Cyndee Lee Rule | UFOsmosis

Go To Artist Page

Recommended if You Like
Afro Celt Sound System Mark Wood Simon House

Album Links
Cyndee Lee Rule GreatIndieMusic PassAlong Tradebit PayPlay Apple iTunes

More Artists From
United States - Pennsylvania

Other Genres You Will Love
Rock: Progressive Rock World: World Fusion Moods: Type: Instrumental
Sell your music everywhere
There are no items in your wishlist.


by Cyndee Lee Rule

Progressive rock and world fusion
Genre: Rock: Progressive Rock
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
available for download only
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Putting the Rip in Strip
7:17 $0.99
2. Congress Reel
2:50 $0.99
3. As Go the Moments
6:26 $0.99
4. The Inner Light
2:36 $0.99
5. Scarborough Fair
2:50 $0.99
6. Seven Cities of Gold
9:08 $0.99
7. Assassins of Allah
4:23 $0.99
8. Weekend Affair
6:18 $0.99
9. What on Earth?
6:31 $0.99
10. Telekinetigram
4:52 $0.99
11. Something I Should Have Said
6:03 $0.99
Downloads are available as MP3-320 files.


Album Notes
UFOsmosis is Cyndee Lee Rule's debut, genre-twisting Viper album. With her 5-string Wood Violins electric violin and Zoom 606 pedal she creates a vast array of tones and moods. UFOsmosis spans from Celtic, to Middle Eastern, to Indian to Latin influences, with a heavy emphasis on spacerock. Her playing style has been compared to Hawkwind's Simon House.
After Cyndee's Fall 2004 tour with Hawkwind's Nik Turner and Spaceseed, Steven Davies-Morris approached Cyndee for session work on Systems Theory's debut album "Soundtracks for Imaginary Movies". Steven went on to produce and engineer UFOsmosis, and Cyndee and Steven have many more projects in the works. Greg Amov of Systems Theory also made a tremendous contribution to UFOsmosis, providing wonderful compositions for Cyndee to add violin to.
Cyndee's resume includes performances in Lincoln Center, Tweeter Center, First Union Center and Trenton War Memorial, WKDU and the Gagliarchives. She has been a first violinist in the Philharmonic of Southern NJ and is a classical violin instructor. She has performed with Nik Turner, Harvey Bainbridge, Spaceseed, Thee Maximalists, Gong's Tim Blake, Jean-Phillppe Rykiel, Stellarscope, Scattered Planets and has done session work for various artists.



to write a review

David Eric Shur

The new age of EM
I first heard the amazing Cyndee Lee Rule on the Codetalkers album by Systems Theory. It's obvious that she has picked up on the jamming spacey sounds of Hawkwind personnel and has taken it to a new level. Into the 21st Century comes Cyndee and her roaring Viper, creating pulsing electronic sounds for our age. She is a star in the making. Her amazing solo album is perfect for a late night treat, soothing your mind. Besides the original material, she covers Hawkwind's Assassins of Allah and even Scarborough Fair, in a way that Simon & Garfunkle could never have imagined. This is creative music, well prepared and arranged. Cyndee recently appeared at NEARFest X on stage with RMI, mesmerizing the audience. Keep your eyes on her- talent of this caliber is unusual.

David Frain: V Motion Picture Lab

A delightful paradox: UFOsmosis is viscerally homogenous, yet sonically diverse.
Throughout her work, Cyndee Lee Rule successfully explores and expands a spectrum of style from the traditional to the experimental. Title by title, the listener’s experiences range from warm to surreal, from floating to accelerating, from euphoria to hazy and classy aural erotica.
Defying the philosophy that a work (or body of work) has to grow to the exposure of the listener in order to be appreciated, UFOsmosis starts strongly in curious arrest and holds the listener through a trail of artistic exploration. The voyage takes the listener on a fly-by of intangible musical sensory experience from Eire to the East and into scenes from centuries that have yet to dawn.
Imaginative authoring, flawless engineering, this is a get-comfortable-and-pay-attention work. The 3-2-1 knock-out of the final three songs really punctuates the experience in anticipation of Cyndee’s future offerings.
(What On Earth alone is worth the price of this album!)
This listener is not qualified to assess the delivery of Cyndee’s attack,
but when the paint is dripping from the ceiling in this listening room, that should be some indication of the energy produced by her burning mastery.


Stands above the malingering mainstream
This is a piece of art. Nothing like the normal top 40 music. I've listened to this online and managed to purchase the *last* copy. :) Now you all have to wait till its restocked!

Roger Neville-Neil

Now this is a real treat. Viper work at its best. No need to search for space. This Cd puts you firmly there!

From Aural Innovations #32 (November 2005)

Drawing from a diverse palette of global influences - including Hawkwind, Gong, Afro-Celt Sound System and Trans-Siberian Orchestra - Cyndee Lee Rule's debut CD UFOsmosis deftly, and sometimes arbitrarily, fuses elements of space rock, new age, neo-progressive rock, world music and ambient dance into an occasionally bewildering and often breath-taking panorama of first realizations. Fiercely eclectic, UFOsmosis is intent on dissolving sonic boundaries while at the same time resolving the inherent contradictions that seemingly distinguish musical genres. Rule's axe du jour is electric violin, but on many of the eleven songs on UFOsmosis she wisely sheds the instrument's association with art music and instead shreds like some demented banshee on psilocybin. Strangely guitar-like, often shrieking and soaring, but with a brutal elegance rarely associated with the instrument, Rule's 5-string Viper rips through the electronically processed soundscapes of pieces like "Seven Cities of Gold" "What on Earth?" with a vengeance that reminds one of Didier Lockwood's demolition of the instrument with the early incarnation of Magma or Jean-Luc Ponty's similar chain saw pyrotechnics with the Mahavishnu Orchestra. "Congress Reel," for instance, features plenty of hot licks that ascend and spiral like floating cobras in a dervish dream of serpentine Persian scales, while "The Inner Light," a curious cover of a late Beatles curio, roils with the neo-futurist groove of Massive Attack crossbred with the wailing spiritual surrender of a Shankar raga. On the other hand, Rule's dynamic cover of Hawkwind's "Assassins of Allah" strips away the song's original heavy rock bias and imparts to it a sleeker, more frenetic edge, as if a troupe of traveling Bedouins had fired up the hookah, the drum machines and the synthesizers, plugged the violin into a Marshall stack and rocked the djinn down in a Tangier garage. "Telekinetigram" continues the calculated merger of 1st world technology with 3rd world sensibilities. Here Rule allows her violin to take wings and dive bomb through the starry ether, while buoyed to earth by a super-gooey LFO-modulated synth arpeggio. Both manic and mannered, with a fiery finesse that embraces a studied classicism without sacrificing emotional intensity, UFOsmosis is a cathartic hour under the headphones.

Reviewed by Charles Van de Kree