Sky Pilot

SKU: CAM033CD
Category:
Psychedelic
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"A dangerous combination of mental illness, drug-fueled paranoia, and religious fervor precipitated the decline of Arizona's fabled Black Sun Ensemble and its leader, guitarist Jesus Acedo. BSE, so raw and powerful in its prime, was the stuff of psychedelic legend. Quixotic frontman Acedo could spit blasts of dragon-fire or conjure the exotic, iridescent mystique of peacock feathers with a single stroke. Alongside his Ensemble accomplices, the mercurial Acedo raged at the heavens or reveled in dream-like visions.
In a fit of holy delusion mania, Acedo destroyed his instruments and most copies of BSE's final recording, 1994's PSYCHO MASTER EL. These tapes, remastered and stripped of the original session's pained vocals, resurfaced in 1999 as SKY PILOT. Acedo thunders from his mount, a deranged preacher delivering a sweeping psychedelic sermon--declamatory metallic chords, gusts of feedback, seething quicksilver pick-work, and liquid modal ornamentation. The Ensemble churns behind him, a doomed chorus of guitarists, percussionists, and bassists wailing and flailing in their self-destructive throes. Apoplectic and apocalyptic fever-dream music of the highest order. SKY PILOT also rescues the sweet "Staying Power," Acedo's rare Sky Saxon-esque "pop" single, and previews the recently reincarnated BSE with a scintillating, 22-minute Southwestern reverie, "Sky Pilot Suite."" - Allmusic

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    $2.00
  • Of all the Yes albums that needed a remix this is the one that needed it the most!"Relayer (1974) is the third in a series of remixed and expanded Yes albums.Presented as a double digi-pack format in a slipcase with booklet featuring new sleeve notes by Sid Smith, along with rare photos and archive material, the album has been remixed into stereo and 5.1 Surround Sound from the original studio masters by Steven Wilson and is fully approved by Yes.The DVDA also contains the original album mix in high-resolution, and a complete alternate album running order drawn from demos/studio run-throughsRestored artwork approved by Roger Dean, the release of which coincides with the 40th anniversary of the album’s original late 1974 appearance."
    $20.00
  • 2007 Nick Davis remix/remaster edition. Some consider this their best album - it could be hard to argue against that notion...
    $12.00
  • A new Glass Hammer is like a universal constant.  I can always expect exemplary old school prog rock.  For an old timer like myself Glass Hammer is right in my wheelhouse.  This is their 17th studio album (amazing!) .  If you are unfamiliar with the band you should know it revolves around the core of bassist Steve Babb and keyboardist Fred Schendel.  There have been a lot of musicians through the doors of their studio over the years but somehow they always seem to find an endless supply of them.  The line up seems to be fairly stable at the moment.  Salem Hill mainman Carl Groves handles lead vocals along with Susie Bogdanowicz returning as well.  Guitars are handled by Kamran Alan Shikoh and drums by Aaron Raulston.Glass Hammer music is a reverential amalgam of Yes, ELP, Kansas and what the hell throw in a little bit of Genesis.  Steve and Fred proudly wear their influences on their sleeves.  Want wicked keyboard pyrotechnics?  Fred brings the thunder.  In fact they all do.  The Breaking Of The World arrives with epic length tracks and audiophile quality sound.  I wouldn't want it any other way.  BUY OR DIE!
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  • "My countrymen of The Quill are back with a new album, another one to add to their collection of albums which now equates to seven. They are an experienced band and the album has a sleek and very good looking cover artwork, it almost looks like my cat although he is a bit more wild coloured. Is there any tiger blood in their veins? Well, the title certainly points in that direction, but other than that I don’t know much about these guys and I have never heard them before this album. It is a first, and I always like firsts even though it makes it difficult to compare and also accurately evaluate the album in the grander scheme. But then again, I don’t really know much about stoner rock or metal either.But that is what it is, stoner rock, stoner metal or heavy metal if you like. It is plain and simple rock n roll, no nonsense just heavy, rocking and powerful. It is also rather well produced with a strong singer, and very varied as well. The songs come in a wide range of styles from Status Quo-ish boogie styles guitar playing, some Final Fantasy VII-like melodies and simple stoner rock and many other little interesting angles. It is a rather impressive product that is well performed and the ten tracks are even kept in a decent length with a 45 minute playing time. Compared to earlier works it may or may not be like the predecessor, it is interesting and well made in my book and it feels fresh but of course that isn’t anything I can be certain of as I haven’t heard them before.I think this is a very good album, the songs are all strong. The album has some very good and powerful stuff, it is also catchy and entertaining. Definitely an album well worth listening to as it pushes all the right buttons for anyone wanting straight, simple no-nonsense heavy metal. But not only that, it also feels fresh, and varied so you will not easily get bored with it either. It is a strong and very well crafted album and one that definitely can be recommended to anyone into this kind of music. I don’t think it lacks appeal to fans of other styles of music either. The question is though, will they reach that prospective audience?I think that they might but it needs to be more visible, they have good hits like the opening track Freak Parade which is very strong. Then I also really enjoy the lovely ending track which is a calmer one which is the perfect ending. So it starts well and ends well, and the stuff in between isn’t too shabby either. We have a strong album here, one that I can clearly recommend to anyone who likes their music plain and simple with an in-your-face attitude. It is an enjoyable album, no doubt about that." - Hallowed.se
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  • Miller Anderson made his name as the guitarist in Keef Hartley Band.  He cut Bright City for Deram in 1971, bringing along some of his ex-bandmates from KHB.  The album is a beautiful mix of dreamy folk rock with psychedelic touches as well as driving hard rock.  Definitely "of its time" its a charming album that still holds up today.  Miller Anderson is still alive and kicking as documented by the bonus live track from 2010.  
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  • "SULA BASSANA is on the way again in 2009 - this time with a vintage space rock styled album. Multi-instrumentalist Sula is a music aficionado as no other when simultanously collaborating with several bands/projects, organizing festivals in Austria as well as his own SULATRON record label and mail-order business. In spite of that he's even able to spare time enough to record complete albums on his own. This means 'The Night' was produced at his homestudio where he manages all the instruments by himself. Cover art (painting by Frank Leweke) and track titles are obviously referring to cosmic themes.Here we have five playful songs mastered by Eroc (ex-Grobschnitt) - sounding relaxed and busy at once. This is trippy basically, except some rare heavy rocking elements. Probably this album is concipated as a time travel (didn't ask for clarification though) ... anyhow, the opener In Space appears in really retro clothes - mysterious - maybe even a little bit nightmarish. This is immediately reminding me of a sound track seemingly composed for a sci-fi series like the German 'Raumpatrouille Orion' for example which started in 1966. As for that the song even reflects a pop appeal in my humble opinion especially caused by this special beat and the synthesizer contributions.Later then we are Lost In Space - this song might refer to the early 70s - krautrock tinged with hypnotic rhythm elements where Sula's keyboard work is very very attractive. With the epic title song the album gets going at the latest. Divided in four parts it undoubtely makes out a highlight of the production. Partially grooving but also trippy floating this song is ultimately dedicated to the psychedelic guitar! A wonderful melodic piece of work where you will detect the sole external contribution by Stefan Koglek from the band COLOURHAZE. He provides lyrics and vocals for the second part and this fits closely to the mellow mood.Now hereafter we are up to enjoy contemporary space rock at its best I would say. Meteorritt - the song title shows a nice pun at first colloquially meaning 'ride on a meteorite'. A fine straightforward grooving ride indeed with many repetitve elements plus echoing and swirling guitars all over. Stylistically on nearly the same line Kosmokrator as the last (and longest) tune follows - much more diversified though containing also culminating heavy rocking impressions, some typical vocals - rather more sprechgesang and ambient gliding parts.'The Night' is offered with a charming appeal but guarantees tension too - you can smell Sula's longtime experiences composing music. An excellent cosmic journey which will please krautrock as well as psych/space fans." - ProgArchives
    $17.00
  • EMI is breaking up the Genesis remix/remaster boxes and making the individual albums available. This features the Nick Davis remixed version of Nursery Cryme .
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  • "In October of 2012, Motorpsycho entered Brygga Studio in Trondheim for the first time in many, many moons -- this being the studio where they recorded a few of their first albums some 20 years ago -- the vibes were good, and the music happened like it was supposed to. As this was the first time in quite a while that the band recorded stand-alone songs -- as opposed to pieces connected by a concept or a narrative -- it felt quite odd working in this way again, but it was also a refreshing approach that highlighted other aspects of their work that perhaps had been ignored over the last few years. In the end, it still very much felt like Motorpsycho music, albeit with a twist: for three days of the two-week session, the core trio was augmented by guitarist Reine Fiske. Best-known for his work in Swedish psych-combos Dungen and The Amazing, Reine is an old acquaintance of the band, and his recent exploits with Ståle Storløkken's Elephant9 made the pairing seem like a potentially interesting one for Motorpsycho as well. It's always good to have a wild card and someone from the outside to mirror your work, and the fruits of Reine's involvement, as presented on this album, speak for themselves: his finger-picking dexterity on the acoustic guitar provides both "Barleycorn" and the old Love chestnut "August" with a solid organic bed for the musical escapades of the other three, and on "The Afterglow," his tasteful guitar shadings and mellotron work adds immensely to the mood of the song. But it's on "Ratcatcher" that his talents shine the best: he slips right in there, and proceeds to glue Snah's lead guitar and Bent's "lead bass" together in a different way than heard before, adding light and shade and splashes of color to the musical repartee, but never getting in the way or hogging center stage in an unwelcome fashion. It's the work of a musician with huge ears and an uncanny musical insight."
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  • "Esoteric Recordings are pleased to announce the release of a newly re-mastered edition of the super rare and now classic self-titled Progressive / Jazz Rock album by The Gasoline Band. The group came together in Berlin in 1969 when two Americans, keyboard player Fred Schwartz and trumpeter (and US Army bandsman) Larry "Fish” Brown came together to form a group that would fuse the influences of rock and jazz. By 1970 Schwartz had assembled an ensemble of ten musicians, all hailing from a US military service background. Stylistic differences caused the band to come apart, but the Gasoline Band was the result. After playing concerts in Germany, Schwarz was offered a contract by Cube Records and in 1971 the various members of the band left the US Army and came to London to record their only self-titled album.A fine fusion of rock and jazz, "The Gasoline Band” were championed by Old Grey Whistle Test presenter Bob Harris but sadly failed to make any commercial impact. The album is now hailed as one of the finest (and rarest) records of the genre and this Esoteric Recordings edition marks the album’s first official UK CD release.Newly re-mastered from the original tapes, the reissue includes a booklet that fully restores the original album artwork and a new essay." 
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  • I have to plead ignorance.  Until recently I never heard of Innes Sibun.  Turns out the guy is a world famous British electric blues guitarist.  Back in 1993 he was a member of Robert Plant's touring band and has a signficant solo career.  Can't Slow Down was recorded with his quartet live at the Estro in Harderwijk, Netherlands on March 12, 2011.  This disc burns beginning to end.  If you are a fan of Rory Gallagher or Roy Buchanan and even guitarists along the lines of Hendrix and Trower you need to hear this guy.  Serious wah wah laced guitar driven excursions with backing of keys and a solid rhythm section.  A scorcher!!  Highly recommended.
    $14.00
  • Now here is a beautiful slice of contemporary progressive rock.  Anubis is an underrated band from Australia - bands down under don't seem to get the attention they deserve.  Hitchhiking is their third full length album.  2011's A Tower Of Silence was a big hit around here and frankly when it arrived it came as a huge surprise.  This long awaited follow up reinforces that the prog rock world needs to take notice.  The music has a cinematic Floyd-like feel.  Vocals from Robert James Moulding are emotion driven and have plenty of impact.  This is not a band who's music is filled with tons of soloing but what's here is solid.  In other words this is not old school prog - its very forward thinking but with a modern sound.  Highly recommended."I have long dreamt of an Australian progressive rock album that would inspire me to click the repeat button, in order to drift through its world all over again, and I am happy to declare that Hitchhiking to Byzantium has been on constant rotation for weeks at this point. Bringing an enchanting blend of Floydian melancholy and the energy of Rush to the table, Anubis have come to stake their claim as heavyweights in the Oz scene with their third opus.Whilst being equally impressed with their 2011 album A Tower of Silence (which I have only just heard recently also), I have found myself returning to Byzantium more to explore the subtle nuances contained within the album’s ten tracks. ‘Fadeout’ as an opening diddy is like riding a gentle breeze for just a short while before being swept up in all the drama and opulence of ‘A King with No Crown’, a reference quality track on every level, cinematic in scope and full of drama and tension and certainly an inspired choice as opening single for the album. ‘Dead Trees’ is a classic prog cut with all the bells and whistles sporting a vocal performance that harkens to a young James Labrie and a chorus that will have you by the balls from the first time you hear it.I mentioned a notable influence from Floyd and Rush earlier, but if I was to be honest, I would love to ask them if they are fans of American prog band Tiles and those wonderful Brits Anathema, because both bands are called to mind on this album amongst others like Sweden’s Anekdoten. The title track is a sublime centrepiece and features a plaintive aura that is sent soaring when spine-tingling female backing vocals lace the chorus. It’s so hard to choose a favourite song when they are all so filled with creamy goodness, but any of these three  - ‘Blood is Thicker than Common Sense’ (a seductive groover), ‘Tightening of the Screws’ (a majestic slice of melancholia reminiscent of early The Pineapple Thief) or ‘Partitionists’ (a lyrical and musical marvel) - could easily take the title for this humble listener.The final triptych features dark drama in ‘Crimson Stained Romance’, a song that reminded me most of a classic Floyd epic, the 15+ minute ‘A Room with a View’, which is nothing short of a sweeping symphony of moods and tones and the closing ‘Silent Wandering Ghosts’ sounds exactly like its title would suggest, haunting and transcendent with an outro to die for.These seven talented lads are a gifted lot, with every performance of outstanding quality, enhanced by a jaw-dropping production that let’s every instrument tell its own little story and play its part in this emotionally resonant work that as the band state themselves: "I feel that there's more of us in there - the hurdles that life throws at us and the only way to feel true inner peace - by examining the love around you. It's certainly an introspective record - but it's real life. It's about you, it's about me, it's about all of us. Hitchhiking to Byzantium. That journey is life."And somehow I believe them." - Loud Mag
    $15.00
  • 28 years is a long time for a band to stay together but that's how long Woodenhead has been playing together. They have quietly cultivated a dedicated cult following in New Orleans. Now Free Electric Sound is bringing this extraordinary quartet to a national audience. Woodenhead's music is a spicy gumbo of jazz fusion, symphonic rock and local R 'n' B flavors (sorry for the wordplay!) The group has toured the U.S. and Central America and has played the New Orleans Jazz and Heritage Festival for over 20 years. The band has played with the Dixie Dregs, Mahavishnu Orchestra, Billy Cobham, Chick Corea's Elektrik Band, John McLaughlin Trio, Bela Fleck and The Flecktones, Tuck And Patti, Hugh Masekela, Spyro Gyra, Robben Ford, Johnny Winter, Stevie Ray Vaughn, and John Mayall, and has toured with the Steve Morse Band and Allan Holdsworth."Perseverance", the band's 6th album, was recorded live in New Orleans and captures all the energy and emotional playing of a Woodenhead gig. Augmented by a horn section, the band's music comes across as a blend of the Dixie Dregs, Happy The Man, and Hot Rats-era Zappa. This is an album with broad appeal to fans of jazz rock, prog rock and even Cajun music. "At the New Orleans jazz festival, Woodenhead gets a standing ovation for teaching traditional jazz fans just how far imagination and electricity can push the form" - Esquire magazine
    $5.00
  • "In 1994, The Beatles' Live at the BBC was released to worldwide acclaim - hitting number one in the U.K. and number three in the U.S. and selling more than five million copies within six weeks. Now comes a new companion to The Beatles' first BBC collection, On Air - Live at the BBC Volume 2. On Air's 63 tracks, none of which overlaps with The Beatles' first BBC release, include 37 previously unreleased performances and 23 previously unreleased recordings of in-studio banter and conversation between the band's members and their BBC radio hosts.In the studios of the British Broadcasting Corporation, The Beatles performed music for a variety of radio shows. On Air - Live at the BBC Volume 2 presents the sound of The Beatles seizing their moment to play for the nation. Thrilled to hear these exciting recordings again, Paul McCartney said, 'There's a lot of energy and spirit. We are going for it, not holding back at all, trying to put in the best performance of our lifetimes.'Ten of On Air's songs were never recorded by the group for EMI in the 1960s, including two making their debuts with the new release: The Beatles' direct-to-air performance of Chuck Berry's 'I'm Talking About You' and a rocking cover of the standard 'Beautiful Dreamer.' On Air also includes different versions of six rarities heard on the 1994 BBC collection: Little Richard's 'Lucille,' Chuck Berry's 'Memphis, Tennessee,' Chan Romero's 'The Hippy Hippy Shake,' Ray Charles' 'I Got A Woman,' and two songs they learned from records by Carl Perkins, 'Glad All Over' and 'Sure To Fall.'The Beatles' tribute to the BBC's most important pop show of the early '60s - 'Happy Birthday, Dear Saturday Club' - is another surprise. As John Lennon recalled in 1980, 'We did a lot of tracks that were never on record for Saturday Club - they were well recorded, too.' Paul remembers, 'We'd been raised on the BBC radio programs. One of the big things in our week was Saturday Club - this great show was playing the kind of music we loved, so that was something we really aspired to.'Between March 1962 and June 1965, no fewer than 275 unique musical performances by The Beatles were broadcast by the BBC in the U.K. The group played songs on 39 radio shows in 1963 alone. Ringo Starr said in 1994, 'You tend to forget that we were a working band. It's that mono sound. There were usually no overdubs. We were in at the count-in and that was it. I get excited listening to them.' On their busiest BBC day, 16 July 1963, The Beatles recorded 18 songs for three editions of their Pop Go The Beatles series in fewer than seven hours.The group played 88 distinct songs in their BBC sessions - some were recorded many times; others performed just once. At the time, three national BBC stations provided all daytime radio broadcasting in the U.K. Only the Light Programme network might occasionally play a record. Most broadcast music was live music. Consequently, to promote their releases, The Beatles had to play live at the BBC. 'Everything was done instantly,' remembered George Harrison, 'But before that, we used to drive 200 miles in an old van down the M1, come into London, try and find the BBC and then set up and do the program. Then we'd probably drive back to Newcastle for a gig in the evening!'On Air also features BBC recordings of 30 well-loved songs from The Beatles' catalogue, including five number ones and other favorites such as: 'I Saw Her Standing There,' 'Twist And Shout,' 'Do You Want To Know A Secret,' 'Boys,' 'Please Mister Postman,' 'Money,' 'And I Love Her,' and 'If I Fell.'"
    $9.00