"Lazer Guided Melodies" by Spiritualized

With its eclectic blend of cosmic-sounding ambient noise, psychedelic experimentation, and the familiar drone of 90s shoegaze music, Lazer Guided Melodies gave new meaning to the term “space-rock.” Although the album had to compete with other burgeoning indie acts like Pale Saints and Galaxie 500 for recognition at the time of its release, Lazer Guided Melodies is, and always was, in a league of its own, causing it to resonate with listeners nearly 30 years later. Formed from the ashes of English alternative-rock group Spacemen 3, the ever-rotating lineup of Spiritualized would go on to release seven more studio albums and two live albums. Evidently, they had a knack for capturing melancholia, detachment, and heartbreak on their 1992 debut. But for every gloomy guitar-driven track, there are glimmers of hope –– and this mixture of emotions is still poignant today, as we float through a new season and an ongoing pandemic, drifting toward whatever’s next. 

The album’s opener, “You Know It’s True,” introduces lead vocalist Jason “Spaceman” Pierce’s soft, unassuming approach to otherworldly love songs. Most of the tracks feature quiet vocals to contrast with sometimes dissonant, often soaring instrumental accompaniment. On “Run,” one of early standout tracks from the album, Spiritualized covers aspects of J.J. Cale’s “Call Me The Breeze'' and pays homage to The Velvet Underground’s “Run Run Run,” highlighting Pierce’s signature subdued tone and use of looping guitars. The mixture of serene soundscapes and gritty post-rock influences is reminiscent of shoegaze contemporaries like Ride, The Jesus and Mary Chain, and my bloody valentine. About halfway through Lazer Guided Melodies, the band ramps up their cosmic energy: the buildup of “Step into the Breeze” gives the impression of a rocket-ship lifting off, while the ethereal and wordless “Symphony Space” simulates sailing through the stars. 

To achieve such layered and cinematic sounds, Spiritualized integrated a wide variety of instruments into their arrangements, from cellos, dulcimers, and autoharps to saxophones and trumpets. These different textures unveil themselves –– first slowly, then all at once –– most clearly on “Shine a Light,” which was the first Spiritualized song I ever heard. In sharp contrast with the beginning’s hazy, gospel-esque repetition of “When I’m tired and all alone / Lord shine a light on me / And when I’m lonesome as can be / Lord shine a light on me,” the final three minutes of the song culminate in a chaotic kaleidoscope of noise, grounded by a hypnotic saxophone riff. Moments like these highlight Spiritualized’s amazing ability to evoke an emotional response from the listener. Just like our own feelings, the patterns of sound that rise and fall throughout the record are fluid and fluctuating; they hit their peaks and then subside to leave us feeling weightless. The instrumentals and sonic textures on Lazer Guided Melodies contribute greatly to the album’s emotional, and, at times, intensely spiritual, impact. 

For me, Lazer Guided Melodies is a perfect autumn album; it epitomizes the combination of melancholy, languor, and cautious optimism that comes with the changing of the seasons. Mumbling over a minimalistic composition on penultimate track “Sway,” Pierce leaves the listener with words that, in my mind, are hopeful: “This life sure is weird, but what else have I to know.” And it’s true –– as we navigate yet another school year in a pandemic, it’s easy to sink into the unearthly numbness this album encapsulates. But it’s worth it to seek out the moments of introspection and peace in Lazer Guided Melodies, too. Wide open spaces don’t always have to feel lonely or empty; the usages of fuzzy, reverberating guitars and ambient noise feel cozy to me, as cerebral soundscapes like “Symphony Space” and “200 Bars” turn into inspiration for sweet dreams. In addition to promoting Spiritualized’s innovative production techniques, the climax of the record is designed to transfix, to inspire, and to solidify the idea that there is both light and clarity at the end of every dark tunnel.

While the members of Spiritualized wouldn’t achieve critical acclaim for another five years, with the release of their 1997 record, Ladies and gentlemen we are floating in space, their work in the early 90s established them as one of the most prominent “cosmic rock” acts of the era. What draws me to this album is the unique melding of genres and musical styles — the creative forces of Spiritualized create something that feels both eerie and soothing, both futuristic and tethered to the present moment. Whether we’re settling into new routines or getting ready for everything to change, this record proves that comfort can be found not just in movement, but in isolation and stillness too. 

— Em Townsend