The Floor’s Too Far Away

Released in 2006

Rife with incessant intergalactic grooves, “The Floor’s Too Far Away” offers a satisfying, near state-altering listening experience!



About The Floor’s Too Far Away

“The Floor’s Too Far Away”, is far from bogus. Recorded in Ed Wynne’s home studio in Somerset, England, the nine-track, all-instrumental CD is a musical reflection of Wynne’s centrifugal creative vision – a vision synthesized into a spiraled, multifaceted tapestry of butt-moving, trance-inducing ethno-techno space rock.

The first track, “Bolshem”, recalls a distant era deeply seeded in our collective memory while informing us of a vibrant futuristic world of sonic possibilities. Its psyche-penetrating, prehistoric creature-like drone gives way to a spiraling interstellar vibe.

Though “Bolshem” represents a kind of evolution, the song is every bit as much a re-visitation as a referendum on Wynne’s growth as a songwriter. Bolshem People was the name the Somerset-based band used as it moniker before they were known as Ozric Tentacles. “Ages ago, we were known as Bolshem People for about three months,” Ed says. “The reason the tune is called ‘Bolshem’ is because it is a very sketchy version of something I wrote around that time. It sounded very different than the version you hear, but there is a link. I never did anything with it, so I chose the title to refer to that time.”

Nostalgia, purposeful design, and a healthy dose of serendipity helped define some of the record’s most outstanding moments. Through keyboard technology, the unintentional flick of the wrist resulted in meaningful output. “‘Vedavox’ was a little funny ethnic Eastern tune that started off with a sound that came about by happy accident,” Wynne says. “It is often how these tracks start. There is this little note that comes at the beginning of the song that is a really unusual sound for that synth to make. It is a Moog Prophet Pro-1 synth, and I never heard it sound like that before. So, I just started playing this funny, little Indian-sounding tune over it.”

“Jellylips”, the CD’s third track, launches with an unidentified voice sample. Continually contorted, the mystery voice settles to the same timbre as Wynne’s throaty keyboard riffs. “I can’t say whose voice we are using,” Wynne says, “but it is shocking, isn’t it? It kicks off and you think, ‘Oh, my God, where is this going?’ It definitely breaks you out of your reverie from the track before it.”

Ed refers to “Etherclock” as the only “pop” tune on the record. In reality, the song is something akin to an outer body experience: there is something strangely soothing yet insidious about the song, as if the listener is hearing the sound of his/her own soul sliding away. Other notable tracks include the frenzied “Splat!” (think a buzzing fly headed for a car windshield), “Ping” (its melodic overgrowth chirps with the sounds of a jungle that time forgot), and the trance-ndent “Armchair Journey”, which, one can imagine, is the sonic equivalent of ancient holy men chanting magical incantations.


Line-up / Musicians:
– Ed Wynne / guitar, synth, drums (5,7,9), bass (2,6), fretless bass (9), sampling & programming, co-producer
– Brandi Wynne / bass (1), synth & Fx (2), co-producer
– Tom Brooks / “bubbles” (3,5,7)
– Matt Shmigelsky / drums (1,2,6,8)
– Merv Pepler / percussion (2)