The Oscillation

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The phrase used on the information listing in the reviews pool here at Echoes & Dust, described From Tomorrow by The Oscillation as sounding like “Syd Barrett-era Pink Floyd”. Bloody hell, they weren’t half right. Well...... for the first track on the album ‘Corridor (Part One)’ at least anyway. With more than a passing nod (more like a hearty handshake and tongue kiss) to 'Interstellar Overdrive' from The Floyd, The Oscillation begin their journey through psychedelic rock in a comfortable fashion. So far, so Roger.

It’s the fact that track two, (the cunningly titled ‘Corridor (Part Two)’), is much more expansive with its stabs of keyboards and watery guitar lines that gives me the sneaking suspicion that The Oscillation know full well what pigeon hole people will try to put them in so have deliberately put the most Barrett-esque track first on the album. Everything that follows is more ethereal and kaleidoscopic. And much less pastoral. ‘Descent’ shimmers into view with a riff not a million miles away from that band’s space opus ‘Set The Controls For The Heart Of The Sun’, but thanks to some great percussion feels more Middle Eastern than Milky Way.

Just when you thought it was all going to be lava lamps and the aroma of incense, ‘No Place To Go’ ambles over with its fuzzed up guitars and bass riffing back and forth. A welcome upbeat, up tempo track albeit it with suitably trippy lyrics (both in language and effects used). This track, along with ‘Chrome Cat’, are perhaps the most straightforward rock songs on the album but with all manner of echoes and delays and drones that you might well guess.

The standout tracks on the album are ‘Dreams Burn Down’ and ‘Out Of Touch’. Both esoterically wonderfully in their execution and fascinating journeys into what space (the musical concept) can do for a track in terms of heightening expectation and dynamics. The former floats into existence on a bed of keyboards and wails whilst the indistinct vocals add a texture that combines to make a startlingly sparse, almost non-song. The latter an 7 minute master class in how to build an atmosphere using layers of sound effects, instruments and instrument effects. So engrossing are these two tracks that it’s easy to see why the band wedged ‘Chrome Cat’ in between them. It acts as a palette cleanser for the ears.

What a wonderfully broad vista is created on this album. Don’t let the Barrett tag put you off, yes there are certainly shades of Piper At The Gates Of Dawn (and also Saucerful Of Secrets) dotted throughout this record but it’s so much more than that. It’s an (at times) wordless journey thought a musical landscape that begs to be filled by your imagination. This is both an album to share but also one that is intensely personal. What more can you need?

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