siLLy puPPy This Dave Murray is not the guitarist from Iron Maiden but a drummer who has been involved in a number of interesting musical acts including Estradasphere, Tholus and Sculptured however before he was getting all wild and crazy in the avant-garde rock and metal universe he started out with a grander vision of what would become a project under the name The Deserts of Träun which began all the way back in the 90s. It was designed to be a conceptual sci-fi journey through several albums about the world of TRAUN which according to the website TRAUN MUSIC dot com:

“The world of Traun is in peril after a flying health spa arrives at the outer rim of their star system. At the helm, a despotic tycoon named Voss ignites a trade war with the neighboring planets to acquire the water he needs to fill his baths. The capitol of Traun—the Fruitless Kingdom—has launched an offensive against Spa 9, but they have not been able to evict the illicit resort, nor regain control of their water supply. At this rate, life on Traun may be on the brink of extinction. But there may be hope brewing from within the sinister relaxation empire. The daughter of Voss—the Black Metal Princess—has been devising an elaborate ruse that will hopefully save the world of Traun, restore balance, and rescue her father from his own destruction.”

After working with Tholus, Murray decided to bring his fantasy universe to life in musical form and recorded a rather out of sync sequel as his debut release titled “Part III: The Lilac Moon” under the moniker The Deserts Of Traun but was never happy with the weak production and video-gamish outcome therefore decided to reboot the whole series which brings us up to the modern day where he simultaneously released four EPs in 2017. Three of them are part of the series and the fourth is the leftover bonus tracks. Since the project took more than 20 years to complete, this is quite the ambitious effort and the fact that each EP hovers around the 20 minute mark make them quite accessible and the painstaking process of recording the wealth of sounds and styles with modern day technology makes these EPs substantially better than the 2003 album. Because this is a reboot, much material from that album was recycled and incorporated into the new releases.

The four EPs are to be heard in this order:

The Lilac Moon

The Black Metal Princess

ESCAPE FROM SPA 9

Deleted Scenes (bonus tracks)

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EP #3 - ESCAPE FROM SPA 9

This one doesn’t quite hit the 20 minute mark and most tracks are barely over a minute long but pack in an album’s worth of ideas at times. “The Deserts of Traun” begins the genre jumping journey with a sombre violin and classical piano in avant-garde fashion. “Making Haste” goes into frenetically paced jazz-fusion that alternates between slow and fast tempo. “Mayor Of Ghost Town” starts with a storm and a suspenseful mystery crime show theme style. This one has vocals and what sounds like a theremin. Police sirens and other noises jump in and out. “The Lone Coachman” spends a while in electronica land only to burst into heavy metal guitar riffing with an atmospheric backdrop droning away. “Pirate Stronghold” begins as a mellow classical string piece but turns into a cartoonish sounding form of accordion rock reminding me of Mr. Bungle.

“Lizardback” begins as a mellow acoustic guitar sequence that has a country vibe with slide guitar with some unexpected Tuvan throat singing. The title track is the longest and exceeds three minutes. It begins with some ambient noise and then bursts into crazy brutal prog with heavy guitars, electronic noises and ridiculously challenging time signatures. It goes through bursts of excitement and then calms down to nothing. The heaviest track on board and the most complex. “Vampire Invasion” is another classical / lounge jazz piano with violin in a tango type form. Some operatic vocals pop in from time to time with some death metal growls making an appearance at the end. “Flight Of The Water Baron” is a symphonic metal piece with heavy guitars, piano and then becomes a violin led classical piece and then they join forces. “The Fruitless Kingdom” is all over the place as well. Bouncy electronica cedes to mellow classical and then symphonic metal. “Mel’s Home” ends the short album with jazz funk keyboard riffs.

At this point i still find no sings of an overall theme that connects to the music but it really doesn’t matter. This music is like taking a long journey abridged into a short time span. This album is only 19 minutes plus of music but has a ridiculous amount of elements and complexity in its playing time. Very cool stuff obviously catering to the Mr Bungle, Secret Chiefs 3, Estradasphere and Atomic Ape crowds.