You like Floyd and King Crimson? Add a dash of vintage Blue Öyster Cult and Captain Beyond tradin' extended jams without distracting vocals. "Night of the Mexican Goat Suckers" clears out your head's slow lane and cements a brick to the accelerator while cutting the brake lines. "Forbidden by Rule" unleashes warrior cyborgs bursting through the asphalt to decimate oncoming traffic with a monster bassline. The earth falls away beneath you as a Gilmour-ic lead break splits the stratosphere. All about you mellotrons careen across the great chasm of Time, lifting the spirits of Nostalgia up from the Abyss. This band shows what the mellotron is really capable of. King Crimson's walls of noise bury you in black velvety repose. "Lost But Not Forgotten" gets back to the '70s roots of prog rock with Tangerine Dream-like, Yes-ish passages gilded with crisp Floyd riffs and leads. "Lights Over Roswell" is what end-of-the-millennia 1990s polished rock is all about. You can hear a Stu Hamm and Michael Manring-like bass precision with U.K. jazz-rock fusion packaging by Eddie Jobson. "Myth of a White Jesus," "River of No Return," "Room 40," "The Indian Problem," "The Pinzler Method," and "Old Soldier's Disease" finish out over 70 minutes of well-honed prog rock that explores the realms of Dreamtime. File Devouring between Pink Floyd and King Crimson. Djam Karet is Gayle Ellett on a massive myriad of guitars, various keys, and other eclectic items, Henry J. Osborne on bass, guitars, keys, and more, Chuck Oken, Jr. on drums and keys, with Mike Henderson guest guitars on assorted tracks. Judy Garf does rhythm violin on the smokin' "Roswell" cut.
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AllMusic Review by John W. Patterson