INTERSTELLAR

Took a gamble on this one, no reviews, no vids on the net, but there was something?something about this that just struck a chord, a musical rope that lassoed me in as if hypnotized. Transfixed and yet somehow confident that it might be one of those sleepers out there, unheard and undetected, a jewel in the unknown, I was overjoyed at the very first listen. This is smooth electronica with prog leanings, like Vangelis or Jean-Michel Jarre, that enchant immediately by its simple complexity, liquid pearls of sound heralded by strength in pulse and determination, the goal obvious with each note floating in the ether. Effects, both voice and device, are mesmerizing at the very best, silky suave clouds, whistling wind and warm sunshine all uniting for the cause. This a one man show, as Gérard Verran handles the entire instrumental arsenal with flair and talent.

The title track is what one would best describe as a trend setter, a beacon illuminating the path, setting the controls to the heart of the sun. A meticulous voyage that sinuates into your inner groove, Molecule is a style of sound that reflects the urban jungle and the innate desire to escape from it. Initial shimmer daubed with effects followed up by a rhythmic pulse that keeps stopping and then restarting, harsh synthesized screams and electronic shouts careening into the cosmic horizon.

The aural hypnosis performed on "Eclipse" is a masterpiece of charm and effect, in a purely musical sense, both immediate and physical while still soaring far into space. The bass rhythm is obsessively binary, reminiscent of Floyd's "Another Brick in the Wall", drilling the mood with purpose and profound reverie. The sonic colors are hypnotic to the point of a heartbeat.

All kinds of astronautically enhanced noises and effects greet the next piece, as "Transmition" keeps the mood flowing, obsessive and defiant, a way more progressive version of Deep Forest, Thomas Dolby or even Thievery Corporation. The synth bass carries the load with "EOS failure" announced in the background, swirling sequencers "Isomorphisme" is much more experimental, almost nightmarish and lunatic at times, with chaos and dissonance dancing amid the pulsating groove underneath, messing with the mind and flinging the dispossessed listener into deep space. Jarring piano, jungle beats, torrential walls of noise, all combining to create a sense of insanity. Utterly brilliant.

The longest track is the airy "Atmosphere" is another sly intruder, nudging its ambient honey into gentle wisps of lingering serenity, rattling snakes and birds singing, little flute pillows fluffing along, focused on some age-old lament, a sad Celtic folk song perhaps. Carefree and entrancing, its soporific gleam is impossible to avoid, no wasted 'noises' that ruin so many otherwise great electronic albums. This has evident purpose, you just know where this is going on every piece and this keeps the pageantry alive.

No, it's not a version of JM Jarre's classic but rather its own little universe as "Oxygene" flutters innocuously with liquid purpose, a marriage of dripping faucet with sheets of rain, as a piano takes the spotlight, sad and despondent. This is a 2 minute piece that prepares nicely for some higher level of "Stratosphere", a silky synth bass motif establishing the shuffle and laying down the platform for a delicate trumpet-like synthesizer flurry, radar pings defining the bearings.

Out of breath and panting, "Control for the Sun" presents evident references to ambient experimental prog that halfway through morphs into another mellotron caressed, synth-bass undulation that is heavily voice effected. This is Molecule's stylistic calling card, going from initial sonic effect-laden samplings to an outright cosmic melody that is immediate and thorough.

Well, having lived it, I can tell what "Summer 69" is all about, as the entire world, from Patagonia to Siberia and Namibia to Alaska was watching the first moon landing, in utter and complete amazement at human ability to discover outer space and boldly go where no one had gone before. The theme here is hopeful and expansive just like those magical summer days in 1969, when everyone, everywhere looked up at the moon and the stars and smiled.

I have to thank Greg Walker, purveyor of prog to many fans worldwide in his description that got me pull the trigger: "Excellent progressive space somewhere between Pink Floyd, Ozric Tentacles and Tangerine Dream".

4 smidgeons