NEW RELEASE JANUARY 15th, 2002
				SPACECRAFT: Inside The Inside (sfmSP1020) on SpaceForMusic.com Records Tony Gerber • guitars and synthesizers Giles Reaves • synthesizers, percussion & processing John Rose • synthesizers, harmonica, & vocals Diane Timmons • synthesizers, flute & vocals 1. Appalachia 2. Madden's Farm 3. The Nameless One 4. Center of the Earth 5. Plateau People 6. Future Ages 7. Venusian Bathysphere 8. Materializing 9. Return “Inside The Inside” is the 9th CD release from the space music group, SPACECRAFT. Recorded live during their 2001 returning performance for the Gathering Concert Series at St. Mary’s Cathedral in Philadelphia, PA, we find SPACECRAFT in their best form. Joined this time by Giles Reaves during their spring 2001 tour, the SPACECRAFT crew guides the audience through a stellar sonic journey. Part of the uniqueness SPACECRAFT offers is the blend of acoustic instruments and voice with electronic synthesis. Their sonic signature is ever recognizable, but this CD displays an intensity and syncronicity between the musical artists that rivals all their other music conversations. SPACECRAFT’s music was recently used in Paramount Picture’s blockbuster film, “Vanilla Sky.” Even Hollywood is getting an ear for SPACECRAFT’s unique and intent sound. SECURE SERVER ORDERING BELOW Item Price SPACECRAFT - Inside the Inside (NEWEST) $12.50 Add to Cart Shipping and Handling $3.50 US for Orders $8.50 for INTL orders CCNow is our authorized online retailer • Secure Online Shopping • All Major Credit Cards • Ordering by Phone, FAX and Mail Also Available through CDstreet.com, Call Toll -Free: 1-877-692-7999 View Shopping Cart  /  Checkout
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REVIEWS SPACECRAFT Inside the Inside SpaceForMusic.com Records (2002) Inside the Inside is a live concert recording by Spacecraft (Tony Gerber on guitars and synths, Giles Reaves on synths, percussion and processing, John Rose on synths, dulcimer and vocals, and Diane Timmons on synths and vocals) from one the "Gatherings," a concert series that has attracted many of the top names in ambient and spacemusic. These four musicians have played a lot together, both live and on other recordings - and it shows. Inside the Inside is a stellar recording (literally and figuratively). Unlike so many ambient and spacemusic concerts, Spacecraft exhibit amazing versatility, moving slowly but assuredly from spacier and more ambient soundscapes to dramatic vistas of Berlin-school EM, progressive fusion, and even retro-60s psychedelia. Putting it mildly, if Inside the Inside is indicative of their concerts, no wonder people rave about them! The opening track (and yes, there are distinctive tracks here) is "Appalachia" and it's a winner, with bells, slow synth washes, and subdued yet soaring space electric guitar that is a combination of long drawn-out notes and Jeff Pearce-like strummed chords. I could listen to this cut over and over and over (well, actually, I have in the process of pre-review listening). As the track unwinds, the sounds of frogs and crickets come out of the shadows, setting the stage for the next song, "Madden's Farm." Gentle and warm ambient keyboards merge with the calls of the nocturnal creatures, along with twinkling bells. This subdued beginning eventually yields to other textures which are folded in, such as mournful synth drones, before more active and overt Berlin-school EM elements cascade into the song: analog synths and pulsing sequencers, as well as powerful (but not too) electric guitar lead lines and what I assume are Diane's wordless vocals. The electric guitar dominates in some portions of the song, but the mix on this recording is so well-balanced that it doesn't overpower the other musical elements (and believe me, I've heard other CDs where that is exactly what happens). There are nine tracks all told on the CD, and while they are distinct songs, they also flow into each other nicely, each transition being gradual yet definite. "The Nameless One" is serene and new agey in feel at its start with electric piano and synth interpolated along with more spacy effects and morphing into a powerful darker ambient-like piece with quavering synths and drones. "Center of the Earth" sounds Bach-like, what with its pipe organ crescendos, yet this element is counterpointed by subdued electric guitar lead lines and delicate bells. "Plateau People" is another Germanic-sounding track here and may be my favorite - pulsing sequencer beats melded to hand percussion and lots of cool spacy synths. It's followed by the frenetic Tangerine Dream-ish "Future Ages" (slyly titled since the warm analog synths actually evoke a retro-nostalgia). "Venusian Bathysphere" a short song, is full of weird percussive effects and wavering spacy synths. By album's end, with the track "Return," we're hearing crickets and frogs again amid serene washes of keyboards. This concluding song goes through several permutations throughout its ten-plus minute length, from muted warm ambience to Jarre-like keyboard textures to gentle spacy EM and neo-Berlin sequenced beats, which is where it finally settles comfortably for the duration. Inside the Inside is, to my mind, the best recording yet from Spacecraft. That it's a live album is a testament not just to their technical proficiency (to say nothing of the excellent engineering by Art Cohen and Giles Reaves and mastering by Reaves) but also their shared artistic vision. For four performers to play this well together in a live setting and encompassing all these genres (ambient, spacemusic, psychedelic, prog and EM), frankly, leaves me somewhat in awe. I only hope I have the chance to see and hear them perform live some day. Until then, though, Inside the Inside will do - and do nicely. Highly recommended - and quite possibly, one of the best albums of the year. review by Bill Binkelman of Wind and Wire SPACECRAFT "Inside The Inside" Space For Music (2002) Spacecraft is the ultimate space music ensemble. Tony Gerber, Giles Reaves, John Rose and Diane Timmons are consummate professional electronicians. The only thing more sure than that is their devotion to God and spirituality. Inside the Inside: Live at the Gathering Concert Series 32 is a deep ambient space set as only this quartet performs. While there are certainly similarities to other artists, Tony, Giles, John and Diane have a style that is instantly recognizable and captivating. This disc embraces haunting atmospheres, foggy sequences and meditative mists. These folks have always promoted healing through music. this disc is not as overt as some of their others but it has healing and biorhythmic qualities nonetheless. Deep sequenced rhythms surround Diane's wordless chants in the ultimate paradox. The subtle chant is an absolute highlight but the music overpowers the chant. Deep listeners will feel the warmth of the chant's embrace and succumb to its healing prowess. This is one of many excellent Spacecraft CD's. it is a superb compliment to their discography. Jim Brenholts (1/25/02) Spacecraft Inside the Inside This is a live recording from the Gathering Concert Series 32 in Philadelphia. The opener 'Appalachia' begins with plucked and strummed acoustic guitar sounds echoing into the distance. Layers of electronics are then carefully added one by one. Some swamp like animal noises can also be heard. Its extremely relaxing stuff. Just let the stresses of the day drain from your body and go with the flow. The guitar then disappears though the animal and insect noises remain as we drift into 'Madden's Farm'. Deep very bass laden drones contrast with tinkling cosmic effects and ethereal pads. Runs of very deep notes start to provide some sort of rhythmic content then in comes an excellent sequence - almost Berlin School. Within a very short period of time the track has gone from cosmic realms to a syncopated stormer. The sequences get faster and faster as an electric guitar lead line starts up played in relaxed fashion over the pulsating backing. Ethereal wordless vocals add yet another layer even though there is so much going on already. Yet more sequences are added as well as rhythmic flourishes. Actually this is the heaviest use of sequences I have ever heard from an American act. It must have seemed rather bombastic for a typical Gathering audience! I must admit that I have never heard anything like this before- quite unique, unclassifiable stuff- and for me it worked really well. Things calm down at the finish with tinkling bell chimes. In complete contrast 'The Nameless One' begins with Piano flourishes and Solar wind effects. These are submerged in a sea of drones, really deep drum flourishes adding a dramatic element. Another rather rapid sequence is then introduced relatively low in the mix accompanied by some great sounds and whistling electronic cosmic effects- again quite unique but very effective stuff. We drift into 'Centre of the Earth' on the back of a powerful Church Organ lead line. This awesome instrument contrasts with some gentle percussion and delicate guitar licks. It all goes together so well. Is it Electronic Music though? Quite frankly I don't care. It worked for me and anyone trying so many new things in one live performance needs applauding. The fact that the result is something of a triumph is amazing. The whole feel of the music changes again for 'Plateau People'. A deep bass sequence provides a constant wonderful throb over which other sequener runs come and go. Odd effects provide detail here and there whilst lovely little melodies do their thing. The bass sequence seems to be developing and becoming more powerful all the time but never swamping the delicate lead lines. 'Future Ages' is another rhythmic number. Let yourself be taken along with the ever evolving beats whilst lovely cosmic pads and effects massage the mind. The drumming is really cool, got my arms hammering imaginary skins anyway! 'Venusian Bathysphere' calms things right down with a strange formless combination of notes and percussive effects. Then we return to deep space on 'Materializing', floating on the back of soft pads. Wordless vocals / chants provide yet more experimentation to an album which has already done so much. For most of the track however we get an ever shifting sea of drones which take us right into the final number 'Return'. Restrained lead lines again meander over cosmic washes and effects until a high register sequence starts up. Even so things remain quite tranquil. A satisfying bass sequence adds extra depth. It occasionally threatens to let rip it doesn't actually do so. This is a quite incredible album, in some ways radical and certainly brave but at the same time very accessible. (DL) Second Opinion... Beginning unobtrusively, 'Appalachia' is softly plucked guitars and a little bit of electronics for atmosphere. It sounds more like early mellow Pink Floyd than Berlin school. Just go with it, man, it's cool. Frogs and crickets add the flavour of night. But where's the sequencing, you ask? Ah, you'd be looking for 'Madden's Farm' then. The night sounds are joined by low drones, and then it begins. A bass pulse. Two reverberating notes strike and fade. Then three notes. Then a few more. Then it repeats again. It teases, it begs the question if something else will happen. At 4:10, the classic sequence you're waiting for finally takes hold, paralleled by crisp percussion. The energy picks up quickly from here, with synths, guitars, and Diane Timmons' haunting wordless vocals. Smatterings of drums seem to come and go at random, very much like TD used to do. Searing high-pitched synth leads in the latter part of the track sound surprisingly like Airsculpture. The sequencing reaches an almost frenetic but highly enjoyable pace near the end. 'The Nameless One' starts mellow and a touch ominous, but again shifts into high sequencer gear. The disc does Berlin school quite well, but also covers a lot of other ground, without ever straying too far afield. 'Center of the Earth,' for example, features church organ, full of pomp and grandeur, but it works exceptionally well. Gerber's guitar again smacks of Floyd here, a great counterpoint to the church organ. A punchy rhythm and fast-paced bass carries along 'Plateau People.' Percussion features even more prominently in 'Future Ages,' which blurs the lines between electronic and rock music, combining the best of both. I particularly like the quirky 'Venusian Bathysphere.' It reminds me somewhat of Johannes Schmoelling's work, a striking and original piece. Moans and wails emerge in 'Materializing,' offering more of a world music feel. Not my favourite, but on a 78-minute CD, an acceptable 10-minute diversion into something different. Berlin school influences resurface in 'Return.' The sequencing here is mellow but superb. This makes an excellent conclusion to a very good disc, another fine addition to Spacecraft's catalog. (PD)

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