Soft Machine's collective skill is hyper-complex and refined, as they are extremely literate in all fields of musical study.
Fourth is the band's free purging of all of that knowledge, woven into noisy, smoky structures of sound. Their arcane rhythms have a stop-and-go mentality of their own that sounds incredibly fresh even though it is sonically steeped in soft and warm tones. Obviously there is a lot of skillful playing going on, as the mix of free jazz, straight-ahead jazz, and
Gong-like psychedelia coalesces into a skronky plateau.
Robert Wyatt's drumming is impeccable -- so perfect that it at times becomes an unnoticeable map upon which the bandmembers take their instinctive direction.
Mike Ratledge's keys are warm throughout, maintaining an earthy quality that keeps its eye on the space between the ground and the heavens that
Soft Machine attempt to inhabit.
Elton Dean's saxophone work screams out the most inventive cadence, and since it's hardly rhythmic, it takes front and center, spitting out a crazy language. Certainly the band is the preface to a good portion of Chicago's post-rock output, as
the Softs undoubtedly give a nod to
Miles Davis'
Bitches Brew experiments, which were going on in the U.S. at the same time.