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Four tracks and almost 50-minutes long Waiting For The Flood easily exceeds expectations. The third outing by German psych rockers Samsara Blues Experiment is their most balanced and harmoniously driven yet. 18-months in the making and averaging 10-mintues per tack, the record combines the best of the group's two previous studio albums while drifting further into mid-'70s prog rock. As seasoned professionals, Christian Peters (guitar/vocals), Hans Eiselt (guitar), Richard Behrens (bass) and Thomas Vedder (drums) have fused together their individual talents to create something truly majestic. Elements of British acts Man, Khan and Camel can be heard in the creative expanse of the individual songs while the occasional southern-style heavy rock of Corrosion of Conformity or Floodgate rattles the cage.

Side One kicks off with "Shringara" a blend of stoner heaviness and southern fried psych with an Indian raga vibe. A long moog solo gives the song a retro cosmic feel morphing like a giant nebula. Capitalizing on their progressive foundation second track "Don't Belong" plunges headlong into the quartet's collective dark side. A haunting doom blues lick snakes into an adventurous mid-section that bounces with a funky beat. The song ends in an epic ostinato complete with heightened guitar solo. On the flipside is the album's title track "Waiting For The Flood", a 12-minute opus so free and easy yet so complex. Composed as a hybrid between Hendrix and Santana it includes an impressive array of duel guitar with a thundering bass line. Closing the disc is "Brahmin's Lament" a classic heavy blues number with a haunting chorus and stunning vocal. Its' extended psychedelic mid-section features Indian rhythms and sitars with a vast Hawkwind-like finish into the chorus. Repeated listens are required to appreciate the magnitude of each composition.

On the edge of a musical frontier, Samsara Blues Experiment transcend the tag of Stoner, Psychedelic or Progressive rock. With a fresh innovative style they have amassed a passionate, visceral approach to modern jamming while pulling together cosmic elements that harness pure, metaphysical energy. They stand alone as genuine innovators of an undefined style in a class of their own. This is what makes them so special." (Todd K. Smith - The Cutting Edge - Biographer of FREE and UFO)

The album was recorded at Big Snuff Studio Berlin and mastered at Calyx Mastering. The coverart was painted by late great polish artist Zdzislaw Beksinski.

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