Gayle Ellett & The Electromags: The Painted River of Light

Gayle Ellett and The Electromags' The Painted River of Light" is a sonic expedition that feels as though it was lifted from a vivid, psychedelic vision, carefully refined and imbued with contemporary polish. This is the third release for the group led by Ellett, who fronted the legendary progressive rock band Djam Karet. The album is a progressive rock/electronica journey, dappled with psychedelia in spots, unfolding across 10 tracks, crafting a sound that merges vintage warmth with cutting-edge innovation. Ellett, a masterful multi-instrumentalist with a talent for creating lucid sonic landscapes, guides his ensemble through a record that is as bold as it is enveloping. It is the kind of album that raises the suspicion that Ellett has a secret portal to another dimension, and he is just letting us listen in.

The opening track, "The Illuminating Sands of Time" captivates immediately. Its intricate guitar melodies and lush Mellotron swells pay homage to the progressive rock titans of the 1970s—evoking early King Crimson with a brighter, more optimistic hue. Ellett's guitar work is precise, soaring yet expressive, intertwining seamlessly with Craig Kahn's dynamic drumming, propelling the track like a powerful current. Bassist/Warr guitarist Mark Cook anchors the rhythm section, providing a sturdy and pliant foundation, interspersed with the leader's synth-laced polytonal tone poems that allow the memorable melodies to ascend freely amid a few endearing nods to classic prog era groups Caravan and Camel.

The album includes mesmerizing epics that feel like a celestial caravan traversing a starlit desert. Synthesizers bubble and pulse, reminiscent of Tangerine Dream's cosmic explorations, while Ellett's sitar-inspired guitar flourishes lend an Eastern flavor. These pieces move forward with a multi-suite flair, inviting listeners to close their eyes and immerse themselves in vibrant hues—though one might risk appearing as if they are auditioning for a mystical retreat in the process, or perhaps just having a very, very good dream.

"Frequency Modulation" contains spirited rock riffs, a touch of comic relief, and Ellett's bluesy riffs as guitar lines evoke vocal attributes, treated with drifting sub-motifs, warmth and pounding rock grooves. However, every piece features hummable and cyclical melodies. Ellett's fiery guitar solos and his associates' audacious displays show the band's ability to ignite when the mood strikes. It is the sort of track that makes you want to air guitar, even if you do not know how to play a real one.

What distinguishes The Painted River of Light is its seamless flow. Each motif and track transitions smoothly into the next, crafting a cohesive narrative arc that feels intentional without being overbearing. The production is impeccable, balancing nostalgic textures with a modern sheen. This is a record that may invite listeners to lose themselves in its currents and emerge invigorated. It is ideal for those who crave music that is expansive, evocative, and just a bit quirky —like a sage strumming a guitar in a neon-lit gorge, perhaps with a pet dragon listening intently nearby.

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