Review & Full Album Premiere: Øresund Space Collective, Live in Berlin 2018

Posted in audiObelisk, Reviews on September 10th, 2018 by JJ Koczan

oresund space collective live in berlin

[Click play above to stream Øresund Space Collective’s Live in Berlin 2018. Album is out Sept. 12 on Space Rock Productions.]

Even as multinational purveyors of the interstellar Øresund Space Collective were celebrating the release of their latest studio album, May 2018’s Chatoyant Breath, they were already planning their next move. So it goes in the cosmic long game for an act that has nearly 30 offerings of one sort or another in the 12 years, building a catalog as expansive as their sound itself and giving no indication of a slowdown in productivity. Touring to mark the arrival of Chatoyant Breath, they performed June 2 at the Sneaky Snake Festival in Berlin, Germany, rounding out a run of nine dates in nine days and featuring the work of Vemund Engin of Black Moon Circle on guitar alongside the cast headed by synthesist Scott “Dr. Space” Heller, who before the show starts asks the crowd if they’re ready for a space trip. It would seem they are.

Øresund Space Collective from that beginning point unfurl five extended and completely improvised jams, opening with the 29-minute longest track (immediate points) “Improv to the Other Side,” which seems to have gotten there by the time Engin is dug into his solo in the later minutes. Whatever else Øresund Space Collective might be, they’re a vibe band. The version of space rock they play can be uptempo and full of thrust or it can be languid and dream-toned — or it can be both, if they want it to be — but their always-off-the-cuff jams work in intricate layers to create a style that’s immersive in the extreme and meant to be taken as an entirety in its entirety. That is, one can sit and pick apart elements like Jonathan‘s violin (he also plays guitar and theremin) that shows up in the opener and reappears in the subsequent “Sneaky Snake Jam” (the shortest inclusion at 16:03), but in his stage banter, even Heller seems to be advising the audience relax the brain and absorb the jams through the skin, and I’ve found as well that’s the best way to enjoy their work.

I count myself a fan of that work, I should note, and I consider it more or less a favor I’m doing myself whenever I get to review one of their outings. Live in Berlin 2018 is special not only for the lead guitar work of Engin or the aforementioned violin, but also for the manner in which the band so fluidly build their groove on “Sneaky Snake Jam,” or the push that emerges in the first half of the 27-minute “Henk’s Jam-O-Rama,” punctuated by Tim‘s drumming as Mogens and Dr. Space swirl out synth leads and the latter takes a second to check in with the crowd: “How y’all feeling? Great energy in the room.” Easy enough to believe. With Jiri on bass rounding out a six-piece lineup, Heller seems to particularly relish a bandleader role here. There are no vocals, or at least none discernible, as they’ve never really been a part of Øresund Space Collective‘s let’s-jam-our-way-to-the-heart-of-the-sun mission, but Heller introduces the band more than once and seems to be at the center of the proceedings.

oresund space collective (photo by Sabine Pottien)

Fair enough for his having founded the group and all that, and the human presence hardly could take away from the uptempo keyboard jazz in the middle of “Henk’s Jam-O-Rama” or the gloriously mellow funk that takes hold after the quiet opening of “Freaks of Berlin” (18:40), with a highlight performance by Tim on drums and another righteous classic-style solo from Engin on guitar. They take off in that jam, seem to burst forward, recede almost to the point of drone where it seems like maybe they’ve lost the direction, then make a bunch of noise until they get themselves sorted again and soon enough, they’re back in a quick-paced swing, capping quiet with a crash of drums in time for Heller to introduce Simon from Black Moon Circle to take over on drums for the finale “Another Jam for Sabine” while Tim moves to hand-percussion for the 17-minute finish.

And before they start, Heller states the intention of getting kind of an Afrobeat-space sound, but the end product of “Another Jam for Sabine” turns out to be more minor-key in the guitar, lending an almost Middle Eastern sensibility to its sound. While the guitar work remains impressive as it has been all along, a wash of synth early, backed by violin and meeting head-on with said guitar, makes “Another Jam for Sabine” a high point on multiple levels. Only fair they should reach maximum altitude as they get ready to end the set, but Øresund Space Collective have been around long enough at this point, whoever happens to be in the band at any given point, that they know what they want in terms of conjured atmospheres, and they sound confident here in bringing that to life, even if what they want is to jam.

Heller records most if not all of their live shows, and in addition to their 29 proper releases they have a massive digital archive of sets that can be downloaded — each one, of course, is different, with its own improvisations and its own direction depending on the night, but it’s hard to argue with the impulse for Live in Berlin 2018 to have been given a multi-track recording, a real mixdown and a physical pressing. Their energy playing Berlin for the first time and doing so while also wrapping up a five-country tour is palpable throughout and it sounds like band and audience alike were having a total blast. As prone as they can be to drift, it’s an active, engaging spirit that oozes from these explorations, and in their character and their sheer execution of a creative will, they only further the proposition that Øresund Space Collective are an institution in space rock. As Heller says when “Another Jam for Sabine” begins to wind down, “We’ll meet you in another universe some other time.” I believe it, and it probably won’t be all that long till it happens, either.

Øresund Space Collective on The Facebooks

Øresund Space Collective on Bandcamp

Øresund Space Collective website

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Friday Full-Length: West, Space & Love, West, Space & Love

Posted in Bootleg Theater on July 6th, 2018 by JJ Koczan

Go ahead and file under Øresund Space Collective, I suppose. And while you’re at it, pick up the pieces of my blown mind after realizing that it’s been six full years since the West, Space & Love album came out. Their self-titled debut (review here) was originally released under that banner, but immediately on its own wavelength. The uniting factor was the participation of synth specialist Scott “Dr. Space” Heller in the project, but actually, at the time, two-thirds of the outfit came from Sweden’s Siena Root — those being guitarist/sitarist KG Westman and drummer Billy “Love” Forsberg — so I suppose they were even more “file under” that band, if you want to go by the pure math. In terms of their approach though, well, I’ll say the album’s on the right Bandcamp. Perhaps the last song title says it best: “Sitars in Space.” The notion behind West, Space & Love as a project was that it should be a mostly acoustic psychedelic record. Of course, synth plays a heavy role, but with Westman‘s sitar, acoustic and electric guitars, and bass, as well as a variety of percussive instruments and more guitar helmed by Forsberg, there remains a strong undercurrent of the organic to the five included tracks on the ultra-manageable 44-minute LP. Though, you know, I say “LP” and I don’t think it was ever released on vinyl. Could it be time for a reissue?

Now’s as good as whenever, in that regard, though time doesn’t really matter with a release like this. It’s not like it’s going to go out of style. A spirit of exploration pervades — they take their improvisation-minded cues from their Øresund Space Collective parentage, to be sure; not that Siena Root at this point didn’t do their fair share of jamming — but again, the plane from which West, Space & Love‘s jams came was pretty much their own. And it was mellow. Extremely so. In my original writeup for the record, I talk about it behind a nighttime headphone record. I stand by that 100 percent, but I remember clearly the scenario I was talking about was being up late at night at Roadburn in the Netherlands when I first got this CD and listening to it there basically on west space and love west space and loverepeat for the whole weekend. It’s a freakout, but such a quiet one that it was just the perfect chillout to answer that kind of sensory overload. Six years later, the feeling is much the same.

Listening to “High Rise,” “Kafi (For Your Love)” and “Spirit Blues” on what would essentially serve as side A, the flow is impeccable. From the harder acoustic strum and percussive pulse of “High Rise” through the patient and graceful unfolding of “Kafi (For Your Love)” — every bit worthy of a comparison to Lamp of the Universe, and that’s not a line I’ll often draw — and the tracklist-centerpiece naturalism so prevalent in “Spirit Blues,” each player gets his moment to shine out from the three-piece. Whether it’s Love on “High Rise” and in the one-man-drum-circle during the second half of “Spirit Blues” or Dr. Space with the synth wash at the end of the opener or Westman‘s initial strum of sitar in “Kafi (For Your Love)” immediately taking my mind to The Beatles‘ “Love You To” — where it’s always a pleasure to go — the personality of each player is in full bloom throughout, and the manner in which they meld together to form something new is nothing short of remarkable.

And that continues into “Repetition” and “Sitar in Space,” both of which speak to a self-awareness on the part of their creators. It’s easy to imagine that the last two cuts, both utterly meditative in their approach and spacious beyond even what was brought to bear on the three tracks prior, came from later in the session. They seem to be that much more comfortable and settled into a methodology — especially the closer — but I know nothing about in what order these songs happened in the studio, so that’s just a narrative brought on by the evocative nature of the material itself. That is, that 22-minute stretch is so immersive and even unto its titles feels so conscious of what it’s creating that it’s easy to thread the story that it came after the initial explorations at the beginning of the record. For those interested more by general atmospheres than the circumstances of their creation, consider it emblematic of the pull West, Space & Love elicit generally, and the strength in terms of bringing ambience to life. Because while it is for the most part a quiet album, there’s no doubting the vibrancy of West, Space & Love from front to back. “Trippy” is overused as a descriptor, but there’s a genuine sense of journey in these songs for mind and spirit alike, and whether you let them wash over you or try and pick apart each hand-drum thud, synthesized swirl and sitar pluck, the resonance of the album’s entirety will continue long after play has stopped.

It was enough, I suppose, that Forsberg, Westman and Heller came together again in 2016 for West, Space & Love Vol. II (review here). It was a less acoustically-based session, and had the gag-track “Pig in Space” to pull the listener out of the otherwise hypnotic moment, but was still a worthy follow-up to the chemistry established here, and one hopes it won’t be the last time these three get together, however busy they might otherwise be. Forsberg remains with Siena Root, while Westman‘s contributions to 2009’s Different Realities (discussed here) would be his last with the band. He continues to focus on Hundusthani classical sitar music and has performances booked between next week and late September, when he’ll be in New York and Massachusetts both for select US appearances. His latest album, Sonashish, came out last year through Bihaan Music. Here’s a bonus raag from him just because I happened to be on his website and put it on:

Of course, Heller continues to pursue the outer reaches of the known cosmos with Øresund Space Collective, about whom writing has essentially become a means of doing myself a favor over the last several years, as I find their output always to be such a joy to put on and adventure with. I’ll say the same applies to West, Space & Love as well, which it’s been a thrill to revisit. I hope you feel the same way.

And as always, I hope you enjoy. Thanks for reading.

Pouring coffee in the dark at four in the morning? What could possibly go wrong?

Sometimes I feel like the late-night/early-morning process of decision making is its own beast entirely, separate from the entire rest of the day. And then I remember things like the fact that I drove out of lunch the other day with my wallet on top of the car, losing it — which only sucks because it was a customized gift from The Patient Mrs. — as well as my drivers license, credit cards, debit card, insurance info, cash in pounds, euro and dollars, and several checks made out to cash, etc., and I remember that, no, I’m a fucking moron all the time. Doesn’t matter if it’s four in the morning or four in the afternoon. Points for consistency, I guess?

In any case, I emerged from the coffee-pour unscathed, though I still consider the oh-no-I-can’t-turn-on-the-light-because-I-might-wake-the-baby-who-is-behind-a-closed-door theory specious and ill-examined at best. Fate may have its way with me next time, but it’ll have to wait: this was the end of the pot.

It will be missed.

I’ve been up since two, which is pretty good, considering. Last night was 12:45, for example. I managed to go back to bed for an hour or so at five yesterday, and I may yet do the same this morning, but it’s basically an effort to be done with this stuff by the time The Pecan wakes up. That’s been sometime between five and six for the last month, and especially as we’ve been back and forth between Massachusetts, Connecticut and New Jersey — currently in the latter, until Sunday — my early-morning-get-up-at-4:30-or-five-or-six-and-write time has pretty much evaporated. I’ve made the best of it, and hopefully not too many typos along the way. Nothing is permanent. Someday, my son will wake up without screaming and make himself breakfast. Whether I’ll live to see it, well, let’s not be melodramatic.

By the way, in all the hubbub of traveling and dumbassery, I left my all my meds in Massachusetts. Remember last week when I talked about crying for no reason? Yeah. Tomorrow should be interesting.

Speaking of interesting, I’m kicking the can down the line again and pushing back the Quarterly Review another week. The reason? I’m just not ready. I don’t have Photoshop installed on The Silver Fox yet or a registered version of Word — the former used to making a banner, the latter for keeping track of word counts for the reviews so I don’t fly off the handle and do 500 words for everything — so that’s a thing, and I still have one or two more picks to include for a couple of the days. Getting that laptop stolen in the UK really fucked me up. I hope the dickweed who did the snagging got some decent heroin with whatever cash he got in exchange for it. I’d love to hear from (presumably) him.

So, with the Quarterly Review put off, next week has a lot of stuff up in the air. I’ll improvise like West, Space & Love, but here’s the basic formative plan I’m going from. I fully expect this will change:

Mon.: Saturnia review; Churchburn video.
Tue.: Great Electric Quest review.
Wed.: Black Moon Circle review.
Thu.: TBD.
Fri.: TBD.

Pretty vague. Sorry about that. I was hoping to pull it together on the Quarterly Review and just didn’t get there, so the stuff for the week after, which was half-planned as you can see above, has basically been bumped up. If I’m lucky, someone will feel like premiering something in all that. For what it’s worth, I’ve already got stuff planned as far out as July 31. Just not next week.

However, I remain certain this site won’t go without its due share of postery. There’s plenty out there to cover. To wit, I just checked my email and got asked to do two premieres next week. So things will shape up. I still need to look at Thee Facebooks messages as well. Oy.

Actually, why don’t I go do that. Plus it’s quarter after five, so The Pecan should be getting up imminently and I should put the first of today’s posts live.

And yup, there’s the call. Gotta run. Great and safe weekend, and please check out the forum and radio stream.

 

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Øresund Space Collective, Chatoyant Breath: The Eyes, Open

Posted in Reviews on June 12th, 2018 by JJ Koczan

Oresund Space Collective Chatoyant Breath

Every time the Denmark/Portugal/wherever-based outfit Øresund Space Collective put a record out, they’re basically sending their listenership and everyone else an invitation to share in a moment. I don’t want to make it sound too flowery, because the reality of the situation is it’s dudes in a room playing instruments, but what the band creates and has created now for well over a decade lives up to the cliché of reaching beyond the circumstances of its making. Always improvised at least to some extent — safe to say every now and then a riff someone thought of beforehand sneaks in there — their music spreads out as vast and as marvelously psychedelic as their runtimes often likewise find themselves extended. With an ever-fluid lineup and an ever-fluid sound, their latest collection, Chatoyant Breath, includes a stopover from guitarist Gary Arce, founder of Yawning Man and pivotal figure in the creation of Californian desert rock.

Issued on a limited CD and LP run via Space Rock Productions, the offering — the title of which refers to the cat’s-eye effect of gemstones; hence the French root, “chat” — comprises five extended pieces all recorded in a single day. As ever, the group is led by synth master and bandleader Scott “Dr. Space” Heller, whose custom box of wonders with its many mysterious plugs and wires is, also as ever, a galaxy-creator unto itself. Joining Heller and the core of Nick Hill (guitar), Jiri Jon Hjort (bass), Mogens Deenfort Pederson (synth) and Martin Bjerregaard (Gas Giant) on drums is returning player Nicklas Sørensen (guitar; also of Papir), and of course Arce, and together the group ranges beyond two hours and 15 minutes across two discs of positively molten spaced-out voyage. Arce, his tone inimitable and something of which the Palm Desert city council should erect a statue, plays on three of the five cuts, including opener “Peaceful Patterns” (28:37), the subsequent title-track (36:08), which together make up the entirety of disc one, and “Angular Ambrosia” (28:02) on disc two, which leads into the two final jams, “Turbulent Trepidation” (23:21) and “Celestial Sensation” (19:23).

Nick and Nicklas switch up who plays on what — though everybody seems to be all-in on the “Chatoyant Breath” itself — and whoever is involved in whichever given jam, the effect the album has is soothing enough to justify the title of its leadoff, and even as the most active moments of the title-track dip into a kind of upbeat kosmiche reggae or “Angular Ambrosia” rumbles a deeper low-end fuzz beneath the overarching airy guitar notes and copious effects swirl, the shift in the actual amount happening in any given stretch only makes the release more dynamic, rather than detracting from its atmospheric cohesion. One would expect no less from Øresund Space Collective at this stage in their tenure, and though their songs are sometimes carved out of longer jams — further editing is done to make them fit on LP — the group’s underlying mission never wavers: they are capturing the moment of creation as it happens and presenting it to their audience as pure and unrefined as possible. That said, their approach is pretty refined at this point. To my knowledge, Chatoyant Breath is the most recent studio session they’ve had, tracking with the full group in Jan. 2017 and Heller mixing over a period of months afterward.

Oresund Space Collective

Their preceding outing, Oct. 2017’s Hallucinations Inside the Oracle (review here), was put to tape in Nov. 2016, and they never seem to have a session that doesn’t result in at least one release, if not more than that. Accordingly, as this is the latest manifestation of their process, one can also see it as the latest step in their ongoing development. Chemistry at this point is a given — the band wouldn’t exist without it — but for followers of the band who may or may not keep up with their regularly-posted live free-download shows in their group on Thee Facebooks, the clearer realization of their methodology is like a status update from another world: “still here, still far out.” As “Celestial Sensation” winds down and seems to inadvertently (and somewhat ironically, given the album’s runtime and the band’s general longform ways) reference the lead in The Eagles‘ “Hotel California,” the confirmation comes through clearly of another successful endeavor and spirited collaboration. It doesn’t directly mirror the beginning in “Peaceful Patterns” or anything like that — somehow that would almost be too much structure — and the personnel has changed, but that ending nonetheless reaffirms the vitality at work behind an effort that remains serene at its heart.

They’ve never been a band for everybody, and their project remains something that not every listener is going to be able to connect with, but as the official and unofficial catalogs of Øresund Space Collective keep growing, it only becomes more apparent how special an outfit they are, and how much they’ve carved out their own place even among psychedelic jam bands. There are plenty of those around, and plenty who take the instrumentalist and improvisational approach as well, but the level of immersion that Øresund Space Collective emit is their own entirely, and the personality they inject into their grooves isn’t to be overlooked, even if they’re serving as a background or atmospheric listen — that is, even if one isn’t sitting down and analyzing every change or shift in “Angular Ambrosia,” it’s still possible to appreciate what’s happening there, and the same holds true for the rest of the record surrounding. The longer Øresund Space Collective go, the more sustainable their ideas seem, and with such an open sense of what they do behind them, their breadth only continues to move itself forward.

Arce‘s contributions, particularly to the title-track, which is the highlight here and practically a full-length unto itself, are a compelling factor, but there’s no question this is an Øresund Space Collective release. Part of that comes down to the mixing itself and the way it integrates Arce‘s guitar alongside the others and the synth, effects, bass, drums and whatever else, but really, it’s even more about the consuming whole of the jams playing out. Øresund Space Collective have their own kind of space rock, and it’s often less about thrust than it is about drift, and that’s the case with much of what’s made it onto Chatoyant Breath. Once again, the band has dug out its own place amidst the stars and cut the engine to see where gravity takes them. As it invariably must be, the answer to that question is it takes them forward. No doubt that will be the case next time as well, and no doubt there will at some point be a next time. Once you’ve left orbit, why come back?

Øresund Space Collective, Chatoyant Breath (2018)

Øresund Space Collective on The Facebooks

Øresund Space Collective on Bandcamp

Øresund Space Collective website

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3rd Ear Experience, Stoned Gold: Ways to be Saved

Posted in Reviews on November 8th, 2017 by JJ Koczan

3rd-ear-experience-stoned-gold

Given the formidable title of Stoned Gold, the latest full-length from Joshua Tree-based heavy psychedelic rockers 3rd Ear Experience is nothing less than an attempt to present the very foundations of the band’s writing process. Or, perhaps more appropriately, it’s a presentation of those roots entirely. The story goes that bandleader Robbi Robb was pulling the group together to work on their next full-length — either their fifth or sixth, depending on what you count — for Space Rock Productions, which also stood behind 2016’s studio outing, Stones of a Feather.

Robb, who leads a rotating cast of players in the amorphous group that may or may not at any given point include Amritakripa, Alan Dude Swanson, Richard Stuverud, Dino Archon, Dug Pinnick, Eric Ryan, Joey Vera, Butch Reynolds, and/or Jorge Bassman, had toured Europe for the last record, had signed a booking deal to go back, and so one imagines the creative juices were flowing and spirits were high. The band would start or end each day of the session with an improvised jam. Something to get the blood moving. A warm-up or a cool-down, and maybe the basis for a song to come together. Not at all unheard of. Well, when it came time to dig through the days’ worth of recordings and piece together the next 3rd Ear Experience long-player, Robb found that it was these jams that best represented the band as a whole and their musical intentions.

Accordingly, Stoned Gold arrives via Space Rock Productions — the label, one is compelled to note, owned by Scott “Dr. Space” Heller of Øresund Space Collective — as a collection of these jams, led by Robb‘s own scorching guitar work, with six tracks and just under 70 minutes of righteous desert freakouts, presented one into the next with a variety of personality and presentation to them that feels emblematic of the creative process behind their making.

Structures are way, way open. Vibes are way, way open. The spirit behind Stoned Gold is less like an album and more like an audio documentary — the idea being to bring to listener as close as possible to 3rd Ear Experience in the making. They’re not the only band to take this approach, and one would be remiss to not mention the progressive explorations of Øresund Space Collective here as forerunners of the improv-based heavy psych style, but it’s exceedingly rare for an American outfit to do so and to do so with such abandon as 3rd Ear Experience bring to pieces like the eight-minute title-track or more extended “I am Not Robot (Warm up Jam Day 3),” which follows opener and longest cut (immediate points) “Infinite Unmanifest (Warm up Jam Day 1)” and the subsequent “Iceberg Dream (Last Jam Day 4)” as one of three pieces named in part for when it took place in the session.

3rd ear experience

It’s telling of the mission behind Stoned Gold that the album would launch with a warm-up jam from the first day, since that effectively places the audience at the same starting point — equal footing — as the group itself as they begin to unfold what becomes the immersive, molten flow of the release as a whole. Whether or not “Iceberg Dream (Last Jam Day 4)” marks the end of the recording session as a whole, I don’t know, but it would make sense, and taking the two back-to-back is to hear 3rd Ear Experience shift deftly between classic space rock propulsion, exploratory melodic wash and an ultimate drive into cosmic swirl.

Those two songs alone comprise nearly half an hour of listening, but with as shuffling start of “Stoned Gold” signals before the band starts to weave its way through a couple harrowing turns toward a Sabbathian riff peppered with a couple lines of obscure, effects-laden vocals, it’s abundantly clear that they by no means make up the complete picture of the album’s scope, and indeed that turns out to be the case as “I am Not Robot (Warm up Jam Day 3)” digs into its 13 minutes of post-Hendrix shimmer and dazzle, more of a straight-ahead flow than a build, but underscored by highlight fuzzy bass tone in its midsection and honest enough to keep going even after it starts to fall apart.

It is surprisingly hypnotic in that, and that makes the transition into “No Walls, No Wars” somewhat more jarring. The penultimate cut is probably as close as 3rd Ear Experience come to traditional songcraft on the record, starting out with African-style percussion before cutting out to a solo-vocal verse and resuming its rhythmic charge. Swirls come and go around this central tribalist figure, and where so much of the album is instrumental, “No Walls, No Wars” is full of words, syllables, lines and obscure shouts, met head-on by an ongoing guitar lead, as well as drums, keys and synth, all of which seem to find further emphasis than in any of the previous jams. At 5:20, just about everything except a line of effects drops out and there’s one last verse to bring everything to a head, and the band presses forth once more into the groove at its foundation, fading slowly to let the toms of closer “The Drone” take hold.

Airy, peaceful guitar arrives with a kind of post-rock feel soon into the 12-minute finale, and once again there are vocals early in a kind of meditative spirit, but just after four minutes in, they’re swallowed by a surge of lead guitar and volume, beginning a back and forth of open spaces and consuming solos that continues until the latter finally seems to win out just after a drum pause near the six-minute mark. Less improvised-sounding — and loosely Zeppelin-esque, somehow — that “The Drone” nonetheless caps with a foray into the sonically unknown (some last lines sneak in there as well; don’t tell anybody) could not be more fitting a way to end Stoned Gold, which in its results lives up to the promised vibrancy of atmosphere in the manner it came together.

3rd Ear Experience have essentially issued their listeners an invitation to join them on this journey, which could hardly resonate more in its endgame if it were happening in real-time on a stage or in a studio, and that invitation is well worth accepting for both its realization of concept and the raw experience of the travel itself. Whether you engage consciously or turn off your mind, relax and float down-sand, 3rd Ear Experience‘s Stoned Gold shines bright.

3rd Ear Experience on Thee Facebooks

Robbi Robb website

Space Rock Productions on Thee Facebooks

Space Rock Productions website

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Øresund Space Collective, Hallucinations Inside the Oracle: Ever Explorers

Posted in Reviews on October 24th, 2017 by JJ Koczan

oresund space collective hallucinations inside the oracle

For those who’d enter the vast, dense and nebular quadrant of the galaxy occupied by the ever-expanding catalog of Øresund Space Collective, Hallucinations Inside the Oracle makes for a decidedly convenient jumping off point. Sure, its four tracks and 82 minutes are comprised of massive, improvised works of spacefaring heavy psychedelia, marked out on pieces like “The Oracle Pt. 2” by hypnotizing waves of slowly unfolding and undulating particle drift, a kosmiche cascade that those familiar with the amorphously-comprised outfit spearheaded by synthmaster Scott “Dr. Space” Heller will tell you is just how it goes, but it’s also marked out by a pretty accessible core concept, whereas some of the ultra-prolific outfit’s other recent work, whether that’s 2016’s Visions Of… (review here) and the drone-driven Ode to a Black Hole (review here, 2015’s 3LP Different Creatures (review here) or 2014’s we-made-you-look-up-a-word Music for Pogonologists (review here), might be more difficult to easily grasp.

Recorded in Nov. 2016, Hallucinations Inside the Oracle is nonetheless rich in context in that it would seem to be a logical follow-up to/expansion on two other Øresund Space Collective-related offerings — namely the full-lengths crafted by the trio of former Siena Root sitarist KG WestmanHeller and Siena Root drummer Love Forsberg under the moniker West, Space and Love: 2012’s self-titled (discussed here), recorded in 2009, and last year’s West, Space and Love II (review here).

Though Forsberg doesn’t make an appearance on Hallucinations Inside the Oracle, the release does bring Westman into the fold of Øresund Space Collective proper, and his presence on sitar, synth and guitar is quickly felt in the opener “Reflections in the Mind’s Eye,” which at 21:51 is the first of the four side-consuming jams featured, followed by “ESP (Extreme Spatial Perspective)” (19:35), “The Oracle Pt. 1” (22:24) and “The Oracle Pt. 2” (18:27), and it’s Westman‘s contributions that most stand Hallucinations Inside the Oracle out as a place for newcomers to Øresund Space Collective to dive into. The sitar, which isn’t the first thing we hear on “Reflections in the Mind’s Eye” but is pretty close to it and certainly leading the way, presents an organic core that holds together beneath the inevitable swirl that takes hold from the surrounding lineup of Dr. Space, guitarist/synthesist Magnus, bassist Jiri, drummer Tim, bassist/percussionist Hasse, and guitarist/bassist/violinist/etc. Jonathan, and as far out as the Collective go in these tracks, that core helps set a mood that has a classic East-meets-West (pun maybe 25 percent intended) psychedelic vibe that only makes the surrounding fare more immersive.

oresund space collective

Such is demonstrated when “Reflections in the Mind’s Eye” devolves late into a wash of synth noise ahead of the more Tangerine Dream-style synthesized beatmaking on “ESP (Extreme Spatial Perspective).” There’s no sitar on the second piece from what I can discern, but the synth-fueled thruster fire is complemented by fuzzy guitar and layers of various other lysergic noises, swelling in volume and falling back into the depths of the mix, the very sound of a solar system taking shape from gravity’s pull and the condensation of stellar matter. Circa six minutes, “ESP (Extreme Spatial Perspective)” seems to suddenly come apart, but Øresund Space Collective are able to regroup and salvage the jam, redirecting toward a linear build that pays off with surprising thickness as it approaches and passes its 18th minute, thoroughly living up to and beyond its title. And when it’s over? It’s that synth line that remains as the final element to fade out, ending side B with a message of underlying cohesion — a cosmic plan at work.

And so there is. That plan further shows itself as Westman‘s sitar returns for “The Oracle Pt. 1,” his utter mastery of the instrument once more on display in graceful, gradual surroundings that indeed divide naturally as they’re split up — which is to say, it’s not like the jam was just cut in half in a random place; there’s a lull there where the drums seem to end the first part and begin the second, which also finds Westman moved off sitar onto synth and/or guitar. It’s a noteworthy change because it mirrors the dynamic between “Reflections in the Mind’s Eye” and “ESP (Extreme Spatial Perspective)” back on the first LP, though admittedly, “The Oracle Pt. 2” is less beat-driven than the side B inclusion. Still, the complementary nature of one piece into the next isn’t to be understated, and that it essentially happens twice over the course of Hallucinations Inside the Oracle, albeit in different forms, only makes the album an easier foothold for listeners less familiar with the group’s work or the generally massive scope it encompasses. For those less indoctrinated, it is as much about process as outcome, at least from the point of view of one hearing it.

Øresund Space Collective, as ever, are propelled toward and their music seems to emanate from the very moment of creation itself, the live-captured improvisation serving to represent the root of that moment, the first spark of the Big Bang and all the galaxies it set in motion. “The Oracle Pt. 1” and “The Oracle Pt. 2” represent this as perfectly as any Øresund Space Collective piece I’ve heard since the 45-minute “20 Steps Towards the Invisible Door” from Different Creatures (on which Westman also appeared), because as flowing as they are, they’re also incredibly open, given to whatever the moment of their crafting might bring, whether that’s a sitar lead in the first part or the drone-backed guitar exploration in the midsection of the second.

By following these impulses, Øresund Space Collective continue to hone their singular sonic identity and the resonance of their output continues to thrill and entrance in like measure. Indeed, no matter who seems to be involved in a given release, Øresund Space Collective never fail to offer something nuanced amid their overarchingly raw process, and Hallucinations Inside the Oracle is no exception for its progressive and gorgeously executed, extended course. It’s another check-in from a place in the galaxy that teems with such vibrancy and yet seems to only have a single inhabitant — which is to say, they’re in a space all their own.

Øresund Space Collective, Hallucinations Inside the Oracle (2017)

Øresund Space Collective on The Facebooks

Øresund Space Collective on Bandcamp

Øresund Space Collective website

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3rd Ear Experience to Release Stoned Gold Nov. 1; Teaser Clip Posted

Posted in Whathaveyou on August 29th, 2017 by JJ Koczan

Set for release Nov. 1, the new outing from Joshua Tree, California-based heavy psych jammers 3rd Ear Experience comes with the formidable backing of Space Rock Productions, the imprint helmed by Scott ‘Dr. Space’ Heller, who, let’s face it, knows a thing or two when it comes to all things heavy and jammy. He’s pretty much a doctor of it. Also actual science, but that’s besides the current point, which is that 3rd Ear Experience will issue their latest opus, the improv-minded Stoned Gold this Fall, and they’re teasing it now with a minute-long clip of scorching guitar that you can see below, set appropriately as it is to sped-up highway footage, presumably of some CA interstate. Maybe the 101? The 10? Hell, I don’t know. Whatever it is, it works.

Gonna hope to have more to come on this one before we get to the release date, but here’s the basic info as per the PR wire and the band’s EPK:

3rd-ear-experience-stoned-gold

3rd Ear Experience – Stoned Gold

We are well pleased to announce our latest album, Stoned Gold!

3rd Ear Experience are pleased to announce the release of a new album; STONED GOLD. Special thanks to Scott Heller and Sabine Pottien of SPACE ROCK PRODUCTIONS who will be pressing and distributing special limited editions of Vinyl and Cd’s. These limited editions will include in the package a Musical Primer called THE ART OF THE JAM BAND based on a letter written by Robbi to his band mates and friends. STONED GOLD is scheduled for release November 1st.

Right from the first warm up jam something broke loose, like a wild horse or like a bottle of whiskey that topples over, pours out onto the floor, someone strikes a match, the barn explodes…don’t know what or how to explain. In a few days we came away with six finished pieces of music – an unexpected surprise. STONED GOLD has a great energy, like that sand-less dust devil rushing across the desert, you cannot see it; but you can feel it and you can hear it.

We are extremely excited to announce that we will be working with Benjamin Schuster from NOISOLUTIONS BOOKING. We look forward to a long and prosperous relationship with this fine company. So, if all goes well in the world, we will be jamming out for you in the new year! – and as our good friend and touring partner Malko assures us : “you are in good hands then”

Hell yea! – we like the sound of that!

Upon the release of STONED GOLD we will also be unveiling our Bandcamp site.

https://www.facebook.com/3rdearexperience/
http://www.robbirobb.com/
https://www.facebook.com/spacerockproductions.dk/
www.spacerockproductions.com/

3rd Ear Experience, Stoned Gold teaser clip

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Quarterly Review: Harvestman, Beastmaker, Endless Boogie, Troubled Horse, Come to Grief, Holy Rivals, Mountain God, Dr. Space, Dirty Grave, Summoned by Giants

Posted in Reviews on July 17th, 2017 by JJ Koczan

quarterly-review-summer-2017

Bonus round! I don’t know if you’re stoked on having a sixth Quarterly Review day, but I sure am. Basically this is me doing myself favors. In terms of what’s being covered and how I’m covering it, today might be the high point for me personally of the entire Summer 2017 Quarterly Review. Some of this stuff I’m more behind on than others, but it’s all releases that I’ve wanted desperately to write about that I haven’t been able to make happen so far and I’m incredibly thankful for the opportunity to be able to do so at last. It’s a load off my mind in the best way possible, and as this is the final day of the Quarterly Review, before I dig in I’ll just say one more time thank you for reading and I hope you found something in the past week that really speaks to you, because that’s what makes it all worthwhile in the first place. One more go.

Quarterly Review #51-60:

Harvestman, Music for Megaliths

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A new Harvestman album, like a harvest itself, is an occasion. Distinct entirely from the solo output released by Neurosis guitarist/vocalist Steve Von Till under his own name, Harvestman’s guitar-led experimentalism and ritualized psychedelia don’t happen every day – the last album was 2009’s In a Dark Tongue (review here) – and with the resonance of “Oak Drone” and the layered, drummed and vocalized textures of “Levitation,” the new collection, Music for Megaliths (on Neurot, of course), lives up to the project’s high standards of the unexpected. Pulsations beneath opener and longest track (immediate points) “The Forest is Our Temple” offer some initial threat, but the electronic beat behind the howling notes of “Ring of Sentinels” and the Vangelis-esque centerpiece “Cromlech” find more soothing ground, and though “Sundown” seems to be speaking to Neurosis “Bleeding the Pigs” from 2012’s Honor Found in Decay (review here) in its atmosphere, the spoken word that tops closer “White Horse” provides a last-minute human connection before all is brought to a quick fadeout. If you told me Music for Megaliths was assembled over a period of years, I’d believe you given its breadth, but whether it was or not, Harvestman’s latest should provide a worthy feast for a long time to come.

Harvestman on Thee Facebooks

Neurot Recordings webstore

 

Beastmaker, Inside the Skull

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Los Angeles three-piece Beastmaker continue their ascent with their second album for Rise Above Records, the unflinchingly cohesive Inside the Skull. Like its predecessor, 2016’s Lusus Naturae (review here), the quick-turnaround sophomore outing executes a modern garage doom aesthetic and unfuckwithably tight songwriting, this time bringing 10 new tracks that reimagine classic vibes – witness the Witchcraft “No Angel or Demon”-style riff of opener “Evil One” (video posted here) – and touch on some of the same ground pioneered by Uncle Acid without actually sounding like that UK band or sounding like anyone for that matter so much as themselves. They make darkened highlights of “Now Howls the Beast,” “Of Gods Creation,” the crashing “Psychic Visions,” closer “Sick Sick Demon” and the preceding “Night Bird,” which offers some welcome departure into drift prior to the solo in its final minute – all impeccably crisp in structure despite a dirt-caked production – but resonant, memorable hooks abound, and the trio affirm the potential their debut showed and offer a quick step forward that one can only imagine will find them turning more heads toward their growing cult following. They’re still growing, but Inside the Skull is confirmation Beastmaker on a path to becoming something really special.

Beastmaker on Thee Facebooks

Beastmaker at Rise Above Records

 

Endless Boogie, Vibe Killer

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One can’t help but think there’s a bit of tongue-in-cheekery at play in the inaccuracy of Endless Boogie titling their latest album Vibe Killer. The seven-track/51-minute No Quarter release follows 2013’s Long Island (review here) and is, of course, doing everything but killing the vibe, as the New York-based outfit proffer their nestled-in raw songs crafted out of and on top of improvised jams, the semi-spoken gutturalisms of guitarist Paul “Top Dollar” Major a defining element from the laid back opening title-track onward. Moody rock classicism persists through “High Drag, Hard Doin’” and the more active “Back in ’74,” but the true peak of Vibe Killer comes in the 11-minute “Jefferson Country,” which unfolds hypnotic drone experimentation that’s as willfully ungraceful as it winds up being flowing. Bottom line: dudes know what’s up. Endless Boogie’s languid roll is second to nobody and Vibe Killer is a vision of cool jazz reinvented to feel as much at home in rock clubs of the basement and of the chic see-and-be-seen variety. Very New York, in that, but not at all given to elitism. Everyone’s invited to dig, and dig they should.

Endless Boogie on Thee Facebooks

No Quarter Records webstore

 

Troubled Horse, Revolution on Repeat

troubled-horse-revolution-on-repeat

There were a few minutes there where one probably wouldn’t have been wrong to wonder if Örebro, Sweden’s Troubled Horse would have a follow-up at all to back 2012’s Step Inside (review here), but with Revolution on Repeat (out via Rise Above), the four-piece led by dynamic vocalist Martin Heppich prove among the most vital of the many heavy rock acts to emerge from their hometown, known for the likes of Witchcraft, Graveyard, Truckfighters and countless others. Heppich, lead guitarist Mikael Linder (also bass on the recording), guitarist Tom and drummer Jonas start with the boogie-fied opening salvo “Hurricane” (video premiere here) and “The Filthy Ones,” and run madcap through the memorable hooks of “Which Way to the Mob” and “Peasants” en route to the mid-paced “The Haunted” and into a second half marked by the semi-balladry of “Desperation” and “My Shit’s Fucked Up.” Soon, the standout chorus of “Track 7” (yup, that’s the title) and the penultimate funk of “Let Bastards Know” lead to a nine-minute epic finish in “Bleeding” – and all the while Troubled Horse hold firm to groove, momentum, poise, crisp production and songwriting as they tie varied landmarks together with an overarching sense of motion, Heppich’s charismatic soulfulness and deceptively subtle flourishes of arrangement to make an absolutely welcome return.

Troubled Horse on Thee Facebooks

Rise Above Records website

 

Come to Grief, The Worst of Times

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Sometimes you just have to toss up your hands and say, “Well, that’s some of the nastiest shit I’ve ever heard.” To step back and consider them at some distance, Come to Grief aren’t near the most abrasive band on the planet, but when you’re actually listening to their debut EP, The Worst of Times, that’s much harder to believe. Launching with “Killed by Life,” the four-tracker finds the Boston outfit led by former Grief guitarist Terry Savastano – here joined by drummer Chuck Conlon, bassist Justin Christian and vocalist/guitarist Jonathan Hebert – plodding out scream-topped filth that’s actually fuller-sounding than anything Grief did back in their day and all the more devastating for its thickness. The seven-minute “No Savior” is excruciating, and though shorter, “Futility of Humanity” and even the slightly-faster closer “Junklove” bring no letup whatsoever from the onslaught. Think accessible, then go the complete other way, then bludgeon yourself. It’s kind of like that. Absolute brutality delivered by expert and unkind hands.

Come to Grief on Thee Facebooks

Come to Grief on Bandcamp

 

Holy Rivals, Holy Rivals

holy rivals holy rivals

The question of whether noise rock and sludge can coexist is largely one of tempo and tone, and recently-signed-to-BlackseedRecords Pittsburgh trio Holy Rivals’ self-titled debut answers in forceful fashion. Amid more aggro punch of opener “Locked Inn” comes the crust-laden grunge of “Voices,” and whether they’re rolling out the more spacious “Sleep” or sprinting through the post-Bleach raw punkery of “Dead Ender” on their way to the more ambient and patient seven-minute finale “Into Dust,” guitarist/vocalist Jason Orr (also T-Tops), bassist Aaron Orr (whose tone features well on the closer) and drummer Matt Langille – whose adaptability is essential to the Helmet-style starts and stops of “Loathe” that emerge from the preceding roll of “Sleep” – Holy Rivals put a superficial harshness to use as a cover for what’s actually a diverse songwriting process. They’ll reportedly have a new record out in Fall 2017, so this 2016 self-release may soon be in hindsight, but in setting the foundation for growth, it offers exciting prospects caked in an abidingly raw presentation.

Holy Rivals on Thee Facebooks

Holy Rivals on Bandcamp

 

Mountain God, Bread Solstice

mountain god bread solstice

Around what would seem to be the core duo of guitarist/vocalist Ben Ianuzzi and bassist/keyboardist Nikhil Kamineni, Brooklyn psychedelic post-sludgers Mountain God have undergone numerous lineup shifts en route to and through the release of their debut album, Bread Solstice (on Artificial Head Records). To wit, drummer/vocalist Ryan Smith (also Thera Roya), who appears on the dark, unrelenting and abyss-crafting 40-minute six-tracker, has already been replaced by Gabriel Cruz, and there have been other changes in vocalist, keyboardist and drummer positions even since they offered their 2015 EP, Forest of the Lost (review here) to set the stage for this deeply-atmospheric, it’s-acid-rock-but-with-sulfuric-acid first long-player. In light of that tumult and the overarching commitment to abrasive noise Mountain God make in pieces like the 11-minute “Nazca Lines,” “Junglenaut” or even the brooding tension of airy instrumental “Unknown Ascent,” it’s all the more impressive that Bread Solstice is as cohesive in its cerebral horror as it is, constructing a harsh and churning vision of doom as something worthy of post-apocalyptic revelry. Far from easy listening, but of marked purpose. They should play exclusively in art galleries, no matter who winds up in the band.

Mountain God on Thee Facebooks

Artificial Head Records on Bandcamp

 

Dr. Space, Dr. Space’s Alien Planet Trip Vol. 1

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Perhaps best known for his work in spearheading the improvisational Denmark-based Øresund Space Collective, modular synth wizard Scott “Dr. Space” Heller weirds out across four cuts on the solo release Dr. Space’s Alien Planet Trip Vol. 1, which both underscores in its scope how essential he is to the aforementioned outfit and oozes beyond that group’s parameters into electronic beatmaking and waves of synthesizer drone. Pulling influence from classic progadelia, Heller unfurls longform tripping on 24-minute opener and longest track (immediate points) “5 Dimensions of the Universe” and veers into and out of somewhat abrasive swirl on “Rising Sun on Mars” before landing in the more steady atmosphere of “In Search of Life on Io” and launching once more outward with the five-minute finale “Alien Improv 2.” Just how many alien planet trips the good doctor will be undertaking remains as yet a mystery, but the breadth of this first one makes it plain to the listener that Heller’s sonic universe is wide open and, seemingly, ever-expanding.

Øresund Space Collective on Thee Facebooks

Space Rock Productions website

 

Dirty Grave, So Fall and Crawl Away

dirty-grave-so-fall-and-crawl-away

Brazilian doomers Dirty Grave issue the three-song single/EP So Fall and Crawl Away (bonus points for the Alice in Chains reference) ahead of making their full-length debut reportedly any minute now with an album called Evil Desire. Comprised of two studio tracks in the eight-minute “The Black Cloud Comes” and the four-minute Howlin’ Wolf cover “Evil (Is Going On)” and with the live cut “Unholy Son – Live” as a kind of bonus track, it’s a sampling behind two similar short releases, 2014’s Vol. II and 2013’s Dirty Grave (which featured a studio version of “Unholy Son”), that sleeks through eerie doom loosely tinged with psychedelia and smoked-out vibing. “Evil (Is Going On)” is more uptempo, perhaps unsurprisingly, but is giving a likewise treatment all the same, its final solo shredding into oblivion with stoned abandon. “Unholy Son – Live” is rawer but still carries through its melody in the vocals amid a prevalent crash, and if it’s a portend of things to come on Evil Desire, then So Fall and Crawl Away serves as a warning worth heeding.

Dirty Grave on Thee Facebooks

Dirty Grave on Bandcamp

 

Summoned by Giants, Stone Wind

summoned-by-giants-stone-wind

If you have a convenient narrative for what West Coast heavy rock has become over the last decade, Summoned by Giants’ debut album, Stone Wind, is probably too aggressive on the whole to fit it neatly. Their cleaner parts, the rolling second cut “Diamond Head” and samples throughout have aspects of that post-Red Fang party vibe, but to listen to the rawness of the bass tone that starts “Return” or closer “I Hate it When You Breathe,” or even the slurring “come at me, bro”-style rant sampled at the seven-track/27-minute album’s launch, a will toward violence is never far off. Couple that with the thickened noise punk of “Saturn” and the Weedeater sludge of the penultimate “Dying Wish,” and Summoned by Giants – guitarist/vocalist Sean Delaney, guitarist Jordan Sattelmair, bassist/vocalist Patrick Moening and drummer Mel Burris – seem more interested in doling out punishment than kicking back, making a silly video and having a good time. Well, maybe they’re having a good time, but they’re doing so while kicking your ass.

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Summoned by Giants on Bandcamp

 

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Review & Full Album Stream: Deep Space Destructors, Psychedelogy

Posted in audiObelisk, Reviews on February 17th, 2017 by JJ Koczan

deep-space-destructors-psychedelogy

[Click play above to stream Deep Space Destructors’ Psychedelogy in full. Album is out Feb. 27 on Space Rock Productions.]

Goes without saying that time is a construct and that humans’ ability to understand it only relates to our very small, very remote position in a much vaster universe and that even the figures the construct presents are utterly beyond our conception — i.e., we cannot fathom 200 of our own years, and our years are meaningless to the surrounding cosmos. That’s a given. However, three years between full-lengths still feels like a long time for Finnish (nations: also a construct) trio Deep Space Destructors. Their fourth full-length, Psychedelogy, arrives via Space Rock Productions, which is the imprint helmed by synth wizard Scott “Dr. Space” Heller of Øresund Space Collective and known for releasing that band’s work as well as other projects and offshoots.

To my knowledge, Deep Space Destructors — bassist/vocalist Jani Pitkänen, guitarist/backing vocalist Petri Lassila and drummer Markus Pitkänen — have no relation to that collective (yet), so all the more it’s an endorsement that should ring in the ears among the cosmically converted. The Oulu natives earn it well in the four tracks of Psychedelogy, which follows the 2015 two-songer Spring Break from Space (review here) as well as their first three long-players, 2014’s III (review here), 2013’s II (review here) and 2012’s I (review here), and stay true to the Hawkwindian roots of the genre while exploring progressive textures of their own. At an easily-digested 38 minutes, Psychedelogy presents its two sides — side Space and side Void (the last EP did likewise) — with poise and without pretense. They’re going on this trip one way or the other. Whether or not you come along is going to be your call.

Each half of Psychedelogy pairs a shorter piece with a longer one. Opener “Journey to the Space Mountain” (7:55) will be familiar to anyone who caught wind of Spring Break from Space, since it launched that brief offering as well. It is particularly suited to the task here too, with a fervent thrust that kicks up interstellar dust almost immediately following a quick sample and enacts immersive swirl as it makes its way toward its fist-in-the-air-moment-of-galaxial-righteousness title-line hook. Both it and the 10-minute “Spacemind,” which follows, have an underlying sense of triumph, but the momentum that carries through them isn’t to be understated, Markus and Jani making for a rhythmic powerhouse beneath Petri‘s echoing solo as “Journey to the Space Mountain” pours through its midsection, eventually making its way, gloriously, back to the chorus as part of a build the apex of which strikes just before feedback caps off.

A quieter, more Floydian beginning sets the course for “Spacemind,” but there’s a tension in the bass and drums as well as the first verse takes hold, Jani‘s vocals coated in effects, keys adding to the melody of Petri‘s guitar. Before the two-minute mark, “Spacemind” hits into its chorus with even more of a feeling of arrival than “Journey to the Space Mountain,” but it’s still just the beginning, as Deep Space Destructors use that as the launchpad for an instrumental bridge of classic prog fits and turns before moving back into the soothing verse section like nothing ever happened. They’re not yet at the halfway point of the track, but the fluidity of what they’ve executed already makes “Spacemind” a particular highlight of Psychedelogy. The ensuing jam, calm but purposeful with periodic vocal overlay, seals that, and when the three-piece ignite thrusters and push toward the song’s conclusion, the payoff seems to last until the very final second, clearly making the most of its time — which, just as a reminder, is a construct and doesn’t exist. Brain goes pop.

I don’t know if there’s an intentional difference between side Space and side Void in terms of what Deep Space Destructors are looking to accomplish, but it’s easy enough to read the second half of Psychedelogy as pushing further out along the progressive path the band has thus far marched. Both “Return to the Black Star” (7:05) and closer “From the Ashes” (12:34) keep the flow molten, the overarching vibe spontaneous but subject to some command, and come fleshed out by effects and synth, creating the parameters of the alternate universe in which they dwell. With Jani and Petri together on vocals, “Return to the Black Star” echoes some of the Hawkwindiness of “Journey to the Space Mountain,” but is more patient in that exercise and more willing to bring an improvised-seeming lead to the foreground in its back end. Again, this doesn’t necessarily mark a radical departure from the album’s beginnings, but the continuation presents some subtle turns for those ready to take Psychedelogy on for multiple listens — a process through which it only grows more fulfilling.

Something else “Return to the Black Star” and “From the Ashes” have in common is being less immediately about their hooks, but the core guitar/bass figure in the finale is especially memorable nonetheless for its proggy intricacy — one can’t help but be reminded of peak-era Steven Wilson in some of the ensuing shimmer — and the additional flourish of sitar is yet another distinguishing factor. Ultimately though it’s the core guitar/bass/drums dynamic between the Pitkänens and Lassila that carries “From the Ashes” over so effectively, and beneath the swirl, the kosmiche thematics and the range, that turns out to be what most draws these songs together with the rest of Deep Space Destructors‘ body of work. Their time on “spring break” was not misspent, and whether they’ll resume the album-per-year pace of their first three outings, I wouldn’t speculate, but they’ve come into Psychedelogy with a clear sense of who they are and what they want to be as a group. If they follow through going forward on their own terms, then all the better, whatever those terms might be.

Deep Space Destructors, “Return to the Black Star” official video

Deep Space Destructors on Thee Facebooks

Deep Space Destructors on Bandcamp

Deep Space Destructors website

Space Rock Productions website

Psychedelogy order page at Sapphire Records

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