"The sound of Omar Rodriguez-Lopez and John Frusciante riffing off each other and bouncing textures over simplistic, yet defined melodies is what lies in this new Omar-related musical endeavor. The record goes back to the concept of a two-man guitar jam. It's one of the most basic forms of musical bonding and the intertwining of individuals' styles and musical thoughts over a set progression or song. However the process of two men recording their completely different musical abilities over an album of set melodies and songs, transcends above what is originally seen as a stripped-down, simple jam. (...) The fact that the jam-based, un-intellectualized approach of this album can create such a haunting atmosphere and create a vibe of musical complexity, is what is ultimately the most impressive aspect of this record. When two men approach the same song structure with different sounds and ideas, it can lead to magnificent heights."





"Listeners under the impression that drug music began with "White Rabbit" and ended with "White Lines" would be wise to pick up the first and best volume in the German Trikont label's excellent Flashbacks series - compiling 25 jazz, blues, and vocal cuts from the first-half of the 20th century, the set documents World War II-era vice and sin at its finest, deftly mixing radio hits with utter obscurities. The songs range from the benign (Gene Krupa's "Feeling High and Happy") to the explicit (the Memphis Jug Band's "Cocaine Habit Blues"), and while some of the selections are clearly reaching to justify their thematic inclusion - Bukka White's immortal "Fixin' to Die Blues" almost certainly has nothing to do with "fixing" in the junkie lexicon sense of the term -- the pacing and sequencing are dead-on, and even novelty throwaways like Harry "The Hipster" Gibson's "Who Put the Benzedrine in Mrs. Murphy's Ovaltine?" stand up to repeated listening in this context. Excellent remastering and liner notes (in both English and German) round out the package."
—Jason Ankeny

pop rock



"(...)It's really wonderful and relaxing, but not as minimalistic as its reference point (Brian Eno, in case you aren't familiar with ambient music). In fact, it doesn't actually sound much like it. There's even got some sparse bass and guitar playing on the first side, not unlike what you would expect to find on a (very) quiet Mogwai song anno 1998-ish. Overall this is really excellent ambient/drone stuff though, and considering these guys have been releasing stuff since the late 90s I'm a bit surprised I haven't come across them before. If you haven't either, make sure you give this a try."

1. Music For Spaceports 16:24
2. Très Cosmìque 13:31


Ambient 1: Music For Spaceports (2009)