Andy Dragazis, aka Blue States, creates an organic, electronic mini-symphony on Nothing Changes Under the Sun. Both Dragazis' choice for a band name and the album's title describe the release perfectly. Dragazis employs lo-fi, fuzzy synth sounds to create peaceful, relaxing instrumental soundscapes, interlaced with skittering breakbeats and layers of tension. Echoes of Ennio Morricone-style Western motifs float around randomly, as Dragazis approaches melodies, discards them, and returns to them on later tracks. It seems unusual, but Nothing Changes Under the Sun sounds like an imaginary Vangelis score for a Sergio Leone spaghetti Western. The album is not necessarily a compelling listen from start to finish, but it's the kind of album where one's interest hits peaks and valleys as Dragazis weaves in and out of warm, organic sounds. It's also an album that grows on a listener; it might appear lazy or overly repetitive until repeat listens unravel the jazzy, subtle sound treats. When Dragazis deploys samples, they're always impeccable and entirely in tune with the surrounding music. Standout tracks include "Arion," a song of moody, buzzing genius; "Spit and Soar," which reaches toward the creepy textures of early DJ Shadow and Unkle; and "Elios Therepia," a song that recalls the ragged, broad-vista cool of David Holmes' Bow Down to the Exit Sign and Death in Vegas' The Contino Sessions. "Cherio Manou" collects many of the album's finer ideas into what sounds like the song Squarepusher's been trying to create his entire career. Nothing Changes Under the Sun is as loaded with passion as Dragazis is loaded with talent. It's an album worth deciphering, as it releases bountiful rewards.

On Steve Hillage's 1978 release, Green, the underground prog-rock fan favorite issues more of his trademark thinking-man's music. Fans of mid- to late-'70s Pink Floyd will want to check this album out, since it possesses many of the same musical qualities, due to the fact that it was produced by Floyd drummer Nick Mason, along with Hillage. Although not as consistent as some of his other albums, it certainly has its moments. Hillage's recurring sci-fi influence is still felt in his music, especially on such tracks as “Sea Nature”, “UFO Over Paris”, and “Unidentified (Flying Being)”. Hillage uses the same band that appeared on his Motivation Radio album, which helps make Hillage's twisted songs even better (like his other albums, the musicianship is top-notch). Besides comparisons to Floyd, the album's music is also similar to David Bowie's late-'70s experimental electronic phase (check out the track “Crystal City”," with vocals almost identical to Bowie). Hillage fans will definitely not be disappointed with Green.

The Up is ripped from my Original-CD, so therefore don't forget that the original – recording is already over 40 years old. It sounds like an old gramophone but sometimes, by pressing nearly all buttons of my amplifier, i hear this great old fantastic concert :-)

The instrumental Time Is the Key ushers Moerlen's Gong into the new age. A lighter version of their previous release, Downwind, the band plays mostly progressive rock-based compositions with a drastically different personnel. Peter Lemer's keys, coupled with the sound of vibes and electravibe in particular, give the music a generic, new age sound at times. Hanny Rowe is a prominent figure on most of the cuts, his playing being one of the most memorable aspects of this album. Gong never had such a strong bassist -- their music never stressed it -- but Rowe is up front here, displaying leadership capabilities by occasionally carrying the music. This is most evident on the carnival-like "Supermarket" and "An American in England." As on Downwind, the jazz element is minimal, showing up only in "Arabesque Intro & Arabesque," the most impressive material on the disc. Here, Allan Holdsworth (who appears on only three cuts) plays lead over Bon Lozaga's rhythm, and Moerlen's heavyweight percussion and tympani take the prize. Other percussive highlights include the opener, "Ard Na Greine" (vibes and tympani), and the guitar-rocking "Bender."

Following two successful albums and a string of well recieved remixes, Jestofunk give us a live set. The energy coming out of this over 60 minute recording is overwhelming and the track-listing contains the best tracks from their two studio works.