licensed to Camera Obscura Records by SlowBurn Records
released August 2003
Prince Master Blaster Jesus Acedo - guitar, vocals
Eric Johnson - vocals, bass, guitar, moog, drums
Brian Maloney - tenor sax, photon guitar
Otto Terrorist - drums, percussion
Duane Norman - guitar, bass, clarinet, sax
Joseph Graves - bass, vocals
"Starlight'"follows up 2002's consolidating release "Hymn of the Master" with a set of recordings that showcase a band that has found a place for itself in the early 21st Century. The previous paradigm of mixing rearranged old material with new material has been shattered, and replaced by a completely new set of compositions that represent a launching pad for the band to enter an entirely new phase of its existence. It is now more than just a conduit for Acedo's guitar epiphanies.
'Starlight', like "Hymn of the Master", was recorded and mixed at Tucson's SlowBurn recording studio. The release was mastered by John Axtell at Tucson's Cranky Jesus Studio. The album features not only the visionary compositions of Acedo's but also songwriting contributions from Tucson's Sun Zoom Spark leader, Eric Johnson; saxophonist, Brian Maloney and Tucson's Infinite Beauties front-man, Joseph Graves. Starlight also marks the return of long-time BSE collaborator, Duane Norman.
Alchemy is performed everywhere, from the dazzling undulations and North African atmospheres of the opening instrumental 'Jewel of the Seven Stars', to the stygian jazz-metal of 'Loki's Monstrous Brood' and 'The Lycian' to the pyramid moon shadows of the cross-cultural 'Arabic Satori' (added intrigue given via Joseph Graves' stream-of-consciousness intonations over the top of it all), to the exquisite classical guitar piece 'Tralaine'. And for perhaps the first time, really successful vocals are added to the dynamic instrumental work. Eric Johnson's vocals make sure that the pop credentials of 'I Am I Was' are such that in a sane world it should be a hit single and he lists 'Sunbeam Angel' to another realm, and Jesus Acedo gives you a clear idea of some of the places he's been on the stormy
'Angel of Light'.
Needless to say, there is extraordinary instrumental work everywhere, not just by Acedo, but also by Duane Norman on guitar, clarinet and sax, Brian Maloney on sax and baritone guitar, Eric Johnson on bass, guitar and keys, and the appropriately named Otto Terrorist on drums and percussion.
"This track synthesizes many of the unique sounds particular to this album within the framework of a great atmosphere. It was toward the end of production on the album, and we were all playing in the studio at the same time. The resulting recording provides testimony to the level of group alchemy we had achieved. A genuinely bizarre, spooky Black Sun classic."
-Otto Terrorist, drummer
JEWEL OF THE SEVEN STARS (Starlight), "This song is so damn cool - a great opener. It immediately takes us into a tranced up space. Its like a star collapsing on its own gravity and becoming a black hole...amazing. Plus, next to the band I think I heard this song the most since I shot the video."
-Jonathan Levitt, BSE videographer
JEWEL OF THE SEVEN STARS (Starlight),
Starlight was a great collaborative effort on behalf of every person involved in the project. Although Jesus wrote the songs and put down all the original tracks, he wasn't around for the bulk of the overdubs. This allowed everybody to have a role in contributing to the songs. In it's own way, because it's the only example I can think of where we recorded like this, Jewel of the Seven Stars is one of my favorites. We all basically did our tracks live (with the exception of Eric Johnson, he didn't play bass and banjo at the same time!) which gave us the rare ability to spontaneously
improvise and comp each other on the fly. Jesus is not always a good listener, but on this day he was exceptional and kept his parts concise and tasty. Duane drifted from time to time with the spooky clarinet overtones, but it gave me a clear path to
stick to a tenor straight line which helps drive the changes of the song. It's a great listen and I'm really glad it ended up opening the record."
-Brian Maloney, sax