(Shalosh Cult, 2017)
Wyatt E. is a three-piece from Belgium (consisting of guitars, synths and drums), recently brought into my attention with their awesome display of steady and hypnotic, yet intense and deeply colourful Psychedelic and Doomy Prog-Rock jamming, with strong nods to the desert ways of classic Stoner. Before this release, they have apparently released one album, similarly containing two about 20min songs such as this one, but after a quick listen of the first one, it is evident the band has progressed musically and aurally even further after their first release.
The first song “Nebuchadnezzar II” starts with ambient whirling synth-effects reminiscent of an ominous wind or a swarm of insects, before adding ritualistic percussion and sitar-sounds, as well as some flutelike synth-effects. A very minimalistic start for the album, yet the listener gets the feeling of high quality and strong emancipation for something mind-blowing, and the listener is not wrong. As the song explodes into a slow and Doomy beat, loud guitars with heavy effects invade our minds. Sounding a bit out of place (like from an old Western movie) at first, the ear gets used to the idea of this section of the song quite quickly, and the trip is on. Going quite intense at parts due to background guitars of heavy audial aesthetics and other synthy effects, the song keeps the listener in it’s grasp nicely to the middle part of the song, where the journey slows down into a Middle-Eastern melody from the guitar (and a cool organ in the background), before exploding into new realms with quite heavily distorted guitars. After yet again a short and more calm part, the song ends in truly awesome sounding Oriental tremolo melodies from a very atmospheric guitar, ending the song in great style. The whole experience lives up to it’s name, bringing to my mind the Babylonian king’s dreams of doom and apocalypse, as told in the biblical narrative.
The second song, “Ode To Ishtar”, starts with some minimalistic but tribal sounding drumming and low thumping basses, backed up with various vintage-sounding synths and howling and chirping synth-like effects, which bring to my mind an astral Babylonian river of futuristic and retro aesthetics. As Ishtar descends further and further into the collective unconscious, the underworld is revealed to be a vast and cosmic place of many layers and plains opposite from anything claustrophobic. As the drumming turns more complicated adding some snares and crashes into the ritual call, more wavy synths and Egyptian-sounding guitars appear, joining the caravan floating on this cosmic river. The whole experience is so pleasant I can imagine spending hours and hours tripping here, letting the river take me to more and more exotic sceneries of the vast and forgotten subconscious. As more drony synths appear and the drumming intensifies further, guitar leads jamming naturally Middle-Eastern melodies take over the experience almost completely, placing the final trance upon the mesmerized listener. A bit halfway through the song, the awesome displays of the musicians and instruments halt down into a stoned transition, before morphing into a quite groovy and jamming beat from the drums, as the other instruments continue their hypnotic riffing while growing slowly into yet another mental climax. The end of the song cuts some of the aural layers down, ending the experience in quite serene states.
While both of the songs deliver perfectly what they intend to do, the second song is a bit better than first one when it comes to overall harmony of the various psychedelic sounds. Both songs have a strong feeling of live-recording into them, which naturally suits this kind of music perfectly.
Altho hypnotic and trancelike, this stuff might be too much as a casual meditative experience for most people, but everyone experienced in psychedelics (and/or longer meditation sessions) will recognize instantly the great psychedelic and spiritual potential of this music.
A heartily recommended release for all fans of intense yet patient aural psychedelia, especially for those with a soft spot for eighties and nineties synth-vibes, classic sustained and hypnotic Prog Rock, and mental Middle-Eastern aesthetics.
I wish a great future of touring and jamming in the studio for this band. They totally deserve it.