Karmic Society - Journey (2007 Germany). Karmic Society are a new, primarily instrumental German band who have a sound somewhere between the early 1970s German/British heavy prog rock sound (2066 and Then, Odin) combined with some 60s jam band elements (Grateful Dead, QMS) and even some Kraut space rock ala Ohr era Guru Guru. Nice to see the high quality reissue label World in Sound beginning to produce some fine new talent in addition to their excellent reissue inventory. “Journey” opens with a fascinating cover of an obscure mid 1960s synthesizer composition, though with a full sounding rock band (organ, guitar, bass and drums). From here they launch into their 4 original compositions, which are easily the highlights of the album. Hammond organ and electric lead guitar are the solo instruments of choice, and to my ears at least, they sound like the best of the retro hard prog rock groups like Black Bonzo, Blood of the Sun and the Wicked Minds. One aspect of Karmic Society’s sound that I find highly appealing is their strong melodic sense, something that is lost on many newer bands. The final 3rd of the disc comprise of all covers. “Yoo Doo Right”, the old Malcolm Mooney era Can chestnut gets a much needed upgrade, and I find Karmic Society’s version considerably better and more focused (and frankly less annoying). Quicksilver’s “Witches Moon” is up next, and KS are up to the task with a riveting version. They close with the Dead’s “Dark Star”, which if nothing else takes a lot of guts. There are literally thousands of live versions of this opus, mainy of them masterpieces in their own right. They’re stomping on sacred ground here, and perhaps it would be better not to try an attempt, even if they do indeed produce a fine version. In conclusion, Karmic Society are much better with their own material which fits them like a well tailored suit, and I hope in the future that’s the focus for them. They have “classic” written all over them. Even as it is, “Journey” is simply VERY GOOD and is not to be missed!

Mylla - Vanya (2007 Sweden). Mylla are the house band for Subliminal Sounds and sort of represents an “All-Star” cast featuring, amongst others, label wunderkind Gustaf Ejstes (Dungen). Recorded on a remote forest island in the Arctic, Mylla’s sound is, appropriately enough, isolated from modern times. Organ, ac. and el. guitar, flute, and the songwriting and production all recall a 1969 to 1971 vibe. The compositions are all quite lyrical and the overall sound is VERY Swedish. So a love of the language in song is pretty much mandatory for one to have any chance of appreciating this album. Anyone from Träd, Gräs och Stenar to November would be a good guidepost here on the vocal front. Musically, it’s interesting to spot pre “Aqualung” Jethro Tull coming to the fore. I’m averse to comparing any rock band with an abundance of flute to Tull, but sometimes it’s unavoidable, especially if the songwriting style is similar. And even though I said earlier how Swedish this album is, the closest album I can compare it to is Finland’s Tabula Rasa circa their debut. Other than a couple of 60s sing-around-the-campfire feel-good ditties, this one is easy to recommend. While the album as a whole isn’t overly convincing, I have a feeling future efforts will be awesome, if such an event occurs. The right pieces are in place.

Lamp of the Universe - Earth, Spirit and Sky (2005 New Zealand) LotU is the pseudonym of Craig Williamson from New Zealand, who’s aggressive side is carried out in the stoner metal band Datura. On “Earth, Spirit and Sky”, Williamson seems to conjure up his inner Popol Vuh, and has released an album that is almost entirely acoustic. This is LotU’s “Hosianna Mantra”. Though a good idea initially, the album becomes pretty monotonous after awhile, as he still possesses the “dreamy” vocals of prior works, and the material begins to blur together. Only a couple of instances of electric guitar are presented, which provide much needed color to the proceedings. All the limitations of a one-man band are brought forth, and it’s clear that for LotU to go forward, Williamson is in much need of assembling a full band and the introduction of new ideas.