Then followed a period of heavy psychedelic improvisation and four-track recording, leading to a trip to POD studios in 94/95 to lay down some material on sixteen-track. The group ceased to be a full-time entity during 1996, due to the old "creative differences" thing. Bryce and Sean wanted to pursue an ambient direction whilst Erik was committed to an improv-psych direction. The split was amicable and the former members very keen for the creative fruits of Salamander (Phase 1) to see release. Understandably so, because they left behind some truly remarkable improvisational psychedelic rock, reminiscent at times of Bardo Pond and Cul de Sac, but with a unique character that sets it apart. "Red Ampersand" propels the evolutionary rocket from visceral four-track improvisations like the title track, to the compositional elegance and tuneful immediacy of songs like "Hazy" and "Black Heart" straight through the stargate of the 17 minute-plus intergalactic journey "Carved Into Water".

Reviews:

"Spewing deep and chunky psychedelic rock of the "smoke 'em at home" variety…an impressive, drug-drenched stab at Ash Ra Tempels' patented cosmic floats."
- David Keenan in The Wire 168

"Mostly instrumental, Salamander's music bears similarities to the dense exotic rock of Savage Republic (and their successor Scenic), Bardo Pond and Cul de Sac. Danger on Rural Highway, though, has the languid, sensuous twang of Mazzy Star, while Hazy is a baroquely morose tune that recalls "Aerosmith's classic Seasons of Wither. The 17 minute Carved into Water perhaps hints at Salamander's future direction. It's a profound deep space exploration worthy of Kevin Martin's next Isolationism compilation."
- Dave Segal in Alternative Press #120

"The Critical Hour head out bravely into Bardo Pond territory and then settles down into a three-ring circus of memorable drum salvos (two at once) and curling guitar licks, and Red Ampersand is the best take I've heard on modal Eastern rhythms set against a background of quick-strum guitars since Cul-de-Sac, although here with added guitar fuzz which takes it beyond, into almost Kaleidoscope territory."
- Phil McMullen in Ptolemaic Terrascope #24

"…a personal type of dark, shadowy psychedelic rock full of deep, humming guitars and droning keys…" "…gloomy but excellent mind-bending rock improvisations..." "…a real tripped out exploration into early Pink Floyd/Tangerine Dream subspace…"
- reviewed in Crohinga Welll #14

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