"This is the best new band on the circuit, for sure. At every festival they play, they put all of us old fogeys to shame, and teach us some valuable musical lessons"" -- Dave Kerman.

""The album opens with Ouverture which features the new element in their music: singing. The singing is performed by three women. Depending on the song one, two or the three of them may be singing. This brings freshness to their music and also ensures they are not creating music they have already done. Of course they are not forgetting their roots. Chamber Rock is much in the spirit of Aranis II with a quick start, a fast and dynanmic playing, and no singing. Airesym is another one; the band performed it at the Triton concert. Beside the two previous songs some of my favorite pieces are Aynu, Lever In Plakjes, Jelimena which is stunningly beautiful and Enjuminenna, another gemm. Ilah is the last instrumental piece, it starts directly where Enjuminenna ends and features an awesome introduction. The music and rhythm change several times during the song like different movements. Its structure seems symmetrical as the song ends like its beginning. Finale is a ten minutes sung song that closes this excellent album. Aranis members have succeeded in composing new and inspiring music. With Songs from mirage they are covering new grounds and reinventing themselves. We couldn't expect any less from a band of this quality; they took risks and the end result is worth it. Very strongly recommended"" --ragnrale.com"

Six years in the making, this is the sixth CD released by ReR from the visual/sonic art group Biota. Unique in their history and method, Biota painstakingly construct complex, organic structures that mix extensive studio processing and musique concréte techniques, with a highly eclectic orchestra of acoustic and electronic resources - from kit drums, through mediaeval winds, strings and barrel organs, to early experimental electronic instruments. Their works are always performance driven and interleaved with successive stages of lamination, imbrication of parts, and radical pre- and post-processing.

The interaction of staggered, overlapping elements reveals a changeable truth about the whole as the parts variously harmonize or dissent; reinforce or cloak one another in their unfolding. The project is, at heart, about uncertainty. Players encounter the shifting interplay between previously recorded parts juxtaposed with instrumental snippets - out of context - introduced from the group's archives. Electronic processing programs are employed to apply semi-random and semi-intentional alterations to the proceedings.

"Featuring the all-star cast of Charles Hayward, Hugh Hopper, Lol Coxhill and Orphy Robinson (vibraphone, steel drums), with guest Robert Wyatt on cornet. Eight strong pieces in a rock-inflected, improvisation-empowered, loose - but not too loose - free-associating open style that has become as rare as hen's teeth today. Clearframe refers back to time when free jazz, rock and all the experimental fringes were converging in search of a polyglot musical language eschewing the exclusions and rules that hedged their different genres about; and all the participants here (except Orphy Robinson - too young) were part of that project and have been shifting genres and evading labels ever since. To my ears, this record returns to unfinished business and does so at the highest level. These chaps know their way around. Clearframe offers a rare opportunity to listen to masters at work in an almost non-existent field. And it's great to hear Lol in full flight."-Chris Cutler, ReR Megacorp