The linear explanation of Tranquonauts is a collaboration between Seedy Jeezus and Earthless guitarist Isaiah Mitchell. It’s a single album with two songs, both of which come in just under the 20-minute mark. There are drums, bass, guitar, keyboards, samples and some freakishly good guitar work.
The record is 30 seconds in before you can hear anything, the only discernible noise the distant sound of rolling clouds. There’s some distorted sample vocals, a rumbling bass, a jazz-like skipping drum bass and some wiry guitar lines. It’s a three-dimensional sonic space, a space time continuum that sits at the bar with John Coltrane, worships at the shrine Hendrix and dons a robe with Dead Meadow. The mood drops back and you’re floating through space, pondering the meaning of life or just taking in the sights. Five minutes later, and you’re trapped in the zone with no desire to leave. In a flash it’s a rock’n’roll track, all humping blues riffs and wide-eyed gazing into the ether. It slowly flows back out, a final flourishing coda and it’s over.
The second instalment opens with a sample of a story of a peyote trip gone wrong, complete with monstrous images. It’s a casual start, an opiated Doors excursion punctuated with the occasional crashing wave and random lysergic musing. The Kriegerish noodling gives way to some dirty psychedelic guitar and the mood takes an ominous turn around the dark side of the sun. Then you’re back again, and tranquillity reigns, for the moment at least. By the 15-minute mark, all hell’s broken loose, and the somnambulant atmosphere is a distant memory. And when it’s all over, you’re still there, and only just. Tranquillity? This is sonic revelation.
BY PATRICK EMERY
