Editorial Reviews

Rhythm guitarist and vocalist Erica Pomerance was a singer/songwriter whose coming of age in the hippie flower power era is easily heard and deciphered on this recording. Pomerance and her band of ragtag players ramble through themes both existential and idealistic, evincing occasional oppression and rose-colored visions, and at times attempting improvisation. There's something quite charming about this folkish, Neanderthal, Joan Baez-copped amalgam, as the group wends its way through whatever substance-induced haze it experienced, approaching a somewhat unique fusion of many American musics grounded in basic rock & roll. Pomerance overdubs her voice in middle altissimo and high winding (and whining) sonance during the title selection, which defines the loose rock, free love era, while multiple bled-over metaphysical phrases underlined by Trevor Koehler's fluttery alto sax identify "Burn Baby Burn," and wordless American/East Indian style chanting and tambourine, guitar, and soaring vocals bloom in "Koanisphere." The flutes of Gail Pollard and Tom Moore give the music an airy feeling, even though it is by nature quite dirty. "We Came Via" exemplifies this dichotomy as Moore's musings and humming counteract a sped-up inconsistent rhythm in this clearly stoned music. Similarly, "The Slippery Morning" has a heartfelt approach but a naïve result. "The French Revolution" is a funkier protest story vs. song, again featuring Moore; "Anything Goes" is indeed free prose in an atmospheric bubble with a ritual core; and Pollard plays sitar quite competently on three tracks, including the warbling "To Leonard from Hospital" as Pomerance expresses an association to Grace Slick, but without the nuanced mystery. At the very least, this music is completely honest and real, and guitarist Richard Heisler's liner notes comment "it is what it is not" says a lot. Michael G. Nastos, All Music Guide

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