the trance-rock
vibe, however, and NYC-based Escapade precisely capture the sounds and moods
that made me take such an interest in the first place.
Equal parts improvisation, structured cycles
and free-form ambience, Rule #3 could be seen as an extension of the
practices first made fashionable by the members of the Krautrock school,
typified by the earliest work of both Tangerine Dream and Can (see "And
Then All Silence Was Crushed"). Guitars work cooperatively with the
rhythmic drones established by synthesizers, analog electronics and samplers,
while never quite relinquishing their role as the primary force within the
ensemble. References to other musical outfits come relatively easy,
specifically artists whom drummer/founder Hadley Kahn and company cite as
influences; i.e. Pink Floyd, whose "Interstellar Overdrive" appears
on Rule #3 in an expansive and almost entirely improvised form. In many
ways, rather than sonic wallpaper, Escapade's sound is rather painterly, its
broad strokes occasionally and imprecisely confused for an absence of technical
skill. Washes of distortion become the varied hues of a single colour on a
fairly enormous canvas. Prepared guitars, processed bass and swashes of
unidentifiable sound create a depth that promotes an intense listening
experience.
While it could be nostalgia that draws me
towards this album, my hunch is a rather large proportion of listeners will
seek out Rule #3 for similar reasons and be rewarded all the same.
Exploration of avant-garde terrain with the tools of conventional rock
performance doesn't always produce the most spectacular results; most of these
tracks start slowly, and take a little too much time to evolve into the form
that makes them most enjoyable. Overall, however, Rule #3 is a pleasant
reminder of what the space rock formula offers to those who take the time to tweak
it and make it their own. -- Mike Baker
AURAL INNOVATIONS
When Rule #3 arrived in my mailbox I
knew that having written often about Escapade it was time I enlisted another AI
reviewer for a fresh opinion. But on the very first listen I knew this was the
best Escapade release to date, and after a couple more listens was too inspired
by the music to not write about it myself. Escapade is, on the one hand, one of
the more interesting bands on the current space rock scene. Yet their music
draws on several genres and styles, defying easy categorization. Space rock,
Krautrock, psychedelia, trance, progressive, free-improv... Escapade recalls
the glory days of freeform Kosmiche music while simultaneously pushing the
envelope to create music that is always electrifying and fresh.
The album opens with "A Symphony Of
Sirens". The band builds a dark and dense wall of drone that is both
trancey and acidic. The guitars wail, the synths bubble and pulsate high
pitched tones and swirling patterns, and the thudding trance bass leads the
ensemble down a hypnotic path. Old time Krautrock is dragged into the modern
era as the band embellishes the music with a parade of cosmic sounds and trance
atmospherics. A powerful jam that explores freely but never meanders. Though completely
improvised, the music at all times sounds determined and confident of its path.
"Mysterious Utterances" consists of
space ambience and drones with heavy looping and/or backwards effects to give
it a surreal freaky feel. "Circumference" is a thudding, spacey,
somewhat metallic rocker. The guitars thrash about backed by a steady pounding
rhythm section and pulsating effects. Tension builds steadily in trademark
Escapade fashion as the volume slowly cranks up and an anxious feeling creeps
in. The synth pulsations settle into a mechanical groove and the guitars start
to trip out like something from an early Amon Düül II album, but also has a
touch of King Crimson. "Eclipse In Carbon" is a high volume roller
coaster ride of smashing bass, deadly drones, freakout guitars, and UFO synths
that swirl out of control, giving the feeling that I was caught up in the
funnel of a tornado.
"And Then All Silence Was Crushed"
is one of my favorites. A steady and highly intense foundation slowly builds,
resulting in something along the lines of King Crimson gone acid Kosmiche. The
guitars have a Frippoid sound, the drumming is everywhere at once, a marimba
provides an embellishment to the percussion, and the synths are like lasers
blasting. The music evolves steadily, never radically straying from it's
principle theme, but the musicians continually head off into subtly varying
directions to keep things interesting, and the intensity level is so high that
I was jamming along with the band throughout.
Finally, in a first for Escapade, this
all-improv band does a cover of Pink Floyd's "Interstellar
Overdrive". The band opens and closes with the song's classic riff but in
between takes the music deep into Escapade territory and makes the song their
very own. TOTALLY cosmic, alternating between being freaky-ambient and kicking
out a noisy avant acid rock edge.
In summary, this is my hands down favorite
Escapade release to date. A killer blend of jamming spaced out Krautrock,
trance, and drone, the band occupies an undefinable space between the sounds we
all love from yesteryear and a more forward thinking post-rock sound. HIGHEST
recommendation. - Jerry Kranitz
REVIEWS
OF OTHER ESCAPADE RELEASES:
Searching
For The Elusive Rainbow
Inner Translucence
Obscured Dialogues
Citrus Cloud Cover
Due to a Faulty Premonition
Remembrance of Things Unknown
A Thousand Shades of Grey (split w/ ACID MOTHERS
TEMPLE)