Amazing and Live
Marcus R. Hartse | Southeastern Montana | 08/18/2008
(5 out of 5 stars)
"I have to confess that when I purchased this album I had no idea what to expect. Generally I'm not an "ambient" music fan but from the opening keyboard chords I was hooked. Generally one would almost expect to slide into the typical keyboard ambient trap that most albums like this tend to do; then Kurt started interjecting his guitar work into the mix and the music took an unexpected turn. I usually have to be in the right mood to listen to this sort of stuff but as the first track, Senor Wences, moved on I just slid into the sensation of the whole piece. Surreal musical vistas opened before me and I flew through my imagination. There were also excellent rhythm changes with nice percussive accents kicking in giving a pleasant texture. This ambient music has not only that feeling, but a sense of world music about it too. Tangerine Dream, Vangelis, Larry Fast, all those musical entities crossed my mind but the guitar work of Kurt Michaels was the interlacing link holding the elements together. Sitting there I'm thinking to myself, "Hey, this is pretty darn good;" and then it dawned on me that this was a live recording. Even more impressive. Improvisational live ambient music that I actually liked. I don't pretend to be a music critic and I can only hide behind the cloak of "I know what I like," but I definitely like this album. I believe any fan of this genre will too and that one should give it a chance at a listen. I read the other review and from a technical point of view agree with it wholeheartedly. I felt it best not to repeat what was already said but give a more visceral explanation of the album. From an old metal music kind of guy I think what I'm saying is the highest praise I can give. Give Kurt a listen."
Music for the mind's eye and a feast for the ears
Stinky Britches | Cardiff, UK | 06/07/2007
(4 out of 5 stars)
"Recorded between 2004 and 2006, Outer Worlds consists of six startlingly original and completely improvised live performances by guitarist Kurt Michaels and various guest musicians (Jim Gully, Mike Cosentino and John Melnick). I came to this album cold, having no previous experience of Kurt Michaels' other releases or his highly individual ambient guitar style.
The album is largely made up of guitar / keyboard duets and is probably best described as part of the `New Age / Ambient' genre. I hesitate to use this tag, as Outer Worlds is certainly not an album of ambient music designed to be played in the background while you get on with something else.
Outer Worlds effortlessly sidesteps all the problems that beset the New Age music of the 80s and beyond. There are none of the vapid sugary tunes or self-conscious effects that gave the Ambient Movement a bad name. Instead, this is an album of flowing textures and complex tone-colors, in which Kurt Michaels uses his broad sonic palette to sculpt some astonishingly vivid aural soundscapes.
Comparisons are difficult. Brian Eno, Steve Hillage, Peter Baumann and Robert Fripp all spring to mind, but this does not really do justice to what is a very distinctive work. Standout tracks are the three-part opening suite (Senor Wences / Lamb Chop / Chucky - recorded with Jim Gully) and `One', the 43-minute magnum opus that closes the album (with terrific contributions from John Melnick on keyboards)
One of the great pleasures in listening to live improvisation is the sense of tension created by the knowledge that you are listening to a fragile creation balanced precariously on a high wire: There is no safety net and part of the thrill comes from knowing it could all go horribly wrong at any moment. That it doesn't is a testament to the wonderful virtuosity of the musicians involved here.
Outer Worlds is certainly music for the mind's eye, but it's also a veritable feast for the ears.
"
Track Listings (6) - Disc #1