“Suluhiana” sounds like the soundtrack for a trek through the rainforest. What sound like deep bongo drums keep up a steady, insistent beat and other bits come and go. The distinctive tinkling trill of a marxophone comes in and out and at about the midway point there are some low register xylophones, along with deep, haunting vocals. Really, this sound like something you’d hear on “South American Experience” at your local science center. It’s strangely addicting and does an excellent job of giving a naturally psychedelic feel to the album.

“Ocean’s Light” again has a natural feel to it, with some deep drums and other percussion, calling to mind The Deep and countered by tinkling chimes and high, wispy voices. I just watched “The Living Sea” on DVD and this music would have gone perfectly with it. Some guitar comes in about halfway, just a few notes here and there which the liner notes refer to as “guitar sounds.” Interesting. Sort of like chicken nuggets are made out of “chicken parts.”

“Hearing it Doubled” has the first true vocals, though the “hearing is doubled” chorus sounds exactly like “American Woman.” Perhaps this a bit of a homage to Hendrix? “Shine On You Crazy Diamond” has Claypool playing some wicked bass and Vedder adding his distinctive voice to the many lyrics. This is a nice get together for Claypool, Vedder and Irons, as Irons plays only drums on the track, letting others work their own particular mojo. Overall, the song leaves a bit to be desired as a re-tuning of the Pink Floyd classic. At this point in the album, we’re so used to the sort of rock-infused world music that the presence of a “normal” track is somewhat distracting.

Fear not, though, as “Underwater Circus Music” takes us back to where we started. The constant pounding on the drums is hypnotic and driving in a sensual way. I have an image in almost every track of three men dressed in straw kilts with colorful bead necklaces pounding away over large, naturally skinned kettle-type drums, their hands a blur, smiles beaming from heads that rock to the beat. Coming into the station at just over 14 minutes, this is indeed a musical journey underwater. “Water Song” is another, slightly similar track that comes in at over 12 minutes, while “Breaking Sea” and “Aquaman’s Electric Band” round out the aquatically themed tracks. “Dunes” uses a santoor and a sarod to give it that distinct plucked and wavering desert sound. So we’ve gone from playing with the fishies to waiting for a camel to ride by. Honestly, this is good production progression within an album.

The album as a whole is evocative of Sting in his “Dream of the Blue Turtles” and “Nothing Like the Sun” days, as well as Pink Floyd (notwithstanding “Shine On You Crazy Diamond”), just in terms of varied sounds that have a natural lean to them. Considering the five water themed tracks, titling the album something like Underwater Killer Track Daze would have worked well, but Attention Dimension is clearly a good name, too. The music is so very reminiscent of psychedelic nature music that it truly puts one in another dimension. Even the CD artwork is this multicolored, funky, swirling, drug-haze-appreciable style. Fortunately, what could have been a disaster turns out remarkably well and Irons succeeds in having a debut album that truly makes a mark in terms of style and sheer determination. Perfect for the fall and winter season when those cloudy days are giving you the blahs.