Great nighttime music
craigmsmithmd | West Hartford, Connecticut United States | 01/31/2004
(5 out of 5 stars)
"fantastic production value, this album reveals voyager one discovering a sound that exists somewhere between the hypnotic, drugged out melodic bliss of verve's 'a storm in heaven' and the unpredictable sonic experimentation of mogwai's 'rockaction' with enough blips, beeps and samples to keep radiohead fans interested. comparisons to early 90's shoegazer bands (ride, spiritualized, my bloody valentine, slowdive, verve) are inevitable and well-earned, but voyager one's unique, modern contribution to the genre is unmistakable. production and mixing are perfect: vocals and guitar feedback are balanced with a myriad of other beautifully distorted and twisted sounds into an entrancing blend of multicolored noise while the rhythm section creates a poweful undercurrent that propels the music forward (and keeps your head bobbing) rather than aimlessly meandering or drifting through the rather dense soundscapes. these are actually songs. certainly not an album for everyone (but then again, shoegazers never were) but fans of the genre won't be disappointed. 'wires' is perfect - think of 'the only one i know' by the charlatans uk colliding with 'star sail' by verve and you've got a starting point...sounds great at night. not to be missed by fans of 'shoegazing' or space rock, and a good bet for adventurous fans of daring modern bands like radiohead, interpol, and flaming lips."
From Monster Zero to Monster Hero
J. Rossi | Downers Grove, IL | 05/12/2005
(4 out of 5 stars)
"It's a tempting pastime to link current bands to ones past, and you wouldn't necessarily be wrong finding a connection between V1 and a host of 80s bands that processed their guitars.
But doing so does V1 a disservice. The songs have nothing in common with 80s predecessors other than the band's namesake was a craft once used by the United States, and that the United States was a county in the 80s. The songs shimmer with guitar texture, the beats - sometimes sparse and barely there, sometimes dense - are skewered and augmented by deft synth arrangements, and the bass lines leap up and down the fretboard. Call in star-gazing astral rocket-launch trip hop space rock.
'Wires' is the true opener here, and what an opener. Walls of guitar may recall My Bloddy Valentine, but the propulsion offered by the rhythm section makes it seems as if the guits are hanging on for dear life. As much as you can say this is shoegazer (a term the band has admitted they find shallow and unsuitable) it sounds like more muscular than what that term implies.
As if to prove that they have more than one trick up their sleeve, V1 slow things down to a crawl on 'Gun,' in which a descending guitar line is laid on top of a dense wall of atmospheric guitar. A cello on 'Snow Angel Summer' gives the end of the song a haunting feel, almost flying in the face of the barely-tethered feel in the beginning. As layers are added the song somehow gains momentum (even though the tempo doesn't change). In the end only the cello, the last instrument to emerge, is left standing. The title track is similar something Primal Scream might have put on their Exterminator album if only they had thought of it first.
The cover of Echo and the Bunnymen's 'Bedbugs and Ballyhoo' bests the original version in terms of slithering beats and guitar heft, and it could be the best song on the album. 'Praise the Lowered' and 'Tokyoidaho,' which close the album at a gentle pace, score points on my board for simply emerging as two great drone/ambient pieces.
Voyager One - with Monster Zero's textured guitar, varied beats and sonic experimentation - quietly made a gem of an album. It's time to find out why."