We previously featured the talented Alec Berlin for a slew of singles featured on the album that he was building towards, so when we heard that the star had just released the twelfth and final track, and in turn the full record, Space Punk and Other Junk, we couldn’t wait to hear the opus from top to tail, in full!
Setting the tone with a vibrant guitar soundscape, Alec Berlin opens the record with the track Space Punk, which takes on a psychedelic and playful edge, akin to a trip beyond this realm. With reverbered twangs and a high octane pace, we are mesmerized.
If you have ever played Mario Kart, it gives a refined and organic Rainbow Road soundtrack vibe, the guitar performances are literally out of this world, and we soar further and further from reality in synch with the composer. The trip that Alec takes us on is transcendental and masterful, and for that we are grateful.
Next up is Man’s Best Friend, which sees us grounded with strummed, acoustic guitar and an astral electric guitar melody. Glistening nuances further dimensionalise the opus, and we appreciate the almost cinematic nature of the track, for now. Drama ensues as a bold and fierce guitar performances emerge taking on a darker and moodier vibe.
Alec Berlin‘s compositions hold so much charisma and personality, and as part a the challenge to himself, he asks, “Why no words? How do you fill the void left by the absence of singing? How do you adapt the composition, the arrangement, the guitar playing, the guitar sounds, the production, so that this music is just as compelling as if there were a singer? That challenge was the driving force behind Space Punk and Other Junk.”
Once again, Man’s Best Friend takes on a dimensional shift with a brighter and futuristic energy as the finale for the track before a gradient break down.
Beat Confabulator (All Night On The Floor) immerses us with a luscious, textured cymbal, and intricate guitar soundscape expanding with punchy electric guitar and vibrant melodies which evoke a memory of the 80s. The composition boasts a glam rock edge, whilst delivering earworm guitar melodies that have us obsessed with the fierce nature of the opus. We learn that the track includes nods to New Orleans, Prince, and Pat Metheny, and has a more psychedelic vibe as it advances, with an almost futuristic 8-bit energy.
For LaNoise, we learn that the piece is inspired by “the familiar grooves of legendary producer Daniel Lanois“, designed to take us “on a trip in comfort and style – all without leaving the comfort of your front porch, your cold beverage, and your favourite guitar.”
Minir Maad teases and moody, 80s almost dark wave adjacent vibe, and we are seduced. The guitar performances hold drama and sensuality, and once again, Alec showcases his versatility as a composer and performer.
For Patchen Avenue, we previously noted that the track expands with intricacy and an earworm of a melody whilst we experience an expansive, alternative country soundscape, as the composer and artist takes us on a trip through his spirit and soul. We love the cerebral high whistle tone, and mid-way though Patchen Avenue, we experience a brief meditative moment, before the piece rebuilds with a dynamic guitar performance.
Life in the Bog opens with a subversive texture and a dramatic vibe with fuzz guitar and a darker sound than what we have previously experienced. This is juxtaposed with astral melodies. The bipolar nature of the track is enchanting, and we deeply connect with the bass textures used to dimensionalize the composition.
Nexts up is What I Wish We Had Said, which holds a sense of nostalgia and the concept of the track is brought to life poetically by the performances. Iota (Not One) opens with dramatic electric guitars, holding a question-answer type vibe, once again cementing the artists intention to showcases that songs without words can have character.
President’s Day has a grande and refined energy, whilst Flatbush Jaywalk takes on a more experimental direction, in line with the name of the track, the artist takes risks to create something highly unique.
Finally, ROYGBIV cements Alec Berlin’s instrumental mastery, and we are reminded of all of the elements that came into play across the record, whilst holding true to the origins of his sound.
Speaking on the release as a whole, Alec says, “Even though I knew the music really well, it kept developing in ways that I never expected. From early demos, to live performance, to basic tracking, to overdubs, to mixing and mastering – at each step the music took on greater depth and dimension.”
We absolutely love the journey that the visionary creator takes us on and have added Space Punk to our New Music Spotlight playlist, whilst we continue to stream the full record!