Beginning in 1966, the Soft Machine were at the forefront of the British psych and prog movements, backing up Syd Barrettโs first solo album, playing with Andy Summers before he joined the Police, and even touring with Jimi Hendrix. Since the late โ60s, the Machine has gone through at least six distinct eras, even changing its name a few times along the wayโfirst to Soft Ware, then Soft Works, and, in 2004, to Soft Machine Legacy.
But as of 2015, the band has once again become Soft Machine, a name inspired by William Burroughsโ term for the human body. So how does it feel for them to re-become themselves?
โIt feels good,โ says Theo Travis, the bandโs woodwind and piano player. โIt feels real.โ
Last September, Soft Machine released Hidden Details, their first album under their original moniker since 1981โs Land of Cockayne. Throughout Hidden Details, the band sounds as amalgamated and inspired as ever, giving both their jazz and rock chops a heavy workout. Focused equally on improvisation and composition, the album is a mix of new songs and reworkings of classics, which have been transformed through decades of live play. The experiment works, most notably on the excellent โThe Man Who Waved At Trainsโ from 1975โs Bundlesโa slippery, angular jazz tune thatโs original minute-and-a-half length has here been expanded to five (with Travisโs flute now on the melody).
As always, Hidden Details is purposefully mixed stylistically, and many may have a hard time categorizing the album. Leading with an absolutely filthy guitar riff from John Etheridge, the title track opener starts off sounding like Black Sabbath before settling into a warm, mid-tempo fusion. Third track โGround Liftโ is stratospheric in its passages of free improvisation, while โHeart Off Guardโ sounds like the darker side of English folk run through a film noir filter.
โItโs kind of the jazzy end of the progressive world, or the progressive end of the jazzy world,โ Travis muses on the album. A moment later, he settles. โItโs probably more of the jazzy end of the progressive world. The improvisation has a comfortable mix with the composition of the more progressive, out-there, left-field rock.โ
Whichever end of the prog/jazz spectrum it most represents, Soft Machineโs music has always been something that could only emerge out of the specific soft machines in the band, and Hidden Details is no exception.
โItโs like a big melting pot,โ Travis says. โThe four of us, we have overlapping taste, but we have very different tastes. Itโs where we meet that the music happens.โ
More than anything, the band is just happy to be themselves again.
โTo have an album where it says in big letters โSoft Machine,โ it makes it very clear that it is Soft Machine,โ Travis says, sounding at ease. โIt has a greater importance to it, it feels like the stakes are higher. Soft Machine Legacy sounds a bit like a tribute band. It could be everyone in it was a key member of Soft Machine, but people donโt have a relationship to Soft Machine Legacy. They havenโt been listening to Soft Machine Legacy for 40 years People donโt have that same kind of feeling about it.โ
Though they dropped the word from their name, the concept of legacy is still central to the bandโs work. With more than 50 years of material to draw from, Soft Machine makes a point to embody their entire career live.
โIf we like a track from the repertoire and it works well live, weโll do it,โ Travis says. โThe only thing we donโt do is we donโt do any vocals, so we donโt go back to the first album.โ
As soon as these words leave his mouth, he corrects himself.
โAlthough we did actually rehearse โJoy of a Toyโ [from 1968โs The Soft Machine], and we were talking of doing it. If youโre a Soft Machine fan of any of the eras, we do them. Something for everyone.โ
Soft Machine performs at 9 p.m. on Friday, Jan. 25 at Flynnโs Cabaret & Steakhouse, 6275 Hwy. 9, Felton. $35. 335-2800.





















