I don't have the new Secret Chiefs 3 album but I've heard a few tracks, and know a lot about the ideas behind it. I think the first thing you need to know is that Trey is *trying* to separate the bands/styles now, so your comment about the influences/elements being immediately identifiable is not such a 'bad' thing (well it may be to you, but not to Trey). I know he is trying to get away from 'pastiche', and that is why he has come up with these 7 (or 6) bands which are much more distinct in content than before. He is certainly quite forceful in saying that SC3 is not a 'joke'... But I guess whether or not you like the music is not really going to be changed by just knowing his intentions. I know that I'll probably like the album when I get it, but to be honest I'm not too sure about this '7 different bands' thing myself. I guess we'll see, particularly once the other two in the trilogy emerge.

I got Masada and Secret Chiefs the same day and I've been listening to Masada much more. I'm actually somewhat disappointed in the SC3 album. Trey Spruance is much more talented than those death metal cuts. The rest of the album is leaving me cold; whereas it is very ambitious in scope, it sounds almost derivative. This is particularly the case with the film music sounding ones, they sound a little too Morricone-esque. The best tracks are the more rock/surf oriented ones. It has a similar scope to Disco Volante (as opposed to the other SC3 albums), but doesn't synthesize the influences as effectively; you can immediately identify the component elements of the pastiche on a vast majority of the album. Maybe this is a case of too high of expectations or maybe I need to spend more time with the album. Overall it is good, but not up to the standards of the previous albums--nor the potential suggested by them.

On the other hand, Electric Masada has breathed new life into the project. It reminds me of the excitement of listening to the live recordings of the quartet for the first time. The recording is of incredible quality, such that it is hard to believe it was recorded live. The soloing and the interplay are simply amazing, but it is truly the Ribot show--and he absolutely shines.

Maybe Book of Horizons is just suffering from not being as good as Electric Masada. Only time will tell, which one I go back to more. I'm curious to get some other opinions on Book of Horizons; maybe help me to hear what I'm missing.