Transcendental features Slipstream material recorded between 1996 and 2002, mostly to four-track cassette or relatively less lo-fi equipment from Roland and Fostex. The tracks were remixed (read: cleaned up) in the studio, and are seeing the light of day here pretty much for the first time. The set drifts easily from the heartfelt indie pop of "Everything and Anything" to "Sophies Blues," a cool, looping instrumental that recalls Flying Saucer Attack. Elsewhere, psychedelia and dream pop are typical bunkmates. But despite Slipstream's relative predictability, mastermind Mark Refoy has always had a talent for wrench throwing, be they subtle (the screech of electric guitar that briefly breaks into "Tonight's the Night"'s soothing revelry) or bold as a sunrise (the cheeky electro-meets-Velvets vibe of "I Know Nothing"). Slipstream also garners the left-field collaboration award for getting graphic novelist Alan Moore to recite the Edmund Blunden poem "Clare's Ghost" over a gooey, spooky synth soundscape. Transcendental is steeped in a mid- to late-'90s vibe that probably comes from the songs recorded at the beginning of its cycle, but could likely also be the way Refoy and his pals always are. The eight-plus minute "Lost in Space" is a great example. Beginning with some goofy back-masked vocals, the song unfolds into what can only be described as a space rock blues jam before reaching for the stars with a Brit-pop chorus. "And when I see your face/That's when I'm lost in space," Refoy sings, as layers of keyboard effects self-replicate and separate in the background. What makes the cut genius is that its drone-y, entirely organic rhythm track never quits during all of this weirdness. Transcendental should be welcomed by Slipstream fans, especially since the band hasn't really released anything since 1997's Be Groovy or Leave. It's not a return to form, since they never really changed. But it's more of the same spacy pop goodness, and that's as satisfying as a plate of fresh moon cheese.