1 Birth Fumes 5:24
2 River Is A Killer Brother 6:22
3 Links Awakening 7:35
4 Golden Sun 6:24
5 Totem Mountain 8:58
6 Up And Down Dream Valley Thruway 8:49
7 Bloody Paw Prints 13:38
Up and Down Dream Valley Thruway is probably the most varied Quetzolcoatl album I’ve heard to date and also one of the best. “River is a Killer Brother” features the rare occurrence of a backbeat, minimal and slightly irregular, but a backbeat nonetheless. The track has a real nice contrast of ethereal vocals and a chaotic jumble of different rhythmic loops and sounds. When this idea of combining disparate elements is tried sometimes the result is disjointed or ill-fitted; not here though, the track feels cohesive even with it’s slightly fractured rhythm. “Links Awakening” kicks out the hypno-dreaminess with mounds of vocals heaped upon a gently flowing keyboard loop. It’s a very lush and full sounding track and an excellent addition to Quetzolcoatl’s burgeoning back catalog of hypnotizers. More dreaminess comes with “Golden Sun”. The track is pretty simple there is a shimmering background loop underneath a vocal refrain so pretty you can’t even zone out to it. “Totem Mountain” is less blissful but no less magnificent. A melancholy choir of vocal loops drifts through until a clanging percussive loop begins grinding away and a heavy drone begins swelling all around everything meeting with brief tribal drumming. It all blurs into the sound emanating from a faraway spirit ritual just out of sight. The title track is the most aggressive I’ve heard the Quetzolcoatl project get. It still has the signature heavily reverbed sound but there are faster, rougher loops circulating and a lot more distortion and feedback coursing through its veins. It’s not harsh but it is certainly blasted, or maybe blasting is a better descriptor. Either way, it’s a nine minute rocket ride up and down dream valley thruway. “Bloody Paw Prints” is the epic closer and is the murkiest cut on the album. It’s a pretty good mind zoner, if a little bit long. The vocals aren’t laid on as thickly and the grumbling field recordings come through a bit more, making it a little woozy almost. It’s nice, slight change-up to end the album on. I’m really impressed with the balance between sonic variation and consistency here; despite tweaking the approach each time out, the album still pretty much feels like one fantastic whole. The foldout artwork comes with a few hints as to how Tim makes his sounds. Vocals, keyboards, a floor tom and field recordings from Australia and Hong Kong are listed as instruments so there’s a piece of the puzzle. I still don’t how he is able to pull those elements into a thing of such beauty, but I'm better off not knowing and just listening I’m sure.
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