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congrats my friend ---------- >From: Adam Levin <alevin@DarkAether.Net> >To: loopers-delight@annihilist.com >Subject: Feed the Silence >Date: Tue, Jun 29, 1999, 11:18 PM > >The following review is from pages 96-97 of the latest issue (#31) of >Progression Magazine - available at your local Tower music store news >stand: > >The Dark Aether Project: Feed The Silence (CD, 51:57); Dark Aether DAP2. > >It took about eight minutes before I was convinced that Dark Aether >Project was onto something with their second disc, but convinced I >remained. They open with what sounds like a sample from an old atomic-bomb >scare documentary, out of which comes a heavy wave of wind. A Floyd-ish >keyboard figure emerges, then leaves as, even more in the Pink, guitarists >Adam Levin and Yaman Aksu play a wonderfully spacey duet, one flanged, the >other more pointed, sustained. Aksu switches to Hammond organ, Brian >Griffin kicks in with nicely restrained drumming, and by this time I'm >blown away. This is - forgive my colloquialism - some serious shit. > >"Nightmare" has Levin dragging a Warr 8 String Touch Guitar loop across a >"Not Fade Away" riff variant, in a lumbering dance groove that supports >strong melodies, and a compelling vocal line sung by Ray Weston, ex of >Echolyn. "Stages" cites _Three of a Perfect Pair_-era Crimson, but takes >the influence into some interestingly different areas over its near >nine-minute length. The band's ability to balance written material with >kick-ass jamming fervor is very apparent in this piece. Warr loops are >back on "Building the Worm" as Levin provides some beautiful space for he >and fellow Warr Touch player Markus Reuter to land on, circle each other >in a pas-de-deux of wild serenity, and end with a touch that'll take your >breath away. > >Convinced yet? Weston's voice gets a marvelous showcase on the title >track, with imaginitive vocal writing, and some hair-raising, Jim >Morrison-like screams. _Feed the Silence_ also shows the band to be very >adept at developing long-form compositions, with a harmonic >distinctiveness and sensitivity to mood that recalls the late-1960s West >Coast band Love. > >A nine-minute, live bonus-track, "Out of the Dark/Dark Aether" (I love a >band with a theme song) opens in outer space, wah-wah'd, fuzzed out, and >all but strained through a Leslie. Around three and a half minutes, >there's a tantalizing hint of a move into tempo, but drummer Brian Griffin >delays gratification for a while, finally ushering in a huge bass figure >around which the loops bob and weave. The performance ends just as it >began, Aksu and Levin sparring, circling, throwing flames of electricity >at each other. The tune also shows that these guys can reproduce their >studio genius with satisfying accuracy onstage. > >Dark Aether Project hits a lot of progressive rock pleasure points with >_Feed the Silence_, but make no mistake: this is not another derivative >band with little new to say. They are there, Bud, and this is an >absolutely fabulous album. Go for it. - Larry Nai >--------------------------------------------------------------------------- > >"Feed The Silence" as well as The Dark Aether Project's self-titled debut >are available from purveyors of fine music such as The Artist Shop, The >Laser's Edge, New Sonic Architecture, Of Sound Mind, Syn-Phonic, >Wayside/Cuneiform and ZNR Records. > >For distributor contacts, sound samples, full concert schedule, venue >directions and more info, visit http://www.DarkAether.Net/ > >