Oulu Space Jam Collective Releasing Harvest Sage 2LP on Aug. 10

Posted in Whathaveyou on July 20th, 2020 by JJ Koczan

Last heard from, We will not do that under any circumstances. Instead, when a client comes to us, and asks us “Research Paper Critique cheap?”, we make sure that the Oulu Space Jam Collective — not to be confused with We checked Build A Resume for scam and fraud. Our comprehensive Assignmentdoer.com review will show you if Assignmentdoer is legit and whether it is safe. Øresund Space Collective, who as it happens are also plenty jammy — released the triple-vinyl  Request a free quote for professional Read More Here, business documents, and writing services by professional business writers. Drug Rings of Saturn in December through If you are pressed for time or lack editing skills, just say "Edit my essay!". Our professional darla deardorff dissertation service is willing to give you a helping hand. Adansonia Records. That significant offering is still available from the label, and the Finland-based collective are following it up with a live 2LP called buy computer science thesis http://www.vasmetal.net/college-essay-requirements/ write community service scholarship essay best college admission essay 2012 Harvest Sage that was recorded at an outdoor show in 2017. Going by the description below, it seems to have been like an art fair, or a kind of town festival, and given what I know of this group — never seen them live, but it’s not hard to imagine how their style might translate, being jams and all — a park as part of a spirited creative group endeavor seems like it would be precisely their element. Sounds like it would’ve been a cool show, in other words. I know I’m desperate at this point — is Finland doing gigs yet? — but it seems as though this might’ve been a special night for them. All the more worth documenting after the fact.

The vinyl info follows, courtesy of  Buy essays online safe How To Write An Essay About Poetry enchanting . Sensitivity of the internet to where can normalize the customer testimonials and accessories Adansonia:

oulu space jam collective harvest sage

Oulu Space Jam Collective – Harvest Sage – DLP 2020 – AR 037

In 2017, the Finnish Oulu Space Jam collective took part in the annual Oulu Art Nights and presented a two-hour outdoor concert at the Lyötynpuisto park in Oulu. At this event, musicians, actors, dancers, writers and artists take over public spaces and parks and offer unique experiences for everyone. The double album “Harvest Sage” was created on the basis of these recordings.

It contains four long improvised space jams, each spanning a full side length and takes in space rock, krautrock, oriental and snippets of spoken word which all come together to make something special – Oriental Oulu Kraut. Another high quality space rock jewel – mastered by Eroc at his ranch.

Details:
– 222 x classic edition, black vinyl, 180g, inlay, hand-numbered – 29€
– 111 x exclusive label edition, transparent blue – splatter green, orange vinyl, inlay, hand-numbered – 32€

https://www.facebook.com/Ouluspacejamcollective
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https://www.adansoniarecords.de/

Oulu Space Jam Collective, Drug Rings of Saturn (2019)

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Review & Full Album Premiere: Kungens MĂ€n, Trappmusik

Posted in audiObelisk, Reviews on February 10th, 2020 by JJ Koczan

Kungens MĂ€n trappmusik

[Click play above to hear the premiere of Kungens MĂ€n’s Trappmusik, out today on Adansonia Records.]

Ye weary souls in search of psychedelic serenity, look no further than the  Confessions Of A Professional Paper Writer - top-ranked and affordable report to make easier your education get the necessary coursework here and forget about your Trappmusik, the latest in a line of offerings from Swedish explorers Doing Homework Cartoon. affordable ghostwriters Widely respected writer, mentor, editor. Your book. Your thesis. There for you.Expert Guidance Kungens MĂ€n. Issued through At The http://meitoku.edu.vn/?online-homework-assistance, you are hiring not just one copywriter, but a streamlined team of experienced copy writing professionals based in Houston, TX. Adansonia, the seven-song/78-minute affair is a mostly-mellow blissout, well beyond the point commonly reserved for consideration as “manageable,” but who cares when the waters they wade in — or scuttle, since these kingsmen seem to have a thing for shellfish, and, one assumes, puns — are so warm? Take the 15 minutes of utter joy in “Vibbdirektivet,” a directive of vibe that’s not only easy to follow, but an utter joy in the doing, with unashamed guitar shimmer and a subtle rhythmic luster to match.

Its subdued take is enough to make even the snare and fuzz meandering of 10-minute opener “FĂ„nge i Universum” seem active by comparison, topped with cosmic echoes of psaxophone (that’s a psychedelic sax for those who can dig it) as it is, and one supposes that cut is more active in its way, but in terms of general scale, it’s still much more about setting an atmosphere of patient, graceful flow than shoving its way into the vacuum of space. Dug in and jazzy in its spirit, essay you can buys - where each expert freelance technical writer has demonstrated expertise in documentation, instructions or spec sheets. Trappmusik is affecting in the manner in which it unfolds across its span, from that leadoff to the trip-hop-via-krautrock-and-more-sax progginess of the subsequent “SenvĂ€gen,” which leans harder on the bassline for more of a nighttime richness but still finds its way into the trance of the 2LP overall.

The album is a kind of semi-departure for dissertation sur la mort de marie - Resume distribution service; good cover letter writing services. Kungens Professional custom writing service offers http://bebcho.net/?do-my-maths-assignments, term papers, research papers, thesis papers, reports, reviews, speeches and dissertations of MĂ€n, who were last heard from only months ago on Dec. 2019’s Essay Correction Code - Start working on your assignment now with professional guidance presented by the company Let specialists do their HĂ„rt Som Ben (discussed here) — which itself followed Feb. 2019’s do my english assignment blog here coop admission nuclear power plant 200 word essay essays on philosophical writers and other men of letters Chef (review here), which followed Aug. 2018’s Doctorate Research Paper - Proofreading and proofediting aid from best professionals. witness the benefits of expert writing help available here Instead of Fuzz pĂ„ Svenska, which followed July 2017’s Dag & Natt (review here), which followed 2016’s Stockholm Maraton, 2015’s Förnekaren (review here), and so on through a slew of live and studio offerings dating back to their start in 2012 — in that it tips the balance in their sound in this mellower direction, but it doesn’t seem like that should be read necessarily as a statement on the band’s part of some future direction.

Rather, Trappmusik appears to have been recorded during the same session in May 2019 as HĂ„rt Som Ben, at Silence Studio in VĂ€rmland, Sweden. The band — a listed lineup of drummer/percussionist Mattias Indy Pettersson, synthesist/programmer Peter Erikson, guitarists Hans Hjelm, Mikael Tuominen and Gustav Nygren, with contributions as well from others — reportedly recorded 13 hours of improvised music over the course of three days with engineer Isak Sjöholm, so indeed Trappmusik as the second may not be the last LP to come from that session, but is less perhaps an indication of intent going forward in terms of the band’s growth than it is a question of how this particular release was whittled down from those expansive recordings.

Its purpose is contained, in other words, and thus the editing of the material becomes an instrument unto itself. The framing. The process of selecting and choosing to highlight moments like the shift from airy guitar adventuring into percussive chill in “Tricksen för Transen” and the folkish keyboard of “FrĂ€mmande i Tillvaron” — the latter entirely appropriate in its position as the centerpiece; its sunbaked golden hue not only rests smoothly alongside “Vibbdirektivet,” which follows, but gives Trappmusik a manifestation perhaps even more fitting than its own 17:50 title-track, which closes in much jazzier and more generally uptempo fashion — plucking these pieces out from the hours of what was tracked speaks to a sense of meaning behind the sheer construction of Trappmusik itself.

Kungens MĂ€n

Inherently it is a record that seeks to tell a story or portray an idea, and that is not only rooted in the traditions of Swedish folk and progressive and psychedelic rock, but in the fleeting ambience of these moments as they’re captured — there and gone, sunlight or moonlight, in the flight of escapist fantasy from the rigors and anxieties of the day-to-day. They call it their “chill out album,” and fair enough, but that doesn’t necessarily encompass the entirety of the mission, and it’s also not as if Trappmusik is only doing one thing for all of its rather considerable span either.

“SenvĂ€gen” and “FrĂ€mmande i Tillvaron” could be different bands for the sonic disparity between them, and though the five-minute bass, guitar, drum mood-setting of the penultimate “Lastkajen” is hardly more than an interlude sandwiched between “Vibbdirektivet” and the expansive “Trappmusik” itself, its purpose in setting up that turn is further evidence of a master hand at work in terms of setting the overarching, grander progression of the album in motion even if the closer is inevitably going to consume an LP side on its own. That would be, presumably, side D, and with a more active bassline, far back toms and a returning saxophone in a suitable bookend to “FĂ„nge i Universum,” the album finishes on maybe its most movement-based note.

The bass and drums bounce, and the guitar and brass seem to engage in a conversation based on mutual far-out-ranging. They go and go and go. It’s still trance-inducing to a degree, but one gets shades more of krautrock than the spaced procession of the opener, and it’s a palpable shift between the two. There’s still some tricky echoes working on the saxophone as it dissipates just before the seven-minute mark and lets the bass take the foreground — it gradually winds its way back and out again en route to the last slow-to-a-stop — but the general impression is more earthbound and less given to float than Kungens MĂ€n earlier on.

One wonders if perhaps that’s an indication the next offering will be their jazz record? If so, they’d hardly be the first to realize the connections between improvised psych and jazz, but as they have in the past, they make those connections their own as they round off Trappmusik with that gentle letting go, emblematic as it is of the soul and intention behind the collection as a whole and the underlying consciousness at work in making it. A gorgeous celebration waiting to be celebrated.

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Kungens MĂ€n Releasing Trappmusik 2LP Feb. 10; Preorder Available

Posted in Whathaveyou on January 7th, 2020 by JJ Koczan

Kungens MĂ€n

Sincere and heartfelt congratulations to you if you can keep up with Swedish improv specialists Kungens MĂ€n. I seem to be at this point unable. The psychedelic collective offered up HĂ„rt som ben in late 2019 as the follow-up to earlier-in-the-year’s Chef (review here), and before I even got to review that, here’s the announcement that preorders are open for their next outing — a 2LP due out Feb. 10 through Adansonia Records called Trappmusik that, at least from the description as I haven’t actually heard it, sounds right up my alley. Kungens MĂ€n will be at Roadburn in the Netherlands, and so will I, so maybe I can hit them up at their merch table or something and ask them to give a dude a break with all the quality off-the-cuff psych they’re putting out, but somehow that seems like shooting myself in the ass. Maybe I’ll just buy all the records instead. Yeah. That’s always the right impulse to follow.

Album info follows, courtesy of the label:

Kungens MĂ€n trappmusik

Kungens MĂ€n – Trappmusik – DLP 2020 – Adansonia Records

Playing improvised music is a gift. It’s alchemy, chemistry, interlocking heartbeats and sometimes a struggle. A lot of it is about ambience. The legendary Silence studio in the deep woods of VĂ€rmland is a perfect example of how much setting actually effects the music made.

Kungens MĂ€n usually record at home, in busy Stockholm, coming directly from the Underground, rolling escalators, the everyday stress latent in the back of the mind. We rumble for about two-three hours, mirroring frustration and built up energy from the work week we just left behind.

This session was different. Silence is a place for contemplation. It was the end of May, the sun was shining, the grass was green and we took walks to the lake in between takes. We recorded 13 hours of music at a quite slow pace over the course of three days. Every moment of the record isn’t perfect, even sloppy sometimes, but we’re not in a competition.

”Trappmusik” is the Kungens MĂ€n chill out album. It has its peaks, but the overall vibe is calm, introspective and vibing off the fantastic recording room that has hosted so many giants. ”FrĂ€mmande i tillvaron” is a nod and celebration of one of the masters of Swedish music, Bo Hansson, who was the spark that made Silence happen in the seventies together with Anders Lind who actually rigged the equipment for our session. What’s also interesting from a historical point of view is that the recording engineer we brought with us, our friend Isak Sjöholm, is the son of Jakob Sjöholm from TrĂ€d, GrĂ€s och Stenar, who were also really important for the community around Silence.

Use this music however you want. Play it loud or put it on as background music. Lie down on the floor or dance to it. The woods are singing.

Details:
– 350 x yellow (side A/B), orange (side C/D) vinyl, 180g, hand-numbered, inlay, 30€
– 150 x orange/yellow split vinyl, hand-numbered, hand-printed inlay, 39€*
*Adansonia mailorder edition

Mastering by DJM.
LP’s are coming in fully-laminated thick matte sleeves and black padded inner sleeves.
Any vinyl purchase includes a high-quality download.

+ + + Release date: 10 Feb. 2020 + + +

You can place your order at: https://www.adansoniarecords.de/shop/

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Kungens MĂ€n, HĂ„rt som ben (2019)

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Oulu Space Jam Collective to Release 3LP on Adansonia Records

Posted in Whathaveyou on October 24th, 2019 by JJ Koczan

I’m not sure what exactly is going to be on the triple-vinyl that Adansonia Records will release from Finnish cosmic-improv unit Oulu Space Jam Collective, but apparently there will be plenty of it. I mean, it’ll be jams one way or the other, since that’s what the band — such as they are — does, but they do it pretty often, so maybe it’s the full-length they put out in September, Drug Rings of Saturn, or maybe it’s a collection of other material or some other past release or maybe it’s something new. A group like this, you never really know. Could be a 3LP pumped out every time they get together. When your ethic is “plug in and go,” adding a step to hit record along the way isn’t such a huge ask.

It’s definitely cool for the band though, whatever might ultimately manifest, so right on. Details are apparently forthcoming, but good news is good news, so here’s good news:

oulu space jam collective

Oulu Space Jam Collective – New release on Adansonia Records

It’s been quiet here for a while and now it’s high time for a new fantastic release.

In the meantime a new band has joined the roster of Adansonia Records. Please welcome Oulu Space Jam Collective from Finland.

Oulu Space Jam Collective channels cosmic streams of the universe through a great variety of instruments, which they choose for their jam sessions. It’s their intention to celebrate extended Space Rock Jams with jazzy grooves and Krautrock experiments. Sounds like they are in good company at Adansonia.

We have managed to prepare one of their numerous recordings for release on vinyl. It is the first official physical release of Oulu Space Jam Collective! The package of test pressings arrived yesterday and is just waiting to be checked. We expect to be able to deliver an incredibly spacey 3LP box in early December. Very soon detailed info


Check them out!!!

Oulu Space Jam Collective in photo above:
Petri Loukusa
Antti Yrjö Olavi YlijÀÀskö
Olli Niemitalo
Kalle Veikko
Markus PitkÀnen
Joonatan Aaltonen
Jani PitkÀnen

https://www.facebook.com/Ouluspacejamcollective
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Oulu Space Jam Collective, Drug Rings of Saturn (2019)

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Sista Maj to Release Localized Pockets of Negative Entropy on Adansonia Records

Posted in Whathaveyou on November 22nd, 2018 by JJ Koczan

sista maj

Adansonia Records has put out word that it will issue the new album from Swedish progressive instrumentalists Sista Maj, dubbed Localized Pockets of Negative Entropy — it’s bodies, us, humans, in case you were wondering — on LP next month. Space Rock Productions also released a CD of the band’s last album, the late-2016 double-disc Series of Nested Universes, and they may have a CD version of Localized Pockets of Negative Entropy as well, or there might not be one at all, but Adansonia‘s vinyl has the added appeal of two bonus tracks exclusive to it that aren’t available digitally.

Speaking of digitally, Sista Maj put the album out on their own last month via Bandcamp and you can stream it in its entirety — bonus tracks aside, of course — on the player below.

Dig:

sista maj Localized Pockets of Negative Entropy

We have new partners from Sweden’s capital + + + Sista Maj + + +

Their current album “Localized Pockets of Negative Entropy” will be out soon on Adansonia Records.

Sista Maj started as a trio: Andreas Axelsson on drums, Mikael Tuominen on bass and other stuff, Jonathan Segel on guitar, violin and some other musical stuff. Instrumental hypnotic intense psychedelic space rock in the great Northern European tradition, which ranges from Krautrock to the Swedish progg. The band usually came together to improvise, and sometimes they take those improvisations and re-work them. In 2017 Per Wiberg joined the band with his keyboards. Their latest release, “Localized Pockets of Negative Entropy” includes all four of them and a bit of Mattias Olsson (ÄnglagĂ„rd, Pineforest Crunch, Necromonkey, etc.) as well.

Sista Maj – from left to right:
Jonathan Segel moved from the US to Sweden in 2012, he lives in Stockholm and has hooked up with several musicians there, including this grouping. He records and performs music under his own name, and continues to play and record with Camper Van Beethoven (mostly in the US) and the Øresund Space Collective (mostly in the EU). Andreas Axelsson is in several bands (Eye Make the Horizon, Lisa UllĂ©n, AAM, etc.). Mikael Tuominen is as well (Kungens MĂ€n, Automatism, Fanatism, Eye Make the Horizon) and they’re all amazing. Per Wiberg joined us in 2017 to play keyboards, opening up their sound to new territories, another veteran of many bands including Opeth, Spiritual Beggars and Kamchatka.

The album will be released in mid-December as a DLP and includes two bonus tracks which will be only available on vinyl. Detailed infos coming soon.

Sista Maj is:
Andreas Axelsson: drums
Jonathan Segel: guitar, violin
Mikael Tuominen: bass
Per Wiberg: keyboards

https://sistamaj.bandcamp.com/
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Sista Maj, Localized Pockets of Negative Entropy (2018)

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Fungal Abyss Premiere “Croak Toke Parallax” from Benevolent Malevolence

Posted in audiObelisk on September 19th, 2018 by JJ Koczan

fungal abyss

Fungal Abyss will release their new album, Benevolent Malevolence, next Monday, Sept. 24, through Adansonia Records. It is at least the third long-player for the Seattle-based cosmic doom experimentalist collective, arriving behind 2016’s Karma Suture (review here) and 2011’s Bardo Abgrund Temple (reissue review here), though the improvisational, mostly-instrumental outfit may well have snuck one or two others in there while no one was looking. With four-fifths of doomly doom purveyors Lesbian in their ranks, Fungal Abyss reach outward into an interstellar creative wash, finding the background noise of the galaxy and channeling it through max-volume wah in order to convey their exploratory sense. Comprised of two songs, each consuming an entire vinyl side, in “Croak Toke Parallax” (20:59) and “Chaos Condor” (22:08) — kudos to whoever in the band comes up with titles — it’s a noisier brand of heavy psych than one jams of the form often bring, and has a darker undertone of mood than one often expects from even the most churning of tripped-out improv.

So what’s happening and what’s happened? So what’s the now all about? Hell if I know, but Fungal Abyss proffer alternate-dimension — but not alt-dimension, because fuck that shit — lysergics with an admirable sense of freedom.  The ol’ “Croak Toke Parallax” starts out with soft chiming bells and echoing voices in tribalist ritualization, unfolding an ambience Ă  la fellow PNW go-anywheres Master Musicians of Bukkake, and soon consumes itself in a swell of guitar noise and percussivefungal abyss benevolent malevolence awakening. Five minutes deep and the drone is up to your eyeballs and what good was reality anyway? Ten and there’s a march and searing lead lines and drums and still-offbeat percussion whatnots and you’re post-some sample that shows up like someone left the tv on, but you’re also post-just about everything else, so let it go. They’re headed somewhere and that’s into a full-on build-into-wash that plays out in increasing volume and surge to extreme levels of both over the next eight minutes, and there’s a while there where it’s just fucking madness, but they kind of even it out before drawing down into a noisy fade with a couple quiet measures of guitar ending off, as if to be like, “Oh yeah, sorry we just melted your eyeballs, here you go. We made you some new ones that see better colors.”

We’re back in the drone at the start of “Chaos Condor,” and you can almost hear the winged beast itself soaring overhead of the loops and swirls and tambourine and sundry banged-on-stuff. Keys? Maybe. Definitely synth. But at 3:30 there’s a deceptive amount going on and none of it seems to be interested in bourgeois interpretation. Like a data rod shot out of an interstellar probe, “Chaos Condor” carries its message in casual antigravity, with mounting feedback about six and seven minutes on that set the tone for the soon-unfolded fuckall (allfuck?). Maddening atmospherics ensue. It’s a more internal vibe that “Croak Toke Parallax,” but no less spacious, and it too finds its way — albeit later — into a reaching jam. It’s the drums that start the push, somewhere in the 11th minute, and we all know immediately where we’re headed but man there’s just not stopping what’s coming. The noise is even more biting the second time around, with the scorch going all the way to carbon before it blows itself apart and drones to a long finish, the chaos having long since been condored. At the end of the 43-minute run, what’s left? Out-of-body psychedelia and the prevailing feeling of stomach discomfort? Physical affect? Fucking right on.

They’re building altars here. Two of them. And the challenge is on you whether or not you can get down. They’re like handing you your first joint and telling you all the cool kids are doing it. Or eating mushrooms and playing Dungeons and Dragons. You get the idea.

Go.

Listen:

For these sessions, the collective spent two long days set up at the Killroom in Seattle keeping the tape rolling nearly the whole time as members came and went as the mood stuck or the drugs kicked in. These two half-hour tracks Croak Toke Parallax and Chaos Condor, capture some of the best moments of the various ensembles formed during this marathon improvisation.

Players from this session include: Benjamin Thomas-Kennedy, Arran McInnis, Dorando Hodous, Daniel LaRochelle, Nathan Smurthwaite, Andrew McInnis, B.R.A.D. Mowen, Sam Yoder, and Jim Davis.

The band will be celebrating the release of the album on October 12th at the Parliament Tavern in West Seattle with Nosretep and guests.

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Review & Video Premiere: The Crazy Left Experience, Death, Destruction & Magic

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

the crazy left experience death destruction and magic

[Click play above to view the premiere of The Crazy Left Experience’s ‘Magic’ video, with footage from Georges MĂ©liĂšs’ 1902 film, Le Voyage dans la Lune. The Crazy Left Experience’s Death, Destruction and Magic is out now on Adamsonia Records.]

Instrumental trio The Crazy Left Experience have been jamming for roughly five years. Their first three outings are ‘sessions’ releases — 2014’s The Big Bang Sessions (In The Beginning), 2015’s Garage Sessions and early 2016’s Uranus Sessions — but from that point on, the Lisbon-based outfit began to dip into psychedelic conceptualism, working their exploratory approach around a central theme, story or idea. This led to a burst of creativity in 2016 with three more albums: Welcome to the AI, Maya’s Magic Pill and Bill’s 108th Space Odyssey (review here), as drummer/guitarist Rui InĂĄcio, guitarist/noisemaker LuĂ­s Abrantes and bassist/flutist Tiago Machado delved into the tale of early US governmental lysergic experiments.

Trippy adventures followed, and the band’s new record, Death, Destruction and Magic — pressed to vinyl through Germany’s Adansonia Records — would seem to keep up the theme. Perhaps unsurprisingly, it is comprised of three tracks — titled “Death,” “Destruction” and “Magic” — with a digital bonus cut in “AND (A Song for Rosa),” and like much of the band’s work, it is centered around the conversation happening between the instruments. There is no shortage of drift in “Magic” and “Destruction” has low end worthy of its name, while “Death” seems to howl more in celebration than mourning, but what unites the three distinct pieces is an overarching naturalism that makes all the material as real as it is ethereal.

One aspect of their sound The Crazy Left Experience bring to bear in especially vivid fashion is minimalism. They’d hardly be the first outfit with ebbs and flows in heavy psych jams, but in the second half of “Death” and in the ultra-subdued stretch of “Magic,” where watery effects-laden guitar ascends and descends over steady drum patterning, the space purposefully left open is crucial as well as the space being filled with sound. They come together and in kind with the fluid movement between more and less active parts, help form the dynamic with which The Crazy Left Experience execute their material. The album was, true to form, recorded live, and while there may be parts of it that are inherently off-the-cuff, caught-on-tape-type of happenings, there does seem to be an overarching plot.

Even in the meandering spaciousness of “AND (A Song for Rosa),” one finds a plot being followed or at least some sense of linear direction, rather than a jam simply unfolding as it will. That’s not to say that song or any of the other three before it — which run eight, 15 and nine minutes, respectively, for a total of 32; utterly manageable — sound forced. Far from it. Just that at the very least, someone among InĂĄcio, Abrantes and Machado came into the recording process with some idea of where they wanted the songs to go. That’s more the case here than it was their last time out, but whether it’s indicative of some larger shift in approach and as to the consciousness of that, I wouldn’t speculate. Organic as it is, their sound only benefits from the sense of purpose it’s give here.

For some in the style, their mission is to present the very heart of the creative process — to capture the moment when the spark of songcraft begins. That singular “aha!” moment when it all clicks together. It’s a difficult thing to do and an admirable goal, but it doesn’t seem to be what The Crazy Left Experience are about. Their output on Death, Destruction and Magic is thrilling in the mellow vibe that persists even in “Destruction”‘s actively grooving midsection thanks to the brightness of its tonality and the patience of its execution, and it’s more about telling its story than getting lost in its own making.

the crazy left experience

That is, The Crazy Left Experience use the foundation they have in exploratory psych in order to convey a message or idea in their material. They direct the evocation their songs are making, even just with one-word titles. What does “Death” say about death? How does “magic” feel like magic, and what does magic feel like? As “Destruction” passes its 10th minute, it delves into a melodic drone that builds in the guitar but ultimately holds sway as the drums never return. Are we in the midst of an aftermath there? Was it war? You get the idea. The point is that Death, Destruction and Magic allows its audience to fill in the answers as they will, and to make their own judgment about what they think the band is telling them.

This level of atmospheric engagement is rare, and the guide the band grant on their Bandcamp page for it reads like something out of Dungeons and Dragons:

You’ve just escaped from the lava tunnel.
A pack of razor-clawed creatures are trying
to get you before the lizard men do.
These are moves you’ve never seen before.
A fire-breathing dragon carries you toward the castle.

The choice is simple


Maybe that’s the thing — it’s all a game. If so, that does nothing to invalidate the expression happening in these passages, nor the obvious heart poured into their making. The Crazy Left Experience have their share of nebulous elements at play, whether it’s the rolling end section of “Magic” or the airy fuzz tone in “Death,” but what brings the band together is still the solid underlying connection they have between each other while playing. The live performance. It’s the reason they’re able to tell the stories they’re telling with their sound, and the reason they see so continually to be able and willing to push themselves forward.

Death, Destruction and Magic isn’t shy in tackling “big ideas,” but the language it uses seems built exclusively for that purpose, and the outward trajectory of the record as a whole should resonate with any and all of mind open enough to let it. They’ve worked quickly to get to their seventh full-length, but The Crazy Left Experience come across like veterans just the same when it comes to the chemistry and confidence with which they ply their liquefied wares.

The Crazy Left Experience, Death, Destruction and Magic

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Review & Full EP Premiere: Atavismo, Valdeinfierno

Posted in audiObelisk, Reviews on July 20th, 2018 by JJ Koczan

Atavismo Valdeinfierno

[Click play above to stream Atavismo’s Valdeinfierno EP in full. It’s out July 23 on Adansonia Records.]

True to form, even a short release from Atavismo has a pervasive sense of atmosphere. The Algeciras, Spain, band blew any and all minds willing to follow along with last year’s Inerte (review here), and to be perfectly honest, I’m still a little up in the air as to whether Inerte was their full-length debut or a sophomore outing after their first release, which was 2014’s DesintegraciĂłn (review here). As it’s comprised of four central tracks, Valdeinfierno, which is their new ostensible extended-player and debut on Adansonia Records, shares some structure in common with that first offering, but the palette has grown exponentially. It’s been four years, which can be nothing in the life of a band, and Atavismo do retain some of the heavy psychedelic underpinnings that they began to develop into a more progressive mindset with Inerte, but Valdeinfierno is no less a leap from the last outing than that was from the first.

It once more finds guitarist/vocalist/synthesist Jose “Poti” Moreno (ex-Viaje a 800, Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) expanding their sound. They’ve expanded the lineup of the band as well, welcoming Koe on keys, synth and vocals. I’m not sure who contributes what to which parts of “La Palmosa,” “Quejigo,” “Valdeinfierno” and “Sapo Sagapo” but with the intro “Tropmetillas de la Muerte” and the outro “Etreum al ed Sallitemport” — yes, the outro is the intro backwards, in content as well as name — Valdeinfierno is all the more about progression and showcasing different sides of their personality, with each cut offering something different to stand it out from its surroundings, whether it’s the proggy shuffle of “La Palmosa” or the folk-tinged acoustic/electric blend of “Sago Sagapo” or the jam into which “Quejigo” so fluidly launches or the title-track’s sudden turn from drifting heavy psych into Iberian-folk-tinged percussion and jamming. More and more, Atavismo seem to be defining their own stylistic parameters outside of prescribed genre lines. This only suits them all the more.

If we’re arguing that Valdeinfierno is an EP — and since the band says it is, basically we’re not arguing at all beyond a hypothetical — a point in favor of that position is the diversity within the tracks. Even from where they were early last year, Atavismo have taken very clear steps to move forward. That would be all well and good, except for the fact that there’s still such a flow between the songs. At 28 minutes, it could go either way– the debut, for what it’s worth, was 37, and Inerte was 42 — and the way these songs work off each other and seem to add to an overarching statement of stylized progadelic intent speaks to an LP methodology. Maybe it’s a hard sell. What matters more than what one should call it is the vibe the band takes such obvious care to present and to maintain over the course of those 28 minutes. The patient drift past the midpoint in “La Palmosa.” The brightness of the fuzz guitar blast in “Sapo Sagapo.” The slow beginning of “Valdeinfierno.” The mini-freakout of “Quejigo” with its uptempo bounce. All of these things help give the respective tracks a sense of personality of their own, and yet all of them tie the material together as well. They unite as much as they distinguish.

Atavismo

After the wash of keyboard and plucked acoustic guitar notes and clarinet and mellotron of “Trompetillas de la Muerte” — which, by the way, is 39 seconds long — “La Palmosa” takes hold with an insistent strum and plays back and forth between fuzz-laden breaks and an immediate build of forward momentum. Keys in the background help tie together transitions, and Atavismo jam their way through a midsection break that’s the hypnotic beginning of a build, except that instead of paying it off in traditional fashion, they leave off to silence and let the start-stop riff at the core of “Quejigo” — no less danceable than its predecessor — keep the spirit moving. The drums are crucial to this as the guitar joins their rhythm and blown-out vocals mark the beginning of the first verse. Like “La Palmosa,” “Quejigo” builds its own tension, but at 3:22, it opens up to pay it off with an uptempo jam and the already-noted bounce en route to the presumed end of side A.

The title-track is also the longest song on Valdeinfierno at 8:26, and in its concept, it’s the most striking inclusion of them. It works in two sections and the first of them is a lull. Gently, it rises to a serene level of volume with a patience over the course of its first two-plus minutes that feels born out of classical music, never mind prog, and when the airy guitar and drums kick in a bit before 2:30, their entry isn’t even so much a “kick in” as a “oh hi do you mind if we do this thing we promise it’ll be awesome ah cool thanks” and with what sounds an awful lot like a xylophone backing — keys? — Moreno unfurls a slow, jammy lead. By the midpoint about two minutes later, the mood is set and Atavismo set to exploring the landscape they’ve drawn, but then at 5:50 a surge of volume signals to the drums, which then begin cycles of tom runs and the guitar moves into a speedy and winding lead that seems to carry a Middle Eastern influence in its scales, but drops out after seven minutes to percussion and room-mic’ed shouts that end. That switch in volume and meter is so resoundingly important to Valdeinfierno. It’s the moment where the band proves that not only are they able to pull off different stylistic turns between their songs, but within them as well. As “Sago Sagapo” comes through with its soft keys in the background, easy lead layer behind acoustic strumming, the peaceful feel of earlier in the title-track returns, but it’s hard not to think maybe Atavismo will jump ship again and start adventuring into different terrain.

They don’t, really, and “Sapo Sagapo” brings up another fuzzy solo before dropping to silence and letting “Etreum al ed Sallitemport” run backwards through the EP’s intro with all the more of a progressive feel. But the lack of predictability remains firm and it’s become one of the strongest assets Atavismo have at their disposal. Ultimately, it doesn’t matter whether Valdeinfierno is an EP or an album. It only matters to me because when I invariably salivate over what they do next, compulsion will lead me to wonder if it’s their second LP, third EP, second EP, etc. Of far greater importance is that this mini-album is precisely that: a condensed full-album flow executed over a shorter series of tracks. It acts as a showcase of Atavismo‘s growth and experimental sensibilities, but it also inevitably bridges any and all gaps between those experiments as they arise. This band makes some of the most beautiful music I’ve heard in underground psych. It’s time more people started taking notice.

Atavismo on Thee Facebooks

Atavismo on Bandcamp

Adansonia Records website

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