Aeoliah Bliss CD

Bliss Music

List Price	$8.97 (You save $0.58)
Category	Rock/Pop Albums, New Age CDs
Label	Oreade Music
Orig Year	2002
All Time Sales Rank	267308
CD Universe Part number	3418689
Discs	1
Release Date	May 07, 2002
Studio/Live	Studio
Mono/Stereo	Stereo
Personnel	Aeoliah - keyboards

Aeoliah Bliss Songs

	1.	Serene Splendour
	2.	Angel Feather
	3.	Healing Heart, The
	4.	Angel's Touch
	5.	Gift, The
	6.	Phoenix Rising
	7.	Ecstacy

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Those familiar with guitarist Raoul Bjorkenheim from his work with the harder-edged Krakatau and with guitarist Nicky Skopelitis from his work with the very soft-edged CyberOctave label may be surprised by what they hear on this duo album. Featuring the percussion talents of Bill Buchen and the spiritual oversight of bassist Bill Laswell (credited here with "sounds"), Revelator delivers mainly lush, exotic grooves that are consistently both easy on the ear and sonically challenging. It would be easy to let these ambient soundscapes fade into the background, but then you'd miss the complexities -- the way Bjorkeheim's bowed guitar snakes around until Buchen's tabla enters to clear the way for Skopelitis' Delta blues figures on "Epiphany" or the gorgeously polytonal "Fresh Meat and Roses." Those who enjoyed Laswell's Hear No Evil will find a lot to like here, as will fans of the first Robert Fripp and Andy Summers collaboration. Recommended. ~ Rick Anderson Although they both claim the guitar as their instrument of choice, Nicky Skopelitis and Raoul BjĂśrkenheim probably couldn't come from more radically different backgrounds. But one essential trait they do share is an inexhaustible thirst for new directions and new sensibilities in music, and with Revelator - a collaboration that, true to its title, attempts to reveal the unexpected as it also explores a slightly spiritual edge - the guitar becomes a vehicle for two distinct voices. From there, the quest for a third voice begins: where creative forces meet to offer up a glimpse of one possible ...

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Them's second post-Van Morrison album, even more than their first such effort (Now & Them), grew further away from their mid-'60s style, to the point where there were few audible links to how Them sounded in the British Invasion era. And like Now & Them, it was an intermittently worthwhile but somewhat characterless record, reflecting late-'60s trends in album-oriented rock without adding much to them or innovating paths of their own. It was even more Los Angeles-psychedelia-influenced than their prior LP, taking the lead of Now & Them's strongest cut ("Square Room") to explore sitar-laden raga-rock on several songs. "Time Out for Time In" adds a nice waltz overlay to the raga-rock sound, but "Black Widow Spider" and "Just on Conception" frankly live up to the stereotypes of "oh wow!" hippie-trippy word soups from the era. So does "The Moth," but at least there some Roger McGuinn-like vocals and dreamy orchestration add spice. Other songs are competently done but nonstandout heavy soul rock, with "She Put a Hex on You" sounding right off the cutting room floor of a 1968 psychedelic dance rock club movie scene; you can just see the bandana-swathed babe from central casting gyrating as the strobe lights flash. "Waltz of the Flies," the best song, is indeed a beguiling psychedelic waltz, and Jim Armstrong's guitar work throughout is far more instrumentally accomplished than what you'll hear on many similar albums. Yet the record's not in the same league as either the Van Morrison-era Them or the better psychedelic/raga-rock endeavors of the late '60s. The 2003 Rev-Ola CD reissue adds eight bonus cuts (all taken from 45s) of value to anyone interested in the post-Van Morrison Them, including the non-LP single "Corinna"/"Dark Are the Shadows," the rare original single version of the punky "Dirty Old Man" (which is superior to the one on Now and Them), and the rare original 45 version of "Square Room" (which isn't as good as, and is much shorter than, the one on Now and Them). ~ Richie Unterberger Them's second post-Van Morrison album, even more than their first such effort (Now and Them), grew further away from their mid-'60s style, to the point where there were few audible links to how Them sounded in the British Invasion era. And like Now and Them, Time Out! Time in for Them was an intermittently worthwhile but somewhat characterless record, reflecting late-'60s trends in album-oriented rock without adding much to them or innovating paths of their own. It was even more Los Angeles psychedelia-influenced than their prior LP, taking the lead of Now and Them's strongest cut ("Square Room") to explore ...