Lush, Majestically Jangly Art-Rock and Spacerock From Guitar Icon Marty Willson-Piper’s Space Summit
Space Summit picked a good bandname: they’re a trans-global collective of spacerock and art-rock luminaries. Marty Willson-Piper, this era’s foremost twelve-string guitarist, pulled the project together. He’s the architect of the many, luscious layers of guitar and bass on their new album Life This Way, streaming at Spotify. The obvious comparison is Willson-Piper’s old band, Australian legends the Church in their energetic early years. If melodic, impeccably crafted guitar sounds are your thing, this is your holy grail.
Interestingly, the opening track, I’m Electric comes across as a more direct, snarling take on the kind of drifting midtempo spacerock the Church played throughout the 90s. Willson-Piper brings the roar down on the choruses, where Dare Mason’s keys, Olivia Willson-Piper’s strings and Nicklas Barker’s mellotron float in.
Harmony singer Phoebe Tsen shadows frontman Jed Bonniwell on the album’s title track, Willson-Piper’s quasar guitars and the mellotron providing a lushly textured backdrop. Ancient Towers has an aptly majestic minor-key jangle and clang, austere violin blending into the mix, drummer Eddie John adding the occasional tumbling flourish.
Queen Elizabeth’s Keys is a coyly strolling, chiming look back at 60s British psychedelic pop with a current-day digital sheen. Uneasily close-harmonied vocals float over the increasingly bristling guitar intertwine and insistent beat of Deep Paisley Underground. Then the group shift gears with Fold With the Light, its more broodingly anthemic acoustic-electric layers giving way to more of a sunshine pop feel.
They mix up the riffs, from lingering steel guitar to gentle chime and drifting atmosphere in Marlowe, one of the album’s more intriguing narratives. The Four Horses of Venice has more of an orchestral folk lushness, Willson-Piper finally firing off a tantalizingly brief, savage solo.
The dreamiest track here is Dome of Light, Willson-Piper’s sinuous leads piercing the veil. The band bring the album full circle, more or less, with the allusively ominous If You Believe. Now for the surprise: all this was recorded in diverse sonic environments all over the world. Credit Mason for pulling this together into such a lavish, contiguous mix.