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Eccentric Orbit: Attack Of The Martians

There's something I can't put my finger on regarding the opening track of Eccentric Orbit's debut; it just sounds so perfect�it's an overture, a nonexistent film's main title, a seamless collage of elements from classic electronic music (EM), space rock and symph-prog. "Star Power" unfolds in a rather linear manner, but its simplicity is surpassed by its density. Huge analog keyboard sounds rule the roost on this effort, but those aren't sequencer tracks, running ad forgotaboutum. Practically nothing is or sounds canned�it's live, baby. This is what we need more of: voxfree, analog synth/keyboard-dominated bands with real flesh & blood rhythm sections, as with Erik Norlander's Threshold, Vangelis' most pumped-up 70s excursions, and Mark Shreeve's Legion and Crash Head� the latter two of which did utilize heavy sequencing, yet helped to epitomize what I feel "synth rock" should be (as opposed to Yanni). Attack Of The Martians shares a vitality along with Threshold that we need to hear more of, in lieu of compositions stitched together with quantize functions and mouse clicks. This isn't spacemusic, either, but music that sounds nearly like a meeting between Vangelis, Patrick Moraz, and Tangerine Dream, circa Stratosfear and Force Majeure.

Eccentric Orbit is the brainchild of Madeleine and Bill Noland: Bill is a bass player, while reed player/synthesist Madeleine plays sounds from the Korg MS2000R via a Yamaha WX5 wind synth controller. Bill Noland's bass shares no small role in the proceedings, and he's even got that dirty, growling vintage Ricky tone pencilled in. The drummer is Mark Cella, who will be known to those familiar with Triggering Myth, Pye Fyte, and [Mark's music enterprise] M & M Music. Mark's reined-in style is complementary, and effective, in that economically pliant way as echoed by Greg Ellis on Threshold. Second keyboardist Derek Roebuck, a Berklee graduate, completes the quartet. It's noteworthy that all of the 'Tron samples�flute, strings, choirs, what have you�are software-generated, and they sound just as good as the rule thing (as it is, the "real thing" is not a hi-fi instrument). In fact, the album has a very "analog" sound in general; it could easily have been marketed as an archival release and fooled everybody. Organ, piano, and the vibrant Clavinet/synth layer which opens track 3 were furnished by a Nord Electro, while an E-mu Vintage Keys and Oberheim Matrix 1000 modules extend the palette even further.

The aforementioned "Star Power" and "Sputnik" are both uptempo crankers that will quickly satisfy anybody's synth jones, and the jonesin' will continue long after that. You'll find two epics on Attack, being the title track, and "Forbidden Planet," which clock in around eleven and fifteen minutes, respectively. Twists and turns aplenty distinguish these multi-sectioned pieces, with passages that sound funky, jazzy, and bluesy, but always basking in the luxuriant contours of rock. The spacey beginning of "Forbidden Planet" balances the album's energy with its downtempo crawl, deep bassy vibes, shrill 'Tron strings, and midregister bass solo. Part 3, The Krell, is marked by a pulsating analog bass and back-to-back synth solos. "The Enemy Of My Enemy" is, in a way, a revisiting, a summation, of all that has transpired, but it's still an original track, one that closes with an organ solo-outro by Roebuck. Can't go wrong with more of the same when you like what you hear, so they say.

Like everything else on this mudball, nothing's ever perfect, and the one downside to the splendor that is Attack Of The Martians is that you're having such a blast listening to it, and then it's over after forty-five minutes. It's Gerard Syndrome�! Really, I'm ready for another forty-five minutes of this, so I guess I'll just play it again. Citizens, colleagues, bipeds, fans of classic electronic music: please take an extended break from the latest efforts by any several of the multitude of Euro-based EM acts that pretend Phaedra and Rubycon are the be-all & end-all, and hook up with a Martian, instead.


1. Star Power (7:36)
2. Sputnik (7:08)
3. Attack of the Martians (10:41)
�Part 1: Flying Saucers & Little Green Men
� Part 2: The Face On Mars
� Part 3: Martians Everywhere!
4. Forbidden Planet (14:09)
� Part 1: The Arrival (Innocence Lost)
� Part 2: The Intruder
� Part 3: The Krell
� Part 4: The Tempest/The Departure
5. The Enemy of my Enemy (6:06)

Total time: 45:40

Added: January 8th 2023
Reviewer: Elias Granillo
Related Link: Eccentric Orbit Dot Com
Hits: 5306
Language: english

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Eccentric Orbit: Attack Of The Martians
Posted by Jon Neudorf, SoT Staff Writer on 2023-01-08 21:27:56
My Score:

I am almost shamed to admit this, but here is another band I was unfamiliar with before digging into this review. Sure, I had heard the name Eccentric Orbit bandied about, but had never investigated the band further. And that, my friends, was a big mistake. Fortunately, I was recently sent their 2014 reissue of Attack of the Martians, originally released in 2004. The reissue contains the added bonus track “The Day the Earth Stood Still” which was written in 2003 but was never played until around ten years later.

I think this album will really appeal to fans of ELP and ‘70s-era Rush. What really sticks out in the instrument list is the absence of guitars but fear not, they are not missed at all. The massive bass tone of Bill Noland has a lot to do with that as well as the liberal use of keyboards like Hammond B3, Wurlitzer, Moog, and Mellotron.

The album begins with “Star Power” showcasing layers of Mellotron strings and pulsating keyboards all over the place. The layered keyboard sounds ensure there is plenty of depth here and the rumbling bass tone sets the groove. They even add some Eastern flavoured keyboards which work wonderful. “Sputnik” is another heavy keyboard laden rocker that pulsates between different keyboard layers and more huge bass from Noland. Next are two multi-part epics beginning with the title track. The keyboards are dark and foreboding, the organ rages, and the intensity continues to grow through various sections until a quirky keyboard line mellows out the sound before a jazzy keyboard jam unfolds, interrupted by blasts of Mellotron and other assorted sounds. For keyboard fans, this is absolutely epic. With the fourteen minute “Forbidden Planet”, trippy synths and darkly lit moods conjure a nightmarish landscape, the type you just may discover on some ‘forbidden planet’ in the darkness of space. The atmospheric moods are unsettling and incredibly effective. The bonus track “The Day the Earth Stood Still” features electric violin, Mellotron drenched soundscapes, and cool guitar synth. The moody atmosphere has a slow burning intensity that had me mesmerized throughout the entire piece.

Attack of the Martians had me completely floored. Instrumental progressive rock does not get much better than this. Highly recommended!

*This reissue contains the bonus track “The Day the Earth Stood Still”*

2004 Sea Of Tranquility
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