“Slizdexics Untie is groundbreaking – beyond the exceptional musicianship and incredible recording quality, the composition is a combination of flowing and drifting melodic passages peppered with sudden, powerful riff-oriented prog rock movements. “Gorilla Gas” and “The ‘J’ Curve” stand out among a sea of gems, but any lover of quality music – be it progressive or any genre, will find their own favorites, and they will change with your moods as this work is, unique unto itself, “evolving” – something that is experienced rather than listened to. Absolutely a must for any complete prog collection – beyond that, for any collection. “
Paul Cipro 23 January 2019 Prog Archives (5 Stars)
“A mostly instrumental offering by Adelaide electronic rock band Peak, 38 years after their first and hitherto only album. Features original Peak members Paul Fisher (guitars / keys / electronics) and Robert Reekes-Parsons (keys on 2 tracks) plus Colin Forster (bass on all tracks) and guests on other instruments. “Last of the seatbelts” reminds me a little of “Obscured By Clouds” and other tracks have an instrumental Floyd feel to them also eg “Gorilla Gas” (seems to me rather like a sped-up version of Floyd’s Shine on). Produced beautifully, selection of instrumentals that at times sound like Jean Michel Jarre with added guitars and sound effects. I will extend this review after I have listened a few more times.”
Prog Archives 14 December 2018 (3 Stars)
“A little known Aussie effort that is worth a look!
Ebondàzzar is a reasonably rare album from Australian duo Peak – Robert Reekes-Parsons and Paul Fisher – with able assistance on drums by John Haffert. It is a purely instrumental affair with vocals limited to vocoder output, effects and grunting.
Ebondàzzar has been issued twice on vinyl. The original Australian release was in 1980 on Cement Records, followed by a re-issue in 1983 by Innovative Communications from Germany. Despite two different releases the work appears to be relatively unknown.
Ebondàzzar has nine tracks with the longest, “Along For The Ride” clocking in at a little over the nine minute mark. Having said that, all the tracks from side one segue seamlessly making a suite of sorts with a running time of 23:02, though each track is quite different and there is no real hint of a concept. (All tracks on side two are clearly segregated.)
Not a masterpiece by any means, Ebondàzzar is an album of varied soundscapes, journeying mostly into the territories of electronica, space rock and possibly Krautrock. At one point there is a step towards synthesized heavy prog as “The Hunt” goes into full flight in its last half. And to cap things off there is even a hint of blues rock with the final track, “Agent’s Lunch”. With the variation presented on Ebondàzzar it is a difficult album to pigeonhole.
Highlights are: the hypnotic “Along For The Ride” opening with nice guitar and synthesiser interplay that moves into a Kraftwerk-style of electronica; “Encounter” with guitar synth pyrotechnics conjuring visions of King Crimson, before turning a corner into the symphonic realm; “Nightmist” with vocoder voices and its soaring sequencer melody so readily reminiscent of Tangerine Dream; and the dreamlike “Ocean Of Dreams” that opens with the peal of tubular bells before the synthesisers takeover, and then with the synths being overlaid with military-style snare drumming and tubular bells for much of the journey.
I like this album, but have a bias towards works from Australia. That said, I don’t believe fans of electronic music or space rock wherever they be from would be disappointed if they were to stumble upon Ebondàzzar in their travels. For the Dinosaur a 3.5 star rating, moving to 4 stars seems appropriate. “
Prog Archives 21 January 2009