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"Corridors to Infinity"

Sonic Meditations

100 Standard Cassettes

40 Red hub Reel-to-Reel Cassettes

10 Vintage Reel Cleer Reel-to-Reel Cassettes

100 CDr's hand numbered

50 repress 2013 on black cassettes with gold lettering

 

Zoharum

2014

2xCD with bonus CD "Star Coloured Clouds"

PRESS

 

FREQ

Corridors to Infinity originally appeared on tape and CDR via Wright’s own Sonic Meditations label and brings McKinley Jones (who has also recorded as Breathing Flowers and Cantus Firmus) and his trusty Moog aboard the starship Expo 70, with this expanded album offering up not only the two lengthy numbers from the 2009 edition, but also three more unreleased tracks on a second disc.

 

The mood on “Meetings Of The Lunar Eclipse” is decidedly out there, washes of Wright’s echo-slathered guitar circling over and occasionally swamped by the equally-effected synthesizer drones for just under half an hour’s worth of full-tilt avant spaciness, the duo producing a sound immense enough to both shake mountains and pierce skulls. With plenty of room to breathe and expand, Wright and Jones circle each other and the emergent thud of an ancient-sounding drum machine like two doped-up participants in an avant-garde game of follow my leader on acid, the pair seeming to retain some sense of direction but willing to let go and unleash their inner space cadets at the same time.

 

Sometimes it seems as if there’s numerous extra implied musicians playing along too, and the overall effect can often be quite satisfyingly overwhelming as noises and effects clash and collide, sweeping in from every direction at once until control is wrested back for the drone-heavy ecstasies of the middle section which rises into a soaring quest for the stratosphere before that inevitable moment comes when it’s time to return to earth.

 

But what awaits is yet more cosmic immensity on “Black Pyramids Under The Martian Sun“, with the sonorous glide of guest organ from Matt Hill bringing Expo 70 up to trio drone speed. It’s far less chaotic but no less immersive, the wall-to-wall tonal soma bath  plunging the listener into somewhat more expansive, slow-motion territories where layered treble and mid-range glides coalesce into the sort of sound a migraine might possibly resemble if it had a pleasurably psychedelic effect instead of the more common brain-numbing agony. With the drum machine coming in like a reverb-drench heartbeat, the psychosomatic analogy develops further the longer the track persists, developing into a whole-(out-of-)body sensation, handily removing the need for the expensive space and cost considerations of the full floatation tank experience along the way.

 

If that wasn’t enough brain-frying for one album, bonus CD Star Coloured Clouds sets out three further ways for Wright and Jones to expand some more of their audience’s tiny little minds on a grand cosmic scale. Recorded a month or so before the other disc and titled simply “I” to “III”, the tracks may at first appear less immediately pummelling, but turn out to be equally worthy of lysergic respect, unfolding with the steadfast thousand kilometre stare befitting veterans of several dozen psychic journeys into inner and outer space.

 

Hypnotic pulsations, untrammelled loops and the wafting swoon of guitar are the order of the hour (and more), swallowing realities wholesale as musical singularity approaches ever nearer over the course of the disc. They may meander somewhat across “II”‘s sprawling passageway to the stars, but successfully wrangle the music back on course for a  tremendous final stretch where ripples of synth squirls travel the guitar’s somnolent astral planes until attaining final electronic nirvana, not with a bang, but a pitch-bend.

 

 

ChainDLK

As I described 'Frozen Living Elements' as 'a departure to the usual dark ambient' that is the focus of this label, I didn't expect a reissue of an obscure tape from this band with a bonus disc with a long track in three movements. However, there's an issue in this choice that is clearly visible: this band is able to reenact a mythology in modern music, the period between '60 and '70, i.e., the possibility to overcome the limitation of pop music form that, with a more aggressive sound, had already infected rock music creating the phenomenon of an apparent crossing of genre. The real issue of karutrock vs. prog was the lineage from contemporary music instead of classic, that is the base of pop in his melodic frame.

 

'Meetings of the Lunar Eclipse', the first side of this release, starts quietly and slowly adds some noises and feedback as a preparation for a central part based on psychedelic tones that are resolved by quiet drones closed by the same guitar line that opens this side. The other side, 'Black Pyramids Under the Martian Sun', start with a bright moog drone and evolves in a dialectic between the guitar notes and the electronic effects creating a cinematic soundscape. The bonus disc is a track in three parts: the first one, 'Star Coloured Clouds I', is a long meditation for guitar and moog when the guitar expose some notes and reverbs while the moog, with the drone, set the background. 'Star Coloured Clouds II' tries to flip over this form while 'Star Coloured Clouds III' resolve this form in a long track made out from sustained tones from both instruments.

 

For any fans of psychedelia or krautrock, this is a record of sure bliss and joy. The others will appreciate the search for a expressive sound and musical development, so it's a record for almost everyone. Really nice.

 

 

Necroweb

Wer der musikalischen Welt von Expo Seventy verfallen ist, der sollte sich vorliegendes Tondokument unbedingt zulegen, zumal hier zwei Werke in dieser Neuauflage vereint wurden, die wohl fraglos eine Bereicherung für jene Zielgruppe darstellen. Musikalische Erweiterung findet sich in dieser Angelegenheit mittels des Gebrauches von Orgel und Synthesizer, was den Sound von Expo Seventy auf “Corridors To Infinity” defacto aufwertet, ebenso wie der Einsatz typischer Psychedelica, basierend auf Drone- und Gitarrenarbeiten, die eine gute Fusion miteinander eingehen und einen daraus einhergehenden, prägenden Aspekt verteilen, wobei Letztere besonders auf “Star Coloured Clouds” zutreffen. Somit kommen natürlich entsprechend träumerische Passagen zum Einsatz, wobei mich besonders die leicht spacig klingenden Melodiebögen ansprechen können, die hier perfekt ins Klangbild passen. Und Expo Seventy lassen sich Zeit – Zeit, die es um der vollen Entfaltung bedarf. Allein die beiden Stücke der “Corridors To Infinity” Scheibe beanspruchen je eine halbe Stunde für sich, was man aber so gar nicht bemerkt, da die hier agierenden Musiker ein scheinbar feines Händchen dafür haben, was Facettenreichtum und Vereinnahmung angeht.

 

Im Gegensatz zur “Frozen Living Elements” Veröffentlichung, so vermag mich diese umfangreiche Publikation mehr anzusprechen, auch wenn mich die hohen Töne manchmal etwas nerven. Hier ist einfach derart viel zu entdecken, dass es eine Menge Zeit braucht, um auch alles zu erfassen. Expo Seventy verstehen es, das Interessante so zu verpacken, dass es erst gefunden werden will, seien dies nun flirrende Gitarren oder eine dezente Taktgebung. Wer also mit Expo Seventy etwas anfangen kann, der muss sich diese umfangreiche Werkschau unbedingt zulegen, zumal man für sein Geld in diesem Fall auch enorm viel geboten bekommt.

 

 

DARKROOM MAGAZINE

Ripercorrere la florida carriera di Justin Wright e del suo progetto Expo '70 significa imbarcarsi in un viaggio molto complesso ed articolato che necessita tempo per essere assimilato, compreso ed analizzato in ogni sua sfaccettatura. Ancora più difficile è pensare di estrapolare dalle decine di produzioni che Wright ha messo in musica sin dal 2003 un lavoro che ne metta in luce le particolarità, che segni in qualche modo un punto di svolta della proposta musicale di Expo '70, quest'ultima comunque sia evolutasi nel corso degli anni in tre grandi fasi, partendo da un guitar-drone degli esordi, passando poi per proposte più debitrici alla kosmische music degli anni '70 ed infine, in tempi più recenti, ad una più diretta e marcata svolta kraut grazie anche all'introduzione fissa di altri due musicisti sotto lo stesso monicker. Riesce benissimo in questa impresa la sempre ottima Zoharum, mai sazia di ricercare il lato sperimentale e particolare in qualsiasi campo musicale. Quasi volendo riscoprire il progetto di Wright e portarlo all'attenzione di chi non ne avesse ancora sentito parlare, la label polacca decide di ristampare nel Dicembre dello scorso anno uno degli album forse più ostici e sperimentali di Expo '70, "Corridors To Infinity", e lo fa con un'edizione limitata a 500 esemplari composta da una copertina apribile ispirata alle repliche dei vinili tanto diffuse in Giappone e con un doppio artwork curato dallo stesso Wright (che si è sempre occupato del packaging e delle grafiche dei suoi lavori, che si rifanno ai dischi kraut e kosmische degli anni '70). La ristampa è accompagnata da un bonus CD, "Star Coloured Clouds", un album inedito realizzato un mese prima che iniziassero le registrazioni per "Corridors To Infinity". La scelta di questo particolare album da parte della Zoharum non sembra casuale: "Corridors To Infinity" è parte integrante del periodo più fervido e produttivo di Wright, il 2009, anno nel quale l'artista americano pubblica ben 6 album, tutti composti da un numero esiguo di tracce dalla durata minima di 15 minuti sino ad un massimo di 30, in puro stile kraut/kosmische, generi che ha sempre saputo riproporre con maestria certosina. Il 2009 è anche un anno di svolta per il progetto, che si stacca per la prima volta dalle elucubrazioni drone degli esordi che vedevano il solo Wright, la sua chitarra ed il suo amplificatore a creare granitici muri di suono ridondanti, per passare alle sue prime collaborazioni con altri artisti e label. Nelle due lunghe tracce che compongono "Corridors To Infinity" troviamo infatti il contributo di McKinley Jones al moog (che ritroveremo anche in "Galaxy Of Mysticism" dello stesso anno) e di un altro storico collaboratore di Wright, Matt Hill, che si occupa dell'organo Hammond. Con i suoi suoni prettamente space ambient, l'album è una doppia traccia di tributo allo spazio profondo, all'immaginario kosmische che tanto influenza ed influenzerà Wright nei suoi lavori, una doppia fatica registrata in un solo giorno coinvolgendo altri due artisti che innalzano i livelli di sperimentazione e varietà dei contenuti. Il bonus CD si compone invece di tre tracce dalla lunga durata, anch'esse alquanto profetiche in quanto facenti parte dell'approccio primordiale al suono di Wright - come già detto, vennero registrate un mese prima dell'altro album - ma già di per sé evolvendolo e catapultandolo nelle reminiscenze space-ambient che costituiranno la maggior parte delle sue produzioni future. Le tre tracce vedono un utilizzo della chitarra più massiccio come era usanza per Wright nella sua prima fase, ma di gran lunga edulcorato e proiettato su lidi psichedelici più luminescenti ed evocativi, un completamento esaustivo e ben integrato con le atmosfere del primo CD e chiaro sentore dell'evoluzione in atto nella visione musicale dell'artista. Nel creare questo trait d'union tra passato e presente del progetto, la Zoharum ne carpisce appieno le potenzialità mostrandocelo non solo come un act atto a mettere in scena un mero revival stilistico musicale di gruppi come Tangerine Dream o Ash Ra Tempel, ma come sperimentatore sonoro dalla fervida produzione e in continuo mutare, rivedersi e rivalutarsi. Un Wright artista a 360 gradi quello che viene fotografato in questa ristampa della sua seconda fase stilistica: compositore, improvvisatore, disegnatore, innovatore e tradizionalista assieme, un personaggio del nostro presente che va assolutamente approfondito partendo da una pietra miliare della sua carriera. - Lorenzo Nobili

 

 

Lux Atenea

Publicado originalmente en el año 2009 en cassette (en dos ediciones limitadas de 40 y 100 unidades) y en CDr (edición limitada de 100 unidades), a principios del pasado mes de diciembre se presentó oficialmente esta re-edición del extraordinario álbum “Corridors To Infinity” de Justin Wright, alma máter de Expo 70, a través del prestigioso sello discográfico polaco ZOHARUM RECORDS en formato digital y en una lujosa edición limitada de 500 unidades en ecopak 2CD que incluye como extra el álbum inédito “Star Coloured Clouds”. Engalanado con el diseño original creado por el propio Justin Wright, en la belleza de su estética se aprecia la influencia cultural japonesa en su armonía, y en esta atrayente imagen donde su gran intensidad de color transmite energía vital y espiritual. A nivel musical, Justin Wright es todo un maestro a la hora de fusionar drones con psicodelia desde una perspectiva conceptual avanzada e innovadora en su recreación sonora, sumergiéndonos en otras dimensiones y espacios donde la música alcanza ese estado de ingravidez emocional directamente unida a lo espiritual y universal. Una talentosa visión de la arquitectura instrumental donde la melodía y los trasfondos sonoros se convierten en pilares de creación que fascinarán a los melómanos lectores de Lux Atenea Webzine afines a la vanguardia musical más destacada en este siglo XXI. Una cautivadora audición que dará comienzo con el primer CD “Corridors To Infinity”, cuyo nombre da título a este doble álbum, adentrándonos en otro mundo sonoro a través de la composición “Meetings Of The Lunar Eclipse” de casi media hora de duración, donde los pasajes de guitarra de Justin Wright, junto a los planos melódicos de sintetizador dirigidos por McKinley Jones, irán poco a poco creando esta espiral musical evanescente con ese halo filosófico íntimamente ligado a la esencia espiritual hindú en su concepción. Pero tras la creciente luz cruzaremos el puente hacia la oscuridad con texturas más densas hasta que el tiempo casi se detenga con el renacer de la luz emanada de lo supraterrenal, adquiriendo una languidez que se prolongará hasta el final. En cambio, en el tema “Black Pyramids Under The Martian Sun” nos envolverán aires mucho más psicodélicos, potenciados en su trasfondo espiritual con al protagonismo instrumental del órgano donde Matt Hill expande su maestría y su sensibilidad musical. Órgano y drones integrándose perfectamente en un equilibrio sonoro que nos provoca asombro, y que alcanza su máxima expresión al entremezclarse sutilmente con los pasajes para guitarra interpretados por Justin Wright, dejándonos mecer hasta su ocaso. En el segundo CD se ha incluido el álbum inédito “Star Coloured Clouds” cuyos fascinantes cromatismos sonoros darán comienzo con el tema “I”, dentro de un espectro musical radiante y evanescente de pulsante intensidad, que nos llevarán directamente a la excelsa composición “II” para elevar la melodía a su máximo protagonismo en esta danza musical de irresistible embrujo sonoro. Finalmente, el tema “III” convertirá el epílogo conceptual de este magnífico álbum en una visión introspectiva de la sensibilidad emocional recreada en esta aterciopelada composición que invita a nuestra disolución con el designio universal mientras el karma va perdiendo su influencia en nuestra alma. “Corridors To Infinity”, cuando los drones y la psicodelia se transforman en el arte musical más puro. ¡¡¡Disfrútenlo!!!

 

Felthat

Remember those proggey space ensembles that specialised itself in suites?

Expo 70 surpasses this old clichee and follows the trail of kraut rock induced psychodelia. Adding some organ and interesting synth to this amalgam there is plenty to discover in this meditative aura.

 

Justin Wright who is the brain of the band is giving his creative outlet to magically combine past and present, and seemingly so he is very successful at that. He knows how to co-operate with other musicians here who are set on the same rules as a leader and it adds up to the character of the album.

 

The music here reminded me a quote from T.S. Elliot "... enlarge the imagined range for self to move in".It is a representation of an inner landscape who metaphorically and quite literally walks into us when we are open to it. The narrative of the story in this set of tracks is somewhat endearing, full of energy - guitar drone with afflictions to experimental metal, creative force of kraut rock bands like Ash Ra Tempel and ethnodelic legacy of Can - all those influence the process and help to understand how much what is inherited is re-imagined, reconstructed and half-way in between we already know that it is not a mere coincidence that we help ourselves with understanding where we are as a listener.

 

 

Polifonia (Bartek Chaciński/Polityka)

Na koniec zostawiłem sobie dwie płyty do długiego i dość głębokiego słuchania, czyli EXPO 70, opisywany tu już psychodeliczny projekt Justina Wrighta, w dwóch odsłonach. Starszej na “Corridors to Infinity” (tu w ciemno można po tytule obstawiać psychodelię, Zoharum, 8/10) i nowszej na “Frozen Living Elements” (tu jeszcze ewentualnie po tytule można by było wróżyć post-rocka, Zoharum 7/10). Obie wydane po raz pierwszy na regularnych CD – poprzednio były na taśmach – przez polską wytwórnię Zoharum, co Gdańsk utwierdza na pozycji polskiego przyczółku space rocka. Obie wydane w nakładach limitowanych do 500 egzemplarzy, co powoduje, że nie zastanawiałbym się zbytnio. Wright nagrywa dużo za dużo, ale obie te płyty, ze wskazaniem na te mniej gitarowe, a bardziej elektroniczno-dronowe momenty (duetowy “Meetings of the Lunar Eclipse” i świetny “Black Pyramids Under the Martian Sun” z organistą, a z drugiej, nieco słabszej płyty, nowsze trio w “Curiosities of Levitation”), są warte swojej ceny. A nawet – szczerze mówiąc – zaskakująco udane jak na potężny katalog Wrighta. Pierwsza z nich zawiera dodatkowe trzy niepublikowane utwory sprzedane jako “Star Coloured Clouds”, też zarejestrowane w duecie z McKinleyem Jonesem. Odradzam jedynie tym, którzy nie znoszą półgodzinnych utworów, ale te zdrowe jednostki, które nie lubią półgodzinnych utworów zapewne nie czytują też długich wpisów i nie dobrną do tego momentu.

Created by AlterNation Music Magazine / 2007

 

 

AQUARIUS RECORDS LIST No.328

More druggy space-y kraut drone bliss from Justin Wright and his Expo 70, here expanded to a duo for one track, and a trio for the other, a dizzying drifty blend of minimal guitar rumble and Moog and organ whir, peppered with glistening shards of sonic starlight, buried melodies, blurred into a gorgeous ever expanding expanse of hushed new age drift, not nearly as heavy as some past outings, although the first track, a whopping 30 minute epic, does build to a soft blackened roar, although that roar is muted and dulled into something closer to rib cage rattling thrum. Regardless, it's transcendent and sublime, subtly heavy, and utterly cosmic.

 

The second track is another nearly half hour exploration of inner sonic space, heavy on the organs this time, thick layered buzz and rumble and whir, flecked with strange little stuttery melodies, a sheet of softly swirling effects draped over slow motion organ melodies, slowly shimmering textures, before the track begins to grow ominous, the sound of a darkening sun, bits of high end glimmer throughout, while the core blackens and expands, the sound shifting into pulses, a strangely surreal sci-fi throb, haunting and harrowing, a caustic cloud that slowly dissipates, leaving vapor trails of soft streaked FX flecked buzz and a stretch of skeletal rhythm, slowly fading out into a horzion of minimal muted high end shimmer.

 

THE CD-R IS LIMITED TO 100 COPIES! THE TAPE IS PROBABLY MORE LIMITED THAN THAT! Housed in cool red sleeves printed in gold metallic ink!

 

 

MY RECORD COLLECTION dot ORG

Expo '70 might have made it's name for it's many floor-shaking and rumbling doom albums, but no one will argue that what makes this band stick out from the lot are the occasional kosmische records. Corridors To Infinity is one of those incredible exceptions. Once every blue moon, when the planets Harmonia and Ash Ra align with the star Cluster in the Schulze constellation, a certain cosmic energy seems to channel through Expo '70, turning it's music into rhythmical transmissions reaching us from light years away. Meetings For The Lunar Eclipse is an epic cosmic monster some scientists believe might be a powerful super black hole able to destroy and absorb any other band that might be in it's vicinityBlack Pyramids Under The Martian Sky, another track which lies far beyond the first side, is presumed to be an even more massive celestial body of mysterious origins. The only way to figure it all out by yourselves is to give it a spin!

 

 

FOXY DIGITALIS

Expo 70 is, by now, a fairly well regarded name in the world of kosmiche/drone world, and truth be told the hype is well earned. Few have explored the outer space ways in recent years with such consistency and direction as Justin Wright. This hour long tape, presents two side long tracks, remarkably recorded in the same day. With this much time to work with, Wright and his compatriots are able to stretch out, in and over each other in the name of some truly zoned excursions.

 

The first side belongs to “Meetings of the Lunar Bridge,” a duet between Wright, on guitar and drum machine, and McKinley Jones' Moog. The results are fantastically rich, and far fuller than most would assume was possible between such a limited instrumental lineup. Opening with a punch, the side soon slips into a meditative drift aided by Wright's loping pulse, which enters and dissolves at will while the two veer around, peaking first at this sun, then at that moon, and that quasar, and that nebulae. Hubble happenings to be sure.

 

The flip side, “Black Pyramids Under the Martian Sun,” adds Matt Hill's organ to the mix, which fills the sound out even more. The trio's smart though, knowing full well the freedom this allows. Rather than lifting off together they fade in gently, playing little and merging textures as they trod towards their soupy abyss. A beautiful side and release overall, with stellar artwork to boot.

 

8/10 -- Eric Hardiman (27 October, 2009)

 

 

IMPOSE MAGAZINE

Post Tension

By Gregory McGreevy

 

This byte section is going to showcase all the best limited cassette releases money can buy, but often doesn't. I will do my best to keep it varied, but it will mostly lean towards the avant-garde and experimental (as if other genres of music were being put on tape in the year 2009).

 

That being said, let's start it off with Expo 70's cassette on Sonic Meditations, Corridors To Infinity. Justin Wright's Expo 70 project has been one of the more noticeable in the recent crop of kraut/kosmische inspired psychedelic acts, with Corridors To Infinity lending more steam to an already boiling pot.

 

This tape features Mr. Wright on drum machine and guitar, with McKinley Jones at the helm on the Moog and Matt HIll joining in on the organ on the B side. It's got a lot of the long drones you might expect, while adding some punch in certain areas with the drum machine and guitar, but also hitting really meditative spots and gently lifting and pushing you around that cosmic inner-brain, third-eye.

 

Great release. Super long-player at 60 minutes. A definite must for inner exploration or hazy, smoke filled late nights.

 

Out of print, but tool around a bit and you may be able to find it.

 

 

THE WIRE MAGAZINE Issue 311

Size Matters By Byron Coley

 

Superb space aktion helmed by Kansas City's Justin Wright. Duo on one side, trio on the other, and the smoky thickness of the guitar/Moog/organ/drumbox recall the phosphorescent ghost mystery Laurence Cook used to embody when he'd drape a sheet over his head and drum kit, then flail sideways into the the gaping yawp of the 0-mind. The music here is like a private lightshow in your bedroom. Enjoyable as anything.

expo70corridorsCD