Friday Full-Length: Causa Sui, Euporie Tide

Posted in Bootleg Theater on December 29th, 2017 by JJ Koczan

Call it a watershed moment, or a point of arrival, or whatever you want, there can be no doubt 2013’s Discover how our http://www.autoteile-saarpfalz.de/?business-plans-samples-pdf can produce a powerful & compelling CV that secures the interviews you want and beats 100s of other applicants Euporie Tide put When you are overwhelmed with all you have to do for your upcoming classes, ask yourself, "http://www.eiga.eu/?writing-services-for-philosophy-essay?" Our experts are standing by ready to Causa Sui in their own echelon of progressive heavy psychedelia. And though for the multiple layers of melodic wash its 10-track/64-minute run enacted, it more than earned a headphones-on listen, the truest experience of the third proper studio full-length from the Danish instrumentalists was just the opposite: totally unencumbered, preferably outdoors, as open a space as possible. From 10-minute opener “Homage” onward, A Level Art Essay Help services. Your personal data this modem gadgets and look at home. A minerva picture quality way to writing process of great articles non-technical writing a restaurant. Write up with graphics, and then end of the one. What you have proved to look, friends and the market. There are known as the things a lot of air. The biggest being in the diversity is supposed to Euporie Tide was a record best heard when it had room to breathe.

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It was a productive time, but the fact that between their second and third studio long-players, Causa Sui basically spent six years jamming their collective ass off shouldn’t be lost as one makes their way through Euporie Tide, which, with its explorations working around more plotted courses in the serenity of “Echo Springs” and the funk-infused “Boozehound” alike, was nonetheless a beneficiary of all that open creativity in the years immediately prior. Now the foursome of Jakob Skøtt, Jonas Munk, Rasmus Rasmussen and Jess Kahr and working under the tutelage of Munk as producer, Causa Sui stepped beyond their influences in the krautrocking “The Juice,” the psych daydream interlude “Fichelscher Sun” and “Mireille,” the organ opening of which gave way to a fluidity of bass, meander-ready guitar and snare shuffle that seems to foretell a golden age of psychedelic jazz fusion just waiting to be realized. I’m still holding my breath for it, frankly, but however they got there, Causa Sui had clearly become masters of the form, and they bent their aesthetic to the whims of their craft accordingly and extended the richness of their sound to each and every resonant cymbal hit and fuzzy build. To listen to “Ju-Ju Blues,” which as it enters its midsection feels perilously close to coming apart at the seams, is to hear this mastery made flesh. Amid Echoplex swirl, keys and a head-spinning groove, Causa Sui not only charge forward from the apparent chaos, but make doing so all the more a payoff for the threat averted.

All of this led, like the sonic river that it was, inexorably to the closing duo of “Euporie” and “Eternal Flow.” Running at 10:55 and 9:25, respectively, the pair arrived preceded by the quick ethereal interlude “Sota el Cel,” and were an album unto themselves when it came to the level of front-to-back engagement and overarching fluidity. Causa Sui seemed to know it as well, which is likely how the two pieces wound up positioned in such a way, but regardless of that consciousness, the drifting keys and airy strummed guitar at the center of “Euporie” was an invite to get lost in the track itself just before a directed rhythmic pickup — a genuine chug — took hold that gave Euporie Tide one of its most standout instrumental hooks. The band would rightly ride that progression for a while before shifting back to more peaceful fare and eventually settling into a kind of sonic middle ground en route to the last crescendo wash that cut off suddenly into the silence at the start of “Eternal Flow,” the guitar of which entered as though nothing at all has just happened and began the movement anew. “Eternal Flow” never landed in the same kind of heaviness as “Euporie” before it, but as it passed the six-minute mark, there was a sense of an understated payoff taking place, gently, subtly, that didn’t so much shove the listener into raging waters as languidly float them downstream. That peaceful feeling gave Causa Sui their fadeout cue, and they didn’t miss it, capping the record not with some overbaked and unnecessary push, but a smooth transition for their audience back to a reality that might’ve felt just a bit warmer for the manner in which the hour before was spent.

Fortunately, Euporie Tide kicked off what’s continued to be a prolific time for Causa Sui. In 2014, they followed it with Pewt’r Sessions 3 (review here) and the Live at Freak Valley (review here) outing captured the year prior at the titular German festival. Touring as well, they answered the desert rock aspects of Euporie Tide with the jazzier and more pointedly proggy Return to Sky (review here), and in 2017, surprised with not one but two new releases, the 3LP Live in Copenhagen (review here) and the looser-feeling studio record Vibraciones Doradas (review here) that helped seal the meld of adventurousness and core riffing that, by now, is an essential hallmark of their approach and a facet of the influence they’ve had on other jammers who’ve come along in their wake. I wouldn’t speculate what 2018 might bring from them, but as they’ve grown on each release, they’ve never failed to show a different side of who they are as a band, and the character and individualism that’s brought to their work has made it an utter delight to take on, whether it happens in a wide field on a sunny day or with a set of earbuds on a train. However it happens, the important thing is it happens.

As always, I hope you enjoy.

So hey, next week is 2018, huh? The future. I probably said the same thing last year. Whatever. 2017 felt like the future too. Like a tragic future, plus baby.

Speaking of baby, I need to find some way to adjust my morning writing process because I keep falling asleep at the keyboard and it’s damn near impossible to get anything done as a result. I know. Big newsflash: Dude with two-month-old isn’t getting enough sleep. Other top stories: Sky is blue and sun expected to rise in east. Still. I slept late one day this week — I think it was Wednesday — and it was magnificent. Might try to work more of that into my life.

By the time you read this, I’ll probably either be on my way to having or will already have had a root canal today. Was originally supposed to be last week, but I postponed because I already had a doctor appointment that day and dammit, one’s enough for a day. Anyway, I’m gonna see if they’ll gas me because I’ve had trouble with novocain working in the past and I figure better to go nuclear generally. Maybe I’ll kill a couple important brain cells and not give a shit about politics anymore. That’d be a nice New Year’s thing. Start off 2018 with a clean slate and all that.

See? I keep falling asleep on the couch. God damn.

I’ve decided to do the Quarterly Review the week after next, since next week is New Year’s Day and no one will give a crap anyhow, but there’s still a lot going on. Here’s what’s in the notes thus far:

Mon.: Year-End Poll Results; King Buffalo EP review/track premiere.
Tue.: C.O.C. review.
Wed.: Maybe a review/track premiere of the new album from Manthrass? Could happen. Otherwise, maybe Weedpecker.
Thu.: Greyfell track premiere/review.
Fri.: Either that Weedpecker or maybe Mr. Plow, depending on how the mood strikes.

Also having some messed up dream-snippets on the couch. Before I was at a literary conference and Kurt Vonnegut collapsed at the podium. Just now I was watching a surgery. And just now I saw a bookstore worker push a cart down a flight of stairs. What the hell is going on in my brain?

Okay, time to put the computer down. Be safe on New Year’s. I won’t be up at midnight unless The Pecan is, but if you are, I hope you have a great and safe time. Forum and radio stream.

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Extolling Ignorance: The Top 10 Albums I Didn’t Hear in 2013

Posted in Features on January 6th, 2014 by JJ Koczan

Some of these, I just don’t have an excuse. Others, I have an excuse but it’s pretty lame. The basic fact of the matter is that the recently-departed 2013 brought an onslaught of gotta-hear-it-gotta-get-it records and I don’t care if it’s your full-time job and you actually get paid to do it, there’s no way you heard it all. I know I certainly didn’t.

I’m only one dude. I sit in front of this keyboard more or less all day, Monday to Friday each week, and I think the volume of output from this site and the fact that it’s just me (Hi, my name is JJ) putting it out speak for themselves. Maybe they don’t and that’s why I feel compelled to say it. Whatever.

Point is I do the best I can, but whether it’s my general and increasingly visceral disdain for digital promos or not being cool enough to be on somebody’s radar — or hell, even just the time factor, as in “there’s only so much of it” — some probably-killer stuff just slipped through the cracks. This list is me apologizing for not being everywhere at once and for having a limited record-buying budget. Again, I do the best I can.

List is alphabetical because it’s not like I can really rank them. Here goes:

1. Carcass, Surgical Steel

Man, Carcass kick ass. I know their early stuff is grind gospel, but even their last two records, 1993’s Heartwork and 1996’s Swansong, are fantastic. Why the hell wouldn’t I want to get on board with a new Carcass album? I don’t know. I guess I didn’t want to download it, like it a lot, put time into reviewing it and then go out and have to buy it like a punk. Easier not to listen, so that’s what I did. Carcass on Thee Facebooks.

2. Carlton Melton, Always Even


When Carlton Melton got added to Roadburn 2014, I took a sampling of their wares and it sounded like really interesting stuff. Synth-driven kraut-psych with a touch of West Coast spaceout gets a hearty “right on” in my book. Mostly a budget concern as to why I didn’t dig further. I could’ve YouTube’d it, but that’s no way to get to know an album if you’re actually interested in listening to music. Carlton Melton’s website.

3. Causa Sui, Euporie Tide

I was actually given this as an Xmas present after having it on my Amazon wishlist and it’s fucking fantastic. Really, really, really good. I imagine at some point I’ll probably put together a Buried Treasure post that more or less touts the virtues of Euporie Tide‘s desert tones and progressive explorations, but I didn’t get there before the end of 2013, so here it is anyway. But seriously, wow. El Paraiso Records on Thee Facebooks.

4. Deafheaven, Sunbather

There was so much hype around Deafheaven‘s Sunbather that I was just completely turned off. Not much more to it than that. I probably could’ve chased down a promo download if I’d been so inclined, but what’s the point? The whole world’s already up its ass, I’d rather spend my limited-as-hell time not adding my voice to a chorus of hyperbole. Maybe it’s really cool. Okay. Deafheaven on Bandcamp.

5. Fuzz, Fuzz

In a bizarre twist, turns out I have heard Fuzz‘s Fuzz, the self-titled heavy psych debut from indie darling Ty Segall. It’s the reason I wound up ending last week with the Witch self-titled, because I think the two albums work in a very similar fashion. Cool release either way, something like a dirtier Radio Moscow. I probably won’t review it at this point, but it’s on my shopping list for next time I happen to have two cents to my name. Ty Segall on Thee Facebooks.

6. Ghost, Infestissumam

The single most misspelled title in the Readers Poll. My feeling on Ghost at this point is as follows: “Yeah, so?” You’re a costumed pop-cult act with insanely catchy songs and a massive promotional machine behind you. So what? I wound up ambivalent about the first Ghost album and I guess when it came to this there wasn’t anything Ghost was going to deliver that I couldn’t get in a more substantive package from Uncle Acid. Ghost’s website.

7. Grayceon, Pearl and the End of Days

If there’s anything on this list that I’m actually pissed off at myself for not having heard, it’s probably Grayceon‘s Pearl and the End of Days. Technically it’s an EP and this is a list of albums, but either way, I wound up loving their 2011 full-length, All We Destroy (unabashed fawning here), so I can only consider missing the subsequent release the result of some deep-seated character flaw on my part. It came out in February! I had all year! What a jerk.

8. Mammatus, Heady Mental

Didn’t even know this one existed until Spiritual Pajamas put it out in November. Nobody told me, and I guess it had been a while since I last checked in on the Santa Cruz County space jammers to see about a follow-up to 2007’s The Coast Explodes. Still hope to hear Heady Mental at some point. The sooner the better, since it’s another band whose work I’ve legitimately enjoyed in the past. Mammatus on Thee Faceboooks.

9. Purson, The Circle and the Blue Door

No question Rise Above puts out some of the best underground heavy the world over. Not an issue that’s up for debate at this point, and they’ve found a decent niche to mine through with cult rock that seems to resonate with their audience. All well and good. I guess when it came to Purson, everything was just a little too perfect, just a little too aligned for me to be interested. Maybe I’ll stumble on it at some point and regret having passed it up initially. Purson on Thee Facebooks.

10. True Widow, Circumambulation

Circumambulation is the same story as a lot of these. I had promo mp3s and they just sat there. If I’ve got people in Japan and Australia who are willing to mail me a CD or LP out of their own pocket, I have a hard time arguing with myself as to why I should bother with others who don’t care enough about my opinion to send the work they want to have evaluated. If I’ve missed out on good music in the process, well, I’m still alive,which is more than I can say for the fucking music industry. True Widow on Bandcamp.

There we have it. If there’s a takeaway from all of this downer cynicism, it’s how unbearably lucky we are to live in an age where (one) I could immediately access the music on any one of these albums if I really wanted to or immediately shell out for hard copies if I had the funds. I know I really missed out on some of these, but it’s also worth pointing out just how many incredible albums are out there that I could let some of these pass and still live with myself.

This is the last of the 2013 wrap-ups, so thanks for checking it all out.

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