SECRET SAUCER

NEW CD SECOND SIGHTING IS NOW ON SALE AT CDBaby SECRET SAUCER SECOND SIGHTING

We've just uploaded another song from Element 115 to our Broadjam site.the song "Beyond Time" is more of a rocker with dual Guitars.

We have added another song from Element 115 to our broadjam site. The song Desert Of Existence is a mellow spacey track. Here's a link Secret Saucer at BroadJam

Secret Saucer is an idea to bring like minded musicians together to play improvised space rock in a studio setting. Our first cd, Element 115 was released in the Fall of 2005 and is on the Dead Earnest record label

To Purchase our cd check out WWW.geocities.com/secretsaucergroup OR Contact: Greg Kozlowski ([email protected]) 413-221-9344 The Cd is also available thru www.CDBABY.com and http://www.waysidemusic.com/default.aspx

Here are a few reviews from our new CD Second Sighting.
From Aural Innovations 37 (Sep 2007)
This is the 2nd CD by US space rock super group with members of Quarkspace, Architectural Metaphor, Sun Machine, Hawkwind (Steve Taylor), Star Nation, and others.. They get together every now and then (this is from summer 2006 sessions) and do some jamming and afterwards put overdubs on and mix and here you have it. Really cool instrumental space rockâ€¦ The CD begins with Liftoff and it has a very Hawkwindish (Angel of Death) feel to it and a lot of cool synths and guitar leads based on a pretty straightforward thumping bass line. All the Way to Outer Space is a track with really intense synths in the background of some great lead guitar playing by Steve Taylor. D-Walker is the longest track, almost 10 minutes and clearly a tribute to the late and great Doug Walker and it features 3 keyboard/synth players and bass and drums and trip Doug would have like to take.. Tranquillity Base features Greg (Arc Met) on lead guitar with bass and synths and some programmed drums. Beautiful guitar soloing.. Venture 91-200 is another tour de force with 4 synth players and a full band (guitar,bass,drums). It begins very spaced out but starts to take off around 3 minutes with Steve Taylor playing some great guitar. Untitled Dream is a 3 minute all synth piece with Paul from Quarkspace joining in. Disintegrator fades in from a jam in progress and has a bit of dark vibe to it and quite a different sound production from the piece so far on the CD (Different session???) and features Greg on lead guitar with some great delay guitar acrobatics. That is probably my favourite track on the CD! Integrator again features Greg on main guitar but he is joined by David Hess on Glissando guitar and some spaced out synths from Steve Hayes and Jay Swanson on piano (as the prominent soloist). A really cool groove on this spacey jam. Reflections features Greg on electric sitar and is an interesting spacey jam with a really intense bass mix (Billy is like playing lead). The Death of Time features a lot of players with three synth and 3 guitar players in this space jam with once again a Hawkwind flavour. . The CD ends with Night Sky. I am guessing we had many hours more of cool stuff to hear from the Secret Saucerâ€¦ keep an eye out space rock fans..

SECRET SAUCER: SECOND SIGHTING (USA Space-rockers 2nd Album - Stock 455593) Normally CD Â£12.99 - Ltd Pre-Release Offer CD Â£ 9.99 When this band of well-known musicians on the American space-rock, psych and "Euro" music scenes entered the studios for a couple of weekends of improvising and jamming together, they had no idea it would materialise and turn into the highly successful debut album: 'Element 115'! Now, buoyed with the success of that initial release, various assemblages of the collective have returned to the studios and the result is a second album that actually eclipses the standard of the first - no mean feat!! Again, all instrumental, it starts proceedings by erupting into life with:
'Lift Off', a track that surges forward in a blaze of steaming space-rock riffing and rhythm work, while overhead the strong guitar adds guts and depth. All around the synthesizers spiral away in classic Hawkwind/Ozrics style, while the lead guitar stays one step above the riffs to provide a chugging slice of red-hot playing. As the track progresses, more guitars and keyboards are added so that you end up with this enormously expansive soundscape as the driving instrumental rock machine heads off into hyperspace - One of the very finest opening tracks on any space-rock instrumental album!
In a burst of really sizzling lead guitar work propelled by solid drumming and pounding bass, with soaring space synths swooping all over the horizon, 'All The Way To Outer Space' erupts even higher, this time a searing lead guitar taking charge in another expansive blitz of melody, muscle and magic that glows and glows.
After two highly charged energised tracks: 'D-Walker' gets the dynamics of the album absolutely spot on with a gloriously languid, yet purposeful, slice of slowly rolling, atmospheric space-rock that really takes you "out there". It's the equivalent of a space journey through time as you are enveloped in a sea of guitars and keyboards that spiral and flow as solo and combination leads, and far below, the crisp and solid rhythm section is fuelling the journey with direction as the melodic main course is served to perfection.
'Tranquility Base' begins with a more lurching drum foundation as Gong-like bass runs throb up and down the scale. The background is filled with a shining sea of synthesizer sounds that spread from horizon to horizon. Above this, a Steve Hillage-esque lead guitar works its magic, and the track becomes the finest ever track that the classic mid-seventies Gong line-up never recorded! As Tim Blake-styled space synths swoop and soar in the background, the guitar and bass come upfront, then glissando guitar depths are added and the wonderfully restrained slice of driving psych-rock becomes one of THE all-time classic instrumentals of the last thirty-five years.
Barely without a pause for breath: 'Venture 91-200' shimmers and sails into existence with a sort of throbbing motorised synth foundation, with rivers of lilting bass, tinkling percussion, slowly crashing cymbals, gentle wah-wah guitar and background synths that hang suspended in the ether. As the assorted layers, depths and textures gather force, a single lead guitar figure takes charge and the whole thing begins to climb. Gradually the percussive foundation takes hold as the bass rolls forward and eventually, out of the cauldron, the sound of a classic driving mid-paced space-rock rhythm begins. The guitar leads climb higher and surge ahead in finest psychedelic fashion, while the synths and rhythm guitars keep the cauldron burning with a seemingly endless depth of layers. Once again, the melodic portion of the arrangement mixes to perfection with the power part of the piece, and this magnificent mix of the two makes yet another instrumental of the highest quality and listening longevity.
'Untitled Dream' starts with Mellotron magic, over which a soaring space synth swoops like a comet as tinkling Moerlin-esque percussion is heard as a beautiful contrast, with an acoustic guitar providing more beauty and a rippling piano ultimately taking charge. The combination of piano and synths and Mellotron becomes as positively inspirational as it is cosmic - and then it fades into space.
After that minute or so of magic, from the depths of the blackness ascends a surging spacecraft propelled by driving riffs and rhythms, as 'Disintegrator' charges forward with energy provided by soaring lead guitars, expansive synths backdrops, rolling, driving bass and rhythm guitar strength. Again taking you on another monumental trip, the track is incredibly strong and purposeful, with some outstanding ensemble playing in addition to some red hot restraint from the lead guitar, before descending and bursting into life as the track drives ever onwards, occasionally decelerating to reveal the space synth and bass.
Without a break, you're immediately transported into 'Integrator', this time on a wave of bass depths as resonant synths and bass provide the foundations for soaring distant synth flying overhead. As shuffling drums begin the rhythmic journey, an ascending and descending piano figure takes the lead, and the whole thing remarkable depth and strength as the expanses are filled with guitars and bass. The piano creates the same sort of atmospheric effect that was used on something like the Doors classic 'Riders On The Storm', only here, among the huge-sounding might of rolling Kraut-rock, the melodic effect is absolutely magnificent. This enormous expanse of progressive-sounding Krautrock drives forward while at the same time rolling backwards to 1972, and it's something that sounds vaguely familiar, even though you've actually never heard it before in your life! Once again, the combination of melody, strength and all the amazing array of layered instruments are simply inspiring, and when the gorgeous restraint
'Reflections' starts with Tim Blake styled synth swoops as the track strides purposefully into a more middle-eastern sounding territory with a shining, shimmering lead guitar taking the helm over spiralling upfront bass and rolling drums. As you'd expect by now, slowly the other instruments come into play, this time coming and going briefly and magically as the track twists, turns and changes shape, almost imperceptibly at times. As a Gong-like space-rock antidote to the more electronic journeys of an artist such as Toby Marks, this achieves all it sets out to do and becomes as addictive as it is amazing.
Even though there's practically no pause between them, 'Death Of Time' immediately makes you sit up and take notice, as you are led out of the spell of the previous track into a driving slice of instrumental rock. Lead guitar and descending synth swoops move upfront, this time joined by solid rhythm guitars, distant rippling piano and highly charged rhythms from the bass and drums, then the track surges forward and the lead guitar magic takes hold, only to have its journey decelerated as it gives way to a mass of textures an layers that form the more energetic portion of the piece. Towards the end, the guitar takes complete lead charge again amid spiralling layers and vari-paced rhythms, and that contrast of restraint and power really works a treat.
'Night Sky' takes things down a notch in terms of pace, but the fact that it's still propelled by a foundation of drums and bass gives it a whole new strength, as the horizon is made up of space synths, soaring lead guitar work, expansive keyboards and guitars. All the time, an assortment of melodies flow gloriously underneath, around and above, making it sound like some giant space-rock orchestra at work on a slowly flowing slice of atmospheric, solid and melodic instrumental Euro-rock bliss. That this constitutes the final track and the end of the album, is arrangement at its finest, as you are left, not only in a state of euphoria at what you've just heard experienced from the album as a whole, but you are left wanting to hear the whole thing again.
As timeless as it is influenced by a time, as strong as it is magical, and a perfect mix of power, melody and direction, this album has more depth and strength than practically any other instrumental album in its field in the last ten years and beyond, there's not one wasted second on the entire set and it's something of which you will never tire of listening to and always enjoy. Simply, a classic of its time!!
Track List: 01. Lift Off 02. All The Way To Outer Space 03. D-Walker 04. Tranquility Base 05. Venture 91-200 06. Untitled Dream 07. Disintegrator 08. Integrator 09. Reflections 10. Death Of Time 11. Night Skya
HERE ARE FEW REVIEWS from Element 115:
http://www.btinternet.com/~deadearnest/saucerrevs.htm
"The CD opens with "Star Rise", a brief but totally spaced introductory bass/synth piece that indicates we're on the launching pad countdown. With "Sword Of Conneaut" we now have lift off and are steadily speeding towards the skies on this easy-paced tune with a space metallic vibe. Greg Kozlowski and Steve Taylor's dual guitar attack takes us into a blissful space jam realm that prepares us for the impending entry into orbit. "STS-107" and "Astral Progeny" are both standout tracks that feature Jay Swanson's trademark keyboard sound, particularly the Rhodes piano on "Astral Progeny", which gives the music a Quarkspace flavor while Greg's ripping slide guitar trips the stars fantastic. Among the songs with a Pink Floyd vibe is "Solar Winds". Kozlowski is a master of guitar efx and uses them to create some of the most bubbling, wailing and droning psychedelic sounds ever heard. "Atom Smasher" opens with an electro alien gloom of noodling synths, but soon launches into a balls out space rocker with fiery passionate Dave Gilmour styled guitar leads and the space synths swirling around the periphery. "Duul" and "Desert Of Existence" are similar, with the guitar notes on the former reaching cosmically screaming levels of volume and intensity. And "Looking Skyward" is another excellent Floydish jam with a spacey symphonic vibe. More in the Hawkwind domain is "The Traveller", an interesting blend of Hawkwind and early 70's jam rock, not unlike a space rock version of Derek and the Dominoes. "AMBQSM" is like a spaced out Allman Brother's jam, though an energetic rocking Hawkwind sound ultimately takes over. And "Beyond Time" is a killer Hawk styled jam that closes the set without coming back to Earth. Nope... Secret Saucer have decided they're enjoying the voyage... and we're all staying out there in space jam heaven together". Reviewed by Jerry Kranitz of Aural Innovations webzine

"Ever been curious as to what would happen if a collection of the leading space rock musicians got together one weekend in a studio and just started jamming? Well you can find out on the CD Element 115 recorded in July 2001 by a collection of eight individuals going under the collective name of Secret Saucer. The musicians in question are Steve Taylor and Steve Hayes from Star Nation, Paul Williams and Jay Swanson from Quarkspace, Greg Kozlowski from Architectural Metaphor, Thomas Marianetti, Bill Spear and Dan Schnell from Sun Machine and Dave Hess from Blaah. The various musicians are also members of other groups such as Sun Machine, Nick Riff, Church Of Head, National Steam and Nebula Trip. A bewildering collection of bands that I suspect, like me, the majority of readers will be totally unaware of. However, the relative obscurity of these bands doesn't mean that the musicians are a collection of inexperienced amateurs. Far from him as the collective credits include performances and jam sessions with such luminaries as Hawkwind, Daevid Allen, Ozric Tentacles and Mr Quimby's Beard. The performers on the individual tracks vary, with several of the musicians swapping instruments between tracks. This fluid approach to the instrumentation has transferred to the music which is itself fluid and means that, despite the 70 minute running time, never descends into monotony or overt replication. Yes, the music contains the inevitable cosmic and spacey synths, free-flowing guitars and even, on Desert Of Existence, glissando guitar that will have fans of the classic Steve Hillage / Gong albums sit up and smile, but there is more to this album than a lot of space rock instrumental collections. Into the mix is also blended elements of psychedelia, progressive rock and Krautrock. What is more, despite being jammed, none of the pieces degenerates into rambling chaos, the whole album having a cohesiveness that displays the inherent ability of the musicians. Of course, similarities with the greats of the genre shine through, but this is always more of a homage than simply replicating what has gone before. And it not as if they are trying to hide the influences, as shown by Duul which takes as it template the instrumental meanderings of Amon Duul II but expands on the original design considerably. Elsewhere, the sounds of early Pink Floyd provide inspiration on Solar Winds (Echoes Part 2 anyone?!), and passages within Looking Skyward. Inevitably, there are nods in the general direction of Hawkwind, particularly on The Traveller (Tim Blake era), while the slight reggae vibe on Atom Smasher, amongst other aspects, provides links to Ozric Tentacles. Heck one can even trace elements of bands such as Hatfield And The North on the Fender Rhodes dominated STS-107. The Rhodes electric piano is also put to good use on Astral Progeny where it is effectively pitched against some fine slide guitar work by Kozlowski. Although synthesisers are employed liberally throughout the recordings, ferocious lead guitars are also prevalent on such pieces as Sword Of Conneaut, Atom Smasher, The Traveller and Beyond Time, the latter track making effective use of the twin guitars of Kozlowski (rhythm) and Taylor (lead) to end the CD on an effective and exciting high that inspires the listener to play it all again. The Secret Saucer project, whatever its original aims were, has successfully managed to produce a very full album of interesting, thoughtful and stimulating music. The listener can get lost amongst the hypnotic grooves and wallow in the enjoyment that the ensemble of talented musicians obviously felt when unleashed and left to perform as their collective muse dictated. A fine album of enjoyable music free from any commercial pretensions and recommended to all your armchair astronauts out there. Conclusion: 8 out of 10 Reviewed by MARK HUGHES for DPRP website, the leading home for info and reviews on progressive rock and beyond
Hi Greg, Thanks for the CD, great music. I'm featuring a track tomorrow on my show on ARFM (www.arfm.co.uk) between 3-6pm (UK time). Will certainly be playing more from the album on my show. Great stuff - congratulations on a wonderful album. PAUL BAKER e mailing the band from ARFM Soundscapes radio.From the first synthesized bars, you just know you're in for a treat, especialy when a great guitar riff kicks in as, in the blinking of an eye, you're into "Sword of Conneaut". Most of the 12 tracks are pretty substantial affairs though, amounting to about a double album's worth of music. Looking through the musicians, you quickly realise that Secret Saucer is a space-rock conglomerate with membership changing from track to tracks. On first listening, I was going to compare their music with Quarkspace and I was gratified to see that, indeed, Jay Swanson and Paul Williams from that very band, are present. There is a psychedelic flavour to "Solar Winds" thanks to the retro organ sound (a synth, actually) and the vibrato guitar. A lot of the music is improvised and all the better for it, the slightly out of tune guitar on "STS-107" does not detract from a track on which Jay Swanson's piano and synth work is, as always, welcome. Greg Kozlowski's guitar work really comes into its own on the powerful "Atom Smasher", a cut that features no less than 4 synth plyers! "The Traveller" has a glissando Steve Hillage feel. "Duul" is a slow burner with the mystery of an early Floyd, while "AMBQSM" adopts a more frantic approach, lots of swirling synths and manic drumming. If further comparisons are needed, then a less spaced out Amon Duul II and a less heavy Hawkwind spring to mind and I'm sure Secret Saucer will appeal to fans of all the aforementioend bands. "Element 115" is as prize an example of distiled 100% instrumenral space-rock as you're likely to hear. Get a few beers in, put the headphones on and you're there! PHIL JACKSON for ACID DRAGON magazine Issue 41 ([email protected])/wwwacidrago.club.fr/ad2.htm

Looking at the website this is the result of taking "members from the premiere US space rock bands and musicians who have toured with Hawkwind and Nik Turner, to a beautiful, remote location, locking them in a recording studio, and telling them to jam." Originally there were over twelve hours of music but that has now been cut down to just 12 songs. Some songs have two synth players, some have two guitarists, and it isn't uncommon for guys to switch instruments either, but the result is very good indeed. Yes this is improvised instrumental space rock, but the sound and quality of the instruments is very good indeed and these guys are bouncing ideas off each other. In some ways it reminds me of Quarkspace, and I wasn't surprised to see two members of that band involved in this project. This is music that shows just how good space rock can be when guys are improvising off each other, and with a superb production and editing by Paul Williams and Steve Hayes this is well worth further investigation if you enjoy the genre. www.geocities.com/secretsaucergroup or visit the label site at www.deadearnest.btinternet.co.uk Review courtesy KEV ROWLAND for FEDBACK, UK - Issue 87. Contact [email protected]

This has to be one of the most engrossing and engaging space-rock albums that I've heard in recent years. So much so, it's become quite a powerplay in the UT shop. I've also been trying to review it for almost a month now, but I tend to just sit there whilst customers are browsing, grooving to instead of writing. This means that nearly every other time I play it someone wants to buy it! Secret Saucer are a type of supergroup really, with member of Quarkspace joined by others from Star Nation, Sun Machine, etc. Quarkspace are one of those American psych bands that have increasingly left their post-punk, indie-rock roots behind, and gone from strength to strength in recent years. Star Nation and Sun Machine, I don't know, but I've been told they are also blossoming bands that have been around for a while. And, with all these musicians eschewing their roots and moving onto pastures new, they can now put their talent to good use, with some of the most out there isntrumentals you'll hear anywhere. I wouldn't be surprised if the name Secret Saucer is actually derived Pink Floyd's "A Saucerful Of Secrets" as there's so much underlying Pink Floyd influence in the music. Anyway, whereas Pink Floyd defined space-rock influencing the whole Kosmische Krautrock scene (and others like Gong and Hawkwind, who took it along further), Secret Saucer have gone further and fused all such music into something that is their own. It's pretty much the territory Porcupine Tree were heading towrds circs "The Sky Moves Sideways", but without the trendy beats or songs.As the album develos and moves on, it becomes obvious that these guys have also been studying the likes of Djam Karet, Escapade, Melting Euphoria and such like. And then I can hear bits of other Krautrock influences: Wallenstein and the Cosmic Jokers (notably the Jugen Dollase type cosmic piano), Gila (another Pink Floyd side-step, true), it's all there that just so amazingly intoxicating that..... I keep going on to write superlative descriptions and then delete them, because no matter how many thing this reminds me of, it is unique in itself. Fans of almost endless guitar solos will really delight at this. Lovers of space trips bolstered by scintillating walls and cascades of electronics should prepare themselves for an awesome trip. It's a deceptive album too, at 71 minutes, with 12 tracks that are all "just right" with nothing outstaying its welcome. There are no cop-outs here. ALAN FREEMAN for AUDION MAGAZINE (UK) Issue 52

â€œSword of Conneautâ€ is not just a tune, itâ€™s a journey. Take a ride with this wonderfully psychedelic tune from Secret Saucer. Itâ€™s an ever building jam, laced with some beautiful guitar work and the sound of a zephyr winding up and fading down. Sit back a couple minutes and let your mind get swept up in the breeze, donâ€™t worry, youâ€™ll be in for a safe landing. -celina, your psych tunes