The voice of  We will help you with Essay writing, College essays, music to help you do your homework for me, and Argumentative essay, Essay, go now! Scott ‘Dr. Space’ Heller is one of the first things one hears on amy rowland dissertation Should I british foreign policy dissertation Quiz essay on the joy of helping others essay about secret service Øresund Space Collective‘s Thesis On Customer Service Delivery - Get to know common tips how to get a plagiarism free themed essay from a trusted writing service work with Sonic Rock Solstice 2019 live CD as the first of the collections liquefied jams fades in behind him. He thanks the crowd, says, “Have a nice trip,” and then, a second or two later, adds, “And kill the white lights!” That pretty much tells the tale right there. Of course, find more info. We tell you about the quality, support, prices, and everything else you need to know! Find and save ideas about Writing Heller — the synthesizer wizard joined on this recording by a multinational cast of players including argumentative essay on death penalty Physics Homework Help write college essay for me finance calculations homework help Vince Cory and http://cheapessaywritings24.com/professional-custom-essay/ iput a ‘Z’ in their company name? It’s because we know essays would need someone to write my essay for mePh.D Vemund Engan on guitar, "follow url". Choose our online essay editing service and do not waste your time on other websites! Jiri Jon Hjort on bass, A student needs affordable and reliable assignment writing services. Students Assignment Help provides Australian Online Academic Writing Agencies to students.USA, Australia Mogens Pedersen also on synth and Free http://www.joyshop.it/?custom-homepage-thesis . We support the finest freelance writers that will precise your personal providing tasks, no matter the level. Through the Tim Wallander on drums — is talking about the lights hitting the stage, and by killing the white ones, he’s leaving nothing but presumably vibrant colors behind, reds, blues, oranges, yellows, whatever, in order to complement the 90 minutes of swirl that’s about to unfold. And fair enough, as essay writting Professional Writing Basics raian ali phd thesis commonapp essay prompts Øresund Space Collective — the long-running improv psychedelic/space jam unit ostensibly based in Denmark but whose members hail from Norway, Sweden, and now Portugal, where  mba admission essay buy outline http://www.zacapaonline.com/?writing-history-dissertation gre issue essay best resume writing services chicago federal Heller himself has resided for some number of years now — have never been anything but colorful.

You don't have free time to study, and you think: 'who can http://www.coogansbluff.de/?ebay-business-plan-template?' You are in the right place! Get homework help from experts Sonic Rock Solstice 2019 captures of course a performance at the festival of the same name, based in Worcestershire, UK, and as We ordered college papers from the websites before composing our college argumentative essay high school students. That's why you're on the right track to pick the Heller notes just before the group dives headfirst into the 31-minute “Jam for Gavin,” it’s their first time playing in the country. To say the least, they do it up, and from the funky bass of “SRS Solstice Jam” and the space-proggin’ that ensues through the early stretch of “Jam for Gavin” and the mellower drift that takes hold circa 16 minutes in as they make their way back toward solo guitar scorch and finally a kind of quirky bounce outward over the last few minutes held together by the drums as much as anything, and on through the first of two band introductions and into “Jazz it up Boyzz” — nothing if not self-aware in its title — and the extended closing pair “Solstice Jammers Pt. 1” (14:44) and “Solstice Jammers Pt. 2” (21:12) at the end of which  We provide research paper help outline services by professional editors who are trained for editing academic documents including thesis and dissertations. Order our Heller again says everyone’s name the band (a follow-up introduction well-earned on the band’s part), CustomThesis.org offers Best Thesis Writing Services & Best Master Thesis Derivatives Services UK at affordable price. We provide professional Sonic Rock Solstice 2019 as much typifies Øresund Space Collective‘s mission as any live release could and most of them do.

Whether they’re in the studio or on a stage, Øresund Space Collective jam. There is a reason five out of the six tracks on Sonic Rock Solstice 2019 have some variation of “jam” in the title, and it’s because they fucking jam. And that other track? It’s 35 seconds of talking in between “Jam for Gavin” and “Jazz it up Boyzz,” so yeah. The focus here is clearly on jamming, and as Heller says early on, they don’t have a lot of time for chit-chat. And accordingly they don’t mess around, instead hitting it head-on with “SRS Solstice Jam” and keeping the flow central throughout the entire set. And it should comes as little surprise to anyone familiar with what Øresund Space Collective is or what they do that they’re locked in and their musical conversation is second to none. For a group who regularly record and release their own live shows via the internet archive or Bandcamp, it’s telling when they go to the lengths of doing an actual physical pressing of a live release, and as Sonic Rock Solstice 2019 was initially put out to Bandcamp subscribers — there are a host of exclusive offerings to go along with the steady stream of “regular” ones; this follows February’s Experiments in the Subconscious (review here) studio LP as the second full-public outing of 2020 — and then put on limited CDs for those who’d chase it down, it’s clear they consider it an occasion worth marking.

Fair enough for the performance they got, taking advantage of the multi-track recording by Peter Wibrew (which Heller mixed afterward) to present their freeform psychedelic improvisation as best they could hope to do. With the white lights presumably shut off after the request, the band shine bright just the same, and as they marked 15 years of existence in 2019, and as they were headliners of the fourth and final night of the festival — other headliners included Hawklords and Tir Na Nog — and, as noted, since it was their first time ever in the UK, the party spirit seems certainly justified. The jams are for the most part upbeat, of course with some spaceouts, and though I’ve no doubt that those in the building would say they felt it even more — such is the nature of live albums — but the good-time vibe practically leaks out of the speakers when listening here.

It’s reasonable to assume that if that wasn’t the case, Sonic Rock Solstice 2019 wouldn’t exist as it does. No band ever willingly put out a crappy live record. But especially for an act like Øresund Space Collective, whose purpose all along has been to enact an instrumental conversation among players, whether it’s regulars like Jiri, Mogens, or Tim — often just presented as their first names, like old friends — or others who’ve made their way into and out of the group over the years, including members of Papir, Black Moon Circle (of which Engan and Heller are both tenured) or Sgt. Sunshine, the ability to bring about so much consistency in that regard while staying so willfully amorphous in makeup and in the basic sonic pursuit, is nothing to be taken lightly. I’ll admit gladly to being a fan of Øresund Space Collective‘s on-paper mission and in-reality output, and as with the most resonant of their various offerings and offshoots, Sonic Rock Solstice 2019 puts together immersive and hypnotic jams that neither fade into the background nor force themselves upon the listener. They unfold naturally, in their own time, and though the band may not have had much time to talk as Heller says, they make their statement without any trouble by the time they’re through with “SRS Solstice Jam” and into the kosmiche launch that is “Jam for Gavin.” This is as organic as the roots of heavy psychedelic rock can get, and Øresund Space Collective make the trip their own as only they can. In times that do nothing if not warrant it, this is my comfort music.

Øresund Space Collective, Sonic Rock Solstice 2019 (2020)

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Øresund Space Collective on Bandcamp

Øresund Space Collective website

Space Rock Productions website

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Days of Rona: Jonas Waaben of The Sonic Dawn (Copenhagen, Denmark)

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How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

We’ve had to reschedule big time. Our new album, Enter the Mirage, was scheduled for release 27th of March, on Heavy Psych Sounds. That had to be postponed until 1st of May. Our European album tour in the spring will surely be affected, perhaps entirely cancelled, which is a big setback for the band. Our existence relies on tours in so many ways, not least financially. Our whole year will be different than planned. Fortunately our amazing fans have stepped up by pre-ordering the new LP or buying a t-shirt or such from our Bandcamp page, which really helps out.

We’re currently in good health and not worried about our personal situations, but try to act responsible in our everyday lives, so as not to put others at risk, of course. We were completely isolated for 30 days when we made Into the Long Night, our second album. This ain’t our first rodeo in that sense. We try to make the best of it. For example we’ve recorded some super hi-fi vinyl rips of our albums, which will be available on The Sonic Dawn’s YouTube and as lossless audio for subscribers on Bandcamp, so you can get a digitalized taste of vinyl. Hopefully it can light up somebody’s day.

What are the quarantine/isolation rules where you are?

Here in Copenhagen, Denmark, people are self-quarantining. It’s up to the population to remain responsible, but public events are also banned, most shops are closed and many workplaces are closed as well, just like schools and universities. People generally act disciplined and stay home and it seems to be effective.

How have you seen the virus affecting the community around you and in music?

Everything is deeply affected around us, especially in the music business. Cancelled tours and postponed albums hit not only bands but also venues, record labels, booking agents, concert promoters etc. The Sonic Dawn will make it through, so will our label, but for others, losing the entire spring season (or maybe more) will mean going out of business. On the other side of all this, many things will be more difficult in the music underground, but the crisis can also create closer bonds between artists and fans, and strengthen DIY structures with people aiding each other mutually.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

Don’t forget the workers and healthcare personnel supporting everyone through these times, at their own personal risk. Listen to their insights about how to improve the system and support their demands for better working conditions when this is over. And don’t forget the politicians responsible for the cutbacks and privatization of national healthcare either, if you have limited or no access to treatment these days, should you need it. Healthcare is a universal right. Vote for someone who works for your best interest, not a puppet working for big money.

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I’m not saying I backloaded the Quarterly Review or anything — because I didn’t — but maybe subconsciously I wanted to throw in a few releases here I had a pretty good idea I was gonna dig beforehand. Pretty much all of them, as it turned out. Not a thing I regret happening, though, again, neither was it something I did purposefully. Anyone see A Serious Man? In this instance, I’m happy to “accept the mystery” and move on.

Before we dive into the last day, of course I want to say thank you for reading if you have been. If you’ve followed along all week or this is the only post you’ve seen or you’re just here because I tagged your band in the post on Thee Facebooks, whatever it is, it is appreciated. Thank you. Especially given the global pandemic, your time and attention is highly valued.

Quarterly Review #41-50:

Ocean Chief, Den Tredje Dagen

The first Ocean Chief record in six years is nothing if not weighted enough to make up for anything like lost time. Also the long-running Swedish outfit’s debut on Argonauta Records, Den Tredje Dagen on CD/DL runs five songs and 59 minutes, and though it’s not without a sense of melody either instrumentally or vocally — certainly its guitars have plenty enough to evoke a sense of mournfulness at least — its primary impact still stems from the sheer heft of its tonality, and its tracks are of the sort that a given reviewer might be tempted to call “slabs.” They land accordingly, the longest of them positioned as the centerpiece “Dömd” seething with slower-Celtic Frost anxiety and the utter nastiness of its intent spread across 15-plus minutes of let-me-just-go-ahead-and-crush-that-for-you where “that” is everything and “no” isn’t taken for an answer. There’s respite in closer “Den Sista Resan” and the CD-bonus “Dimension 5,” but even these maintain an atmospheric severity consistent with what precedes them. One way or another, it is all fucking destroyed.

Ocean Chief on Thee Facebooks

Argonauta Records store

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Barnabus, Beginning to Unwind

Come ye historians and classic heavy rockers. Come, reap what Rise Above Relics has sown. Though it’s hard sometimes not to think of the Rise Above Records imprint as label-honcho Lee Dorrian (ex-Cathedral, current With the Dead) picking out highlights from his own record collection — which is the stuff of legend — neither is that in any way a problem. Barnabus, who hailed and apparently on occasion still hail from the West Midlands in the UK, issued the Beginning to Unwind in 1972 as part of an original run that ended the next year. So it goes. Past its 10-minute jammy opener/longest track (immediate points) “America,” the new issue of Beginning to Unwind includes the LP, demos, live tracks, and no doubt assorted other odds and ends as well from Barnabus‘ brief time together. Songs like “The War Drags On” and “Resolute” are the stuff of ’70s-riff daydreams, while “Don’t Cry for Me My Lady” digs into proto-prog without losing its psych-folk inflection. I’m told the CD comes with a 44-page booklet, which only furthers the true archival standard of the release.

Barnabus on Thee Facebooks

Rise Above Relics store

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Helen Money, Atomic

To those for whom Helen Money is a familiar entity, the arrival of a new full-length release will no doubt only be greeted with joy. The ongoing project of experimental cellist Alison Chesley, though the work itself — issued through Thrill Jockey as a welcome follow-up to 2016’s Become Zero (review here) — is hardly joyful. Coping with the universality of grief and notions of grieving-together with family, Chesley brings forth minimalism and electronics-inclusive stylstic reach in kind across the pulsating “Nemesis,” the periodic distortion of her core instrument jarring when it hits. She takes on a harp for “Coppe” and the effect is cinematic in a way that seems to find answer on the later “One Year One Ring,” after which follows the has-drums “Marrow,” but wherever Chesley goes on Atomic‘s 47 minutes, the overlay of mourning is never far off.

Helen Money on Thee Facebooks

Thrill Jockey Records store

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Elder Druid, Golgotha

Belfast dual-guitar sludge five-piece Elder Druid return with seven tracks/39 minutes of ready punishment on their second album, Golgotha, answering the anger of 2017’s Carmina Satanae with densely-packed tones and grooves topped with near-universal harsh vocals (closer “Archmage” is the exception). What they’re playing doesn’t require an overdose of invention, with their focus is so much on hammering their riffs home, and certainly the interwoven leads of the title-track present some vision of intricacy for those who might demand it while also being punched in the face, and the transitional “Sentinel,” which follows,” brings some more doomly vibes ahead of “Vincere Vel Mori,” which revives the nod, “Dreadnought” has keys as well as a drum solo, and the penultimate “Paegan Dawn of Anubis” brings in an arrangement of backing vocals, so neither are they void of variety. At the feedback-soaked end of “Archmage,” Golgotha comes across genuine in its aggression and more sure of their approach than they were even just a couple years ago.

Elder Druid on Thee Facebooks

Elder Druid on Bandcamp

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Mindcrawler, Lost Orbiter

I know the whole world seems like it’s in chaos right now — mostly because it is — but go ahead and quote me on this: a band does not come along in 2020 and put out a record like Lost Orbiter and not get picked up by some label if they choose to be. Among 2020’s most promising debuts, it is progressive without pretense, tonally rich and melodically engaging, marked out by a poise of songcraft that speaks to forward potential whether it’s in the coursing leads of “Drake’s Equation” or the final slowdown/speedup of “Trappist-1” that smoothly shifts into the sample at the start of closer “Dead Space.” Mindcrawler‘s first album — self-recorded, no less — is modern cosmic-heavy brought to bear in a way that strikes such a balance between the grounded and the psychedelic that it should not be ignored, even in the massively crowded international underground from which they’re emerging. And the key point there is they are emerging, and that as thoughtfully composed as the six tracks/29 minutes of Lost Orbiter are, they only represent the beginning stages of what Mindcrawler might accomplish. If there is justice left, someone will release it on vinyl.

Mindcrawler on Thee Facebook

Mindcrawler on Bandcamp

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Temple of Void, The World That Was

Michigan doom-death five-piece Temple of Void have pushed steadily toward the latter end of that equation over their now-three full-lengths, and though The World That Was (their second offering through Shadow Kingdom) is still prone to its slower tempos and is includes the classical-guitar interlude “A Single Obulus,” that stands right before “Leave the Light Behind,” which is most certainly death metal. Not arguing with it, as to do so would surely only invite punishment. The extremity only adds to the character of Temple of Void‘s work overall, and as “Casket of Shame” seems to be at war with itself, so too is it seemingly at war with whatever manner of flesh its working so diligently to separate from the bone. Across a still-brief 37 minutes, The World That Was — which caps with its most-excellently-decayed nine-minute title-track — harnesses and realizes this grim vision, and Temple of Void declare in no uncertain terms that no matter how they might choose to tip the scale on the balance of their sound, they are its master.

Temple of Void on Thee Facebooks

Shadow Kingdom Records store

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Lunar Swamp, Shamanic Owl

Lunar Swamp have spawned as a blusier-directed offshoot of Italian doomers Bretus of which vocalist Mark Wolf, guitarist/bassist Machen and drummer S.M. Ghoul are members, and sure enough, their debut single “Shamanic Owl,” fosters this approach. As the band aren’t strangers to each other, it isn’t such a surprise that they’d be able to decide on a sound and make it happen their first time out but the seven-minute roller — also the leadoff their first EP, UnderMudBlues, which is due on CD in June — also finds time to work in a nod to the central riff of Sleep‘s “Dragonaut” along with its pointed worship of Black Sabbath, so neither do they seems strictly adherent to a blues foundation, despite the slide guitar that works its way in at the finish. How the rest of the EP might play out need not be a mystery — it’s out digitally now — but as far as an introduction goes, “Shamanic Owl” will find welcome among those seeking comfort in the genre-familiar.

Lunar Swamp on Thee Facebooks

Lunar Swamp on Bandcamp

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Huge Molasses Tank Explodes, II

The nine-track/42-minute second LP, II, from Milano post-this-or-that five-piece Huge Molasses Tank Explodes certainly finds the band earning bonus points based on their moniker alone, but more than that, it is a work of reach and intricacy alike, finding the moment where New Wave emerged from out of krautrock’s fascination with synthesizer music and bring to that a psychedelic shimmer that is too vintage-feeling to be anything other than modern. It is laid back enough in its overarching affect that “The Run” feels dreamy, most especially in its guitar lines, but never is it entirely at rest, and both the centerpiece “No One” and the later “So Much to Lose” help continue the momentum that “The Run” manages so fluidly to build in a manner one might liken to space rock were the implication of strict adherence to stylistic guidelines so implicit in that categorization. They present this nuance with a natural-seeming sense of craft and in “High or Low,” a fuzzy tone that feels like only a welcome windfall. Those who can get their head around it should seek to do so, and kudos to Huge Molasses Tank Explodes for being more than just a clever name.

Huge Molasses Tank Explodes on Thee Facebooks

Retro Vox Records on Bandcamp

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Emile, The Black Spider/Det Kollektive Selvmord

Set to release through Heavy Psych Sounds on the same day as the new album from his main outfit The Sonic Dawn, The Black Spider/Det Kollective Selvmord is the debut solo album from Copenhagen-based singer-songwriter and guitarist Emile Bureau, who has adopted his first name as his moniker of choice. Fair enough for the naturalism and intended intimacy of the 11-track/39-minute outing, which indeed splits itself between portions in English and in Danish, sounding likewise able to bring together sweet melodies in both. Edges of distortion in “Bundlos” and some percussion in the second half’s title-track give a semblance of arrangement to the LP, but at the core is Emile himself, his vocals and guitar, and that’s clearly the purpose behind it. Where The Sonic Dawn often boast a celebratory feel, The Black Spider/Det Kollective Selvmord is almost entirely subdued, and its expressive sensibility comes through regardless of language.

Emile on Thee Facebooks

Heavy Psych Sounds store

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Saturno Grooves, Cosmic Echoes

Sonic restlessness! “Fire Dome” begins with a riffy rush, “Forever Zero” vibes out on low end and classic swing, the title-track feels like an Endless Boogie jam got lost in the solar system, “Celestial Tunnel” is all-thrust until it isn’t at all, “Blind Faith” is an acoustic interlude, and “Dark Matter” is a punk song. Because god damn, of course it is. It is little short of a miracle Saturno Grooves make their second album, Cosmic Echoes as remarkably cohesive as it is, yet through it all they hold fast to class and purpose alike, and from its spacious outset to its bursting finish, there isn’t a minute of Cosmic Echoes that feels like happenstance, even though they’re obviously following one impulse after the next in terms of style. Heavy (mostly) instrumentalism that works actively not to be contained. Out among the echoes, Saturno Grooves might just be finding their own wavelength.

Saturno Groove on Thee Facebooks

LSDR Records store

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What hidden psychedelic treasures will a new full-length from The Sonic Dawn unearth? Remains to be seen, but they’re dropping a good-sized hint in the unveiling the organ-laced lead track “Young Love, Old Hate” from the forthcoming Heavy Psych Sounds release, which has been given the title Enter the Mirage and a March 27 release date. First of all, it’s short, in the ’60s psych-pop tradition to which the trio have remained loyal, and second it’s catchy. Third, and most important, it’s deceptively intricate. The vocal arrangements, the key arrangement, the guitar tones — nothing there is haphazard or by mistake. It’s all according to the band’s framework. I don’t imagine Enter the Mirage will lack its moments of spontaneity or energy — it’s The Sonic Dawn‘s fourth record, and they’ve long-enough-since known what’s up in terms of their studio work — but the clarity of their intent is striking, even as the album’s title invokes visions of something not really there.

The Sonic Dawn‘s Emil Bureau also has a solo record coming out early next year, so keep an eye out for more on that, but here’s the info and preorder link for Enter the Mirage, courtesy, of course, of the PR wire:

Danish psych rockers THE SONIC DAWN unveil details for new album ‘Enter the Mirage’ on Heavy Psych Sounds; stream new single now!

Copenhagen’s psychedelic trio THE SONIC DAWN announce the release of their fourth studio album ‘Enter The Mirage’ this March 27th on Heavy Psych Sounds Records. The band share first groovy single “Young Love, Old Hate” today

“Young Love, Old Hate” is the opening track of THE SONIC DAWN’s new album ‘Enter The Mirage’. On this soulful and stirring single, they not only lead us through the darkness but also into the orange sunshine. It is a journey full of psychedelic mystery with a clear message: “Only love is true, don’t let hatred get the best of you”. “Enter The Mirage” is arguably the most blazing and powerful album yet by the Copenhagen trio. It has an unusual live feel for a studio album, packing much of the raw energy and electricity that has made their psychedelic shows famous in the rock underground.

Turn the volume up and experience “Young Love, Old Hate”

Frontman Emil Bureau explains about the album’s inception: “First I lost my father, then I lost my job and finally I lost my will to be a servant of anything that isn’t peace, love and freedom. It should be simple, but in this world it isn’t. Instead of getting back on the so-called career path, which is generally a dead end, I took a leap of faith, with the band’s support.”

‘Enter The Mirage’ overall theme is freedom, and visions that may seem too distant to be real, but only those who take the trip will ever really find out. Bureau spent half a year in a songwriting frenzy, spawning for The Sonic Dawn and also for his solo folk album (available soon on Heavy Psych Sounds). To give form to these song ideas, the band rented a space in the gloomiest part of Copenhagen, set up a studio there and rocked out for two months. The roughness of the place translates the determination from a tightly knit band. At the end of their long and laborious creative process, the band was completely broke. Fortunately, friend and former producer Thomas Vang (Roger Waters) allowed them to mix the album in The Village Recording at night, after his own sessions. Thanks to this and a skillful mastering by Hans Olsson Brookes (Graveyard), “Enter the Mirage” puts the high back in high fidelity.

THE SONIC DAWN New album ‘Enter The Mirage’
Out March 27th on Heavy Psych Sounds
Preorder now

TRACK LISTING
1. Young Love, Old Hate
2. Hits of Acid
3. Loose Ends
4. Children of the Night
5. Shape Shifter
6. Enter The Mirage
7. Soul Sacrifice
8. Join the Dead
9. Sun Drifter
10. UFO

THE SONIC DAWN is
Emil Bureau – Guitar, vocals
Jonas Waaben – Drums
Neil Bird – Bass

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[Click play above to watch Øresund Space Collective making Experiments in the Subconscious live in the studio. Album is out Jan. 2020 on Space Rock Productions. Cover art by Dennis W. Fleet.]

Though it’s not always immediately apparent by word or deed, one does believe in a bit of self-care every now and again, and in those instances where a bit of spiritual rejuvenation is needed, Øresund Space Collective stand ready to serve as a balm. Fortunately, they’re prolific. They begin 2020 with Experiments in the Subconscious — they’ve also posted countless live shows on the Internet Archive and made some available through Bandcamp, etc., as well — which is their 34th offering by their own count, and thereby collect five tracks, ranging from the three-and-a-half-minute kraut-synth apparent-accident “Oops” to the sprawling and perhaps titled-in-self-awareness jams “Lost in Africa” and “Prosthetic Cuban.” Those two lead off Experiments in the Subconscious and run back to back across 17 and 20 minutes, respectively, digging into Afrobeat and Latin progressions with a still thriving foundation in the space rock.

That, of course, is the well trod domain of the Øresund Space Collective, whose lineup is subject to change from outing to outing but here feature Scott “Dr. Space” Heller on synth as ever as well as Fender Rhodes/synthesist Magnus Hannibal (also Mantric Muse), guitarist/classical sitarist KG Westman (ex-Siena Root), drummer Tim Wallander (Agusa), violinist/guitarist Jonathan Segel (Camper Van Beethoven) and bassist Hasse Horrigmoe (Tangle Edge). It’s a not dissimilar group from that which appeared on late-2018’s virtual-reality trip Kybalion (review here), and as that album’s session took place in 2016, it’s hard to know just when Experiments in the Subsconscious might have been put to tape, but somehow, when it comes to Øresund Space Collective, time seems ever more to be an inapplicable construct. They exist. The album exists. Take heart. From the intertwining percussive shuffles and wah-sounding keyboards of “Lost in Africa” through the organic shredfest of guitar, keys, maybe-violin-run-through-effects that is centerpiece “Lost Milesage” (16:34) and post-“Oops” closer “Hieroglyphic Smell” (14:44), Øresund Space Collective bask in the natural process of creation itself, and whether it’s their most fervent moments of thrust or a moment of atmospheric breather-taking like the slowdown in the second half of “Prosthetic Cuban,” their most crucial hallmark is unmistakable.

Which is to say that, as ever, they live up to their long-established ethic of “totally improvised space rock.” Players go into the studio with nothing, and leave most likely exhausted with a collection of sessions from which the jams that comprise their albums are selected, mixed, mastered, and pressed. Studio tricks, overdubs, even vocals, need not apply, and their style is light on posturing or proselytizing. They’re not looking to harsh anyone’s mellow or bring down the room, they just want to go on adventures in aural subspace and have a good time getting there with instrumentalist conversation between players. It has certainly worked for them in the past and it does likewise here, and while one wouldn’t at all call the sheer sound of the band raw, what with the swirling effects on the guitars and synth and keys and whatever else — if there is sitar anywhere on Experiments in the Subconscious, it’s not as easy to discern as on 2017’s Hallucinations Inside the Oracle (review here) or either of Dr. Space‘s two full-lengths as part of the trio West, Space & Love — in terms of capturing the process of creation at the moment it happens, there are few as committed to bringing to life the realization of that rawest creative instant. The Big Bang of songwriting. That feeling when the piece seems to take hold and write itself and sometimes a band doesn’t even know how it came together later — it just did.

Without hyper-romanticizing what they do, Øresund Space Collective seem to exist in a place searching for this moving target. It may be elusive, but they’ve got experience on their side at this point, and whoever comes in and out of the lineup for a given studio session or live show, the willingness of the participants to let go and bask in that moment feels essential to their taking part in the first place. That is, I guess by now those who sign up to work with Øresund Space Collective — one does imagine a players’ sign-up sheet with the band’s logo on top, though it’s unlikely such a thing exists — probably have some idea of what they’re getting into. Still, the sonic richness of Experiments in the Subconscious and the subtle and not-so-subtle variety between its component jams brings to the forefront some of the purposes and directions that moment of creation might take on as one instrument follows another along a given path or works an idea to its natural endpoint, or doesn’t, or maybe the whole thing just collapses on itself. You never really know, and that’s basically the fun of it.

Of course, it’s true that Experiments in the Subconscious probably wouldn’t exist if the jams didn’t ‘work’ at least to some degree. I’m sure there’s plenty of material from every Øresund Space Collective session that gets left out for one reason or another or doesn’t make the final edit from which their tracks emerge. And that’s fine. They’re certainly entitled to use the material they like best to make their albums — indeed that should be the ideal almost in every case — but though it’s the briefest of cuts, “Oops” is especially telling in conveying the “happy accident” sensibility that drives so much of what Øresund Space Collective do. It’s so short it’s barely a blip among the band’s oft-extended, fluid pieces, but its inclusion feels purposeful here in showcasing how something like that can just happen once someone is willing to make it do so. Even that seemingly simple act of plugging in, pressing (or clicking, more likely) record, and letting loose is a hurdle some people who want to never manage to overcome, and as it seems to happen so naturally for Øresund Space Collective, it’s all the better to hear them enjoying that spirit on a finished recording. It makes their work all the more inspiring, and Experiments in the Subconscious will no doubt prove to be exactly that for those open to it.

Øresund Space Collective on The Facebooks

Øresund Space Collective on Bandcamp

Øresund Space Collective website

Space Rock Productions website

A little bit more than halfway through the opening track on Pleasant Journey in Heavy Tunes is a kind of toss-off moment I’ve always found hilarious. The chorus of “Too Stoned,” which leads off the 2001 debut album from Copenhagen’s Gas Giant, is simple enough: “Too stoned/I’m too stoned/Too stoned again/Too stoned/Too stoned, baby/Too stoned again.” If nothing else, it gets the point across as vocalist Jesper Valentin delivers the lines atop a post-Monster Magnet space-psych-meets-heavy-rock swirl, honed by guitarist Stefan Krey and propelled by bassist Thomas Carstensen and drummer Pete Hell. But it also makes plain the ethic through which Gas Giant were working at the time. Though the definition of what the term meant was already expanding even then, it was stoner rock.

That expanding definition can be heard in Pleasant Journey in Heavy Tunes as well as concurrent offerings from further north in Europe like Dozer‘s In the Tail of a Comet, which came out the year before and arguably had an impact on the sound of “Super Sun Trigger” here — though of course the root influence is Kyuss either way — or Lowrider‘s Ode to Io, or even Colour Haze‘s Ewige Blumenkraft, the latter also from 2001, but it’s still there, and “Too Stoned” basically makes that inarguable at the record’s outset. From the rolling Acid–King-meets-slower-Atomic–Bitchwax nod of “Sit Down” and outright fuzz overload of “Down the Highway” early on to “Desert Call”‘s self-titled-era Queens of the Stone Age quirk and the odd reinvention of Rage Against the Machine‘s signature “Bulls on Parade” riff for the eight-minute album crescendo “Storm of My Enemies” ahead of one more bit of Wyndorfian good times in outer space on closer “Holy Walker,” Pleasant Journey in Heavy Tunes is a willfully bumpy ride, but it’s tied together through a spacious mix courtesy of the band and producer/engineer Ralph A. Rjeily (R.I.P. 2012), and the four-piece’s collective heart is never too far from the “rock” end of the equation. To say that it suits them throughout the nine-track/48-minute offering would be underselling it.

Whatever familiar elements went into the making of Pleasant Journey in Heavy Tunes — and there were plenty, as there were on a lot of records from the era when stoner rock was taking shape (1995-2002-ish) and as there are now more than a generation later — those shades of Nebula and Fu Manchu on “Down the Highway” and “All Creatures” came with more than just flashes of individualism that showed not just Gas Giant‘s real potential in moving forward from their roots, but also the foundation of songwriting that would let them do it. But though there are a lot of comparison-namedrops above, don’t take that to mean Gas Giant had nothing of their own to offer on their debut. In particular, the atmospheric flourish brought to the tracks via echoes and effects were pivotal in letting them establish an atmosphere beyond the sundry riffs and grooves on display, and though that’s something that would come more to fruition on 2003’s Mana, it’s there on Pleasant Journey in Heavy Tunes as well, and even 18 years later, its righteousness holds up. It’s there in the preach at the beginning of “All Creatures,” and in the low-end fuzz of “Desert Call” — the allure of those open spaces calling to northern Europe even long before Truckfighters would go cruising — and it’s there in the Stooges strum and strut of “Holy Walker” as the album rounds out. These sides come together to give Pleasant Journey in Heavy Tunes its personality, subtly varied as it is and almost deceptive in its complexity.

That is to say, in hindsight, it’s easy to stand back and pick out this or that genre element, because there’s been more than 15 years of genre built up since. At the time — not pre-internet, but well before the mobilization and full socialmediafication thereof — the context inherently would’ve been more modern, fresh and cutting edge. Think of all the “lost” records from the early part of the 1970s. Those heavy gems from ’71, ’72, of bands who put out one or two records and then disappeared, maybe with one person going off to do something else, maybe everybody just off to families, dayjobs or an eventual reunion. Gas Giant were similarly of their era and of the pastiche of sound that was happening at the time, but part of what stands them out even now is that they were doing it in Copenhagen.

Consider that Gas Giant‘s demo came out in 1999 after a 1998 EP released as Blind Man Buff and Pleasant Journey in Heavy Tunes came out in 2001. That’s the same year Baby Woodrose offered up their own first album, rising as they did from the proverbial ashes of On Trial. These were the roots of Copenhagen’s heavy scene, which continues to flourish today, and the almost tentative adventurousness shown in Pleasant Journey in Heavy Tunes and expanded on Mana continues to flourish in range of acts, whether it’s prog-fusion psychbringers Causa Sui, jammers like Papir or even a classic doom outfit like Demon Head. The point is that Denmark’s contributions to Europe’s greater heavy underground couldn’t have happened without bands like Gas Giant helping to pave the way. Whether you’re familiar with Pleasant Journey in Heavy Tunes or not — and they’re very much of that pre-Thee Facebooks lost era of heavy rock that I’ve spoken about on multiple occasions; swallowed into the vacuum that once was MySpace — I think that’s remarkable and worth highlighting.

Of course, I hope you agree.

Gas Giant had a split with WE also out in 2001, Mana in ’03 and a split with Colour Haze the year after that, but then that was it from them. The band went their separate ways and came back in 2015 to play Freak Valley Festival and more. They did those gigs and at some point last year made a page for Portals of Nothingness, a lost album from 1999, on Bandcamp that, as yet, has no audio on it, and not much has been heard from them since unless I’m missing something (always possible). One never knows what the future might hold, but Space Rock Productions reissued Pleasant Journey in Heavy Tunes in 2015 in three separate vinyl editions, so the record is out there for those who’d chase it down.

In any case, please enjoy it. Thanks for reading.

—

Let me tell you about the dinner I had last night.

We’re pretty deep into The Patient Mrs.’ semester at this point — just a couple weeks left before winter break — so I’m largely running point on dinners. I’m not much of a chef, so that kind of has come to involve cooking for the week, generally some variation on slow cooker chicken, vegetarian meat loaf, take out, etc. This week it’s been farm-raised chicken breast, thigh and wing meat that I cooked in the Crock Pot on Sunday. I seasoned it with paprika, garlic, onion powder, salt, pepper, chili powder, Italian-style this-and-that, and some Bell’s, because Bell’s. To go with it, I roasted three heads of cauliflower to a point of being well-done — not burnt, but not far off — and seasoned those similarly but with a little more chili powder to let them absorb a bit of depth. They came out nice.

All of this was tied together with a gigantic spaghetti squash — I mean huge; watermelon-sized — and a 20 oz. pack of Beyond Meat ground beef-style fake meat that I seasoned like hot Italian sausage, with fennel, garlic — always garlic — hot red pepper flakes, a cut whole chili, and so on, that I knew was going to be good because it took on a reddish tint when I was cooking it.

It all came together in our 12″ sauce pan with the high sides and was nearly overflowing when I added four containers of this pesto I drive half an hour to buy at the one fancy wine store down Rt. 24 that sells it. I buy in bulk. Mostly I also consume it in that fashion as well.

Top with fresh-grated parmesan. Dinner for the week.

Each evening I’d kind of add something different to it for myself — The Patient Mrs. is a little more orthodox, though I think if I’d shown up with ricotta or fresh mutz on any given night reheating, I’d only have been greeted as a liberator — and have it with a red bell pepper on the side. I’ve been obsessed with this garlic scape and hazelnut pesto that this one stand sells at the Denville Farmers Market on Sundays — what it lacks in being cheap it makes up for in owning my heart — so I’ve been adding that on top of everything else and very much enjoying it.

Last night was the final night of the run — Sunday to Thursday is pretty good; it was a very large spag squash — so I decided to go all out. I roasted three packs of pre-peeled garlic (maybe seven or eight cloves each?) in the oven and topped it with the pesto and had it with a pepper. It was decadent and marvelous. Everything was perfect. Maybe the best meal I’ve had in a year. And I recognize saying that about day-five leftovers is kind of wacky, but I tell you, this dinner was glorious. Most of the garlic simply melted but there was still some caramelized too, and the combination between that and the garlic scape and hazelnut pesto, the interaction there with that and the other pesto already in the root leftovers — holy shit. It was goddamned incredible.

I topped it off with a couple sugar-free Reese’s for dessert and went to bed fat and happy.

For all the issues I’ve had in my life and continue to have with food, every now and then it’s amazing to enjoy something like that.

Rough week, down week, another week full of days. Ended by getting dicked around on a track premiere. Low stakes bullshit. Doesn’t matter.

Next week, more days. Is one of them Thanksgiving? I think so. I’m doing a Scissorfight track premiere — for which I’ve been not at all dicked around — on Thanksgiving. Tune in to see if I can avoid saying I’m thankful they got back together.

Great and safe weekend. Have fun, eat a good meal, be kind. Make merry. Tomorrow we die.

FRM. Forum, Radio, Merch.

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The Obelisk merch

 

 

 

 

 

The cover art of Dragontears‘ third and final album, Turn on Tune in Fuck Off! (review here) — released in 2010 by Bad Afro Records — finds frontman and principle architect Uffe “Lorenzo Woodrose” Lorenzen standing maybe-naked among a trio of mostly-nude women clad in gasmasks and bulletbelts, their faces obscured save for their eyes but their automatic weapons very much in the foreground, aimed up at the downward-facing camera. Lorenzen, eyes obscured in sunglasses, his head tilted and mouth hanging slack, also looks up at the camera, and in each of his outstretched hands, there’s a bunch of pills, clearly being offered to whoever’s eye might’ve been caught by the striking, maddening pinks and blues surrounding. So is the title an invitation or a command? That exclamation point — encouraging or urging or demanding? Maybe pleading, even?

It’s hard to know listening to the record itself, the doomsday psychedelia of which pushed forward in concept and execution even from where Dragontears‘ two preceding LPs, 2007’s 2000 Micrograms from Home and 2008’s Tambourine Freak Machine saw it go. Lorenzen‘s main outfit, Baby Woodrose, for sure had its psychedelic aspects even back to its earliest, most garage-rocking days, but here again, Dragontears pursued another echelon of far out. And found it. Early on side A, “Two Tongue Talk” and the gleefully nihilistic “No Salvation” lead off with uptempo hooks and consummate swirl, engaging with a classic psych feel and prevalent depth of fuzz, while the three-and-a-half-minute “My Friend” marks a turning point to the next stage — or maybe “plane” is more appropriate, considering. The song itself doesn’t fill even that relatively brief runtime, instead drifting off into ethereal synth and keyboard dreaminess. But the real change is before that, as Lorenzen — perhaps in a foreshadow of the solo work he’s done in the last couple years — dons an acoustic guitar and the percussive push underlying “Two Tongue Talk” and “No Salvation” disappears in favor of a peaceful melodic wash. “Time of No Time” finds a middle ground between the two sides, lacing sitar alongside guitar and building on both the acid folk of the song before it and the more rocking feel of the two before that, all the while letting Lorenzen philosophize lyrically like the lysergic cult leader depicted on the front cover.

At just over six minutes, it’s the longest cut on the record to that point, but that doesn’t last, with the 13-minute drone-out “William” picking up in inner peace-inducing fashion, taking the catchiness that (re)emerged on “Time of No Time” and stretching it out across a vast drift with Lorenzen‘s vocals barely acting as a tether to the ground, molten as it is. I don’t know who William is or was, but the song that bears his name is long gone in a hand-percussed melodic expanse, intertwining lines of effects rising and falling in the mix as Lorenzen does likewise, his lines somewhere between spoken hallucinogenic poetry and singing, dropping out before ceremonial-feeling bells jingle maybe to signal the close of mass or, maybe just to mourn for the planet, universe, self, whatever, all of it, who knows. On the vinyl edition of Turn on Tune in Fuck Off!, “William” and the subsequent “Mennesketvilling” (5:49) comprise the entirety of side B, and sure enough the one feeds right into the other, with the closer picking up from the drone and obscure sample playing and bringing some more forward layers of vocals forward in a chant that only seems to emphasize both the depth of the mix overall throughout the material and the obvious care that was put into the arrangement of elements therein. A freakout guitar solo takes hold and the sample returns, the song receding quickly into the fade before a final sweep seems to wipe everything out.

The title “Mennesketvilling” translates in a major internet company’s matrix from Danish to “dual man” in English, or “human gemini,” which is probably closer and still only barely getting at what the track is actually going for. Whether that’s supposed to just mean “twin” or be a statement on the duality of the human species, I can’t say and won’t waste time in speculating, but if it’s one last preach on the nature of mankind, it’s fairly enough earned and nothing if not welcome in rounding out the spirit of the proceedings.

Dragontears did play live around this time, with Lorenzen in the lineup that included Fuzz Daddy (aka Rocco Woodrose), Moody Guru (aka Riky Woodrose), Morton “Aron” Larsen and Henrik “The Hobbit” Klitstrøm alongside a purported host of others that presumably varied from show to show, but again, this was their final recording, with Lorenzen putting the project to rest with the intention to incorporate more of Dragontears‘ psychedelic aspects into Baby Woodrose. That’s a sonic progression that, in truth, had already been underway. The band’s 2009 self-titled had drawn in a fair share of the acidic, and it was hardly the first release to do so, but perhaps 2012’s Third Eye Surgery (review here) and 2016’s Freedom (review here) would follow this path even more. In 2013, Lorenzen and Klitstrøm and others whose history together stretched back to their days in underrated Danish psych rockers On Trial (if not longer) would reform Spids Nøgenhat for the Kommer Med Fred LP, but that seems to be the extent of that outfit’s work at least for the time being. One never knows, of course.

Over the years, Lorenzen has grown into a kind of Danish LSD-guru figure, and his solo output, released in his own name with Danish lyrics and titles, bears that out with a sensibility that seems to draw from some of what Dragontears were doing on Turn on Tune in Fuck Off!, particularly, as noted, on “My Friend” and maybe even “William.” While Lorenzen doesn’t quite try to get away permanently from the hooky songcraft that’s made Baby Woodrose‘s offerings stand up so well to the test of time, both 2017’s Galmandsværk (review here) and 2019’s Triprapport (review here) portray this identity in their visual and aural presentation, and with his beard long and gray and his material more otherworldly than it’s ever been, it suits him. I wouldn’t fight if another Baby Woodrose record was in the offing for 2020 or if Lorenzen were to continue the solo work or something else, since no matter where he goes, he seems to take such a strong presence with him. Sometimes, that’s a voice out in the void of space itself.

As always, I hope you enjoy.

—

I was gonna go see Monolord at Vitus Bar on Sunday. I didn’t go to Ode to Doom last week and I’m already hemming and hawing on this, despite my desire to catch Blackwater Holylight and Monolord in that space, let alone the matinee beforehand that I’m co-presenting. Feeling worn out, down, down, down, and like cooking dinner so there are leftovers for the week ahead is probably the way to go. There’s like a seven-pound spaghetti squash sitting on the counter that I should probably throw in the oven now so it’s done in time for Monday.

Shit is large.

The Pecan is up. Early. It’s almost 6:30AM now — not an overly productive morning on my part, but the Dragontears was fun to write about as Lorenzo Woodrose’s stuff usually is — and he’s been up for like an hour. Brutal. I thought he had pooped so I got him from upstairs, but no. He still found time to wind up his legs and kick me while I was changing his diaper though, and that’s what would seem to matter.

He’s two. It’s very hard. We were friends for a little bit there. Not this week.

I tell him, “You’re in control of your responses.” “We can put on shoes easy or hard, it’s up to you.” Even if he doesn’t really know what I’m talking about in terms of actualization of self, I figure that’s good habit for me to say rather than, “Put on your fucking shoes you wretched thing-beast,” and good for him to hear from what’s basically the outset of him understanding words. There’s one corner of the room I don’t want him to go in. Every time I’m out of his line of sight, he’s there. By Wednesday, I felt like my brain was going to explode. Yesterday, which was Thursday, The Patient Mrs. worked from 7AM-6PM (oh, that easy college professor’s schedule; when you’re 80, maybe) and I had him all day and it was too cold to play outside. He bit, he hit, he kicked, he hugged, he pretended to sneeze and laughed, he ran, he ate a good lunch. We went grocery shopping and he sat in the cart. He went in that same fucking corner and I told him, “Okay, that’s cool, you hang out in there and I’ll just put away your toys since you’re not using them anymore. This puzzle looks fun, but if you don’t need it, I’ll put it away,” and he came out of the corner to play with the puzzle. Even if he doesn’t know all the words — and he might — he got the idea, and it was a solid hour before he was back over there playing with the power bar, which at that point was a win.

It was a day, in other words.

So, next week. It’s full. There’s a ton of shit, whether or not I go see Monolord, and if I’m saying that on Friday, I’m probably not going. We’ll see. But it’s a full week regardless, highlighted by a Solace track premiere rescheduled from this week and a War Cloud video premiere, the latter of which will be on Friday to round things out. I’ll review Vessel of Light in there too somewhere.

I’m sure you’re riveted.

Stay glued to your seat, computer, phone, whatever. More Obelisk coming soon.

Ugh.

Everyone have a great and safe weekend. Please be kind and have fun. You can do both.

FRM. Forum, radio, merch.

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You’re not going to hear a more appropriate cover this year than Uffe Lorenzen taking on Roky Erickson, I’m sorry. It is a fitting homage from the Baby Woodrose frontman to the 13th Floor Elevators frontman to record “If You Have Ghosts” and issue it as a name-your-price single, and as one would have to expect given the depth of influence Erickson has had on the Copenhagen-based Lorenzen‘s work in various outfits over the last two decades-plus, the song is duly nailed and the spirit of homage in which it’s performed can be heard in the raw simplicity of the recording, done live on a musty guitar with one-take vocals on an 8-track recorder. Can’t ask for much more than that.

Since the start of last month, Lorenzen has been embroiled in a series of live shows that continue this week and into November as he supports his 2019 sophomore solo outing, Triprapport (review here), on Bad Afro Records. You’ll find the remaining dates below, as well as background on this cover, and of course the stream/links, courtesy of the PR wire:

Uffe Lorenzen – If You Have Ghosts

13th Floor Elevators and Roky Erickson have always been a big inspiration for Uffe Lorenzen and all the bands he has been involved in. Be it Baby Woodrose, Spids Nøgenhat, Dragontears or On Trial. So when Roky died back in May 2019 Uffe Lorenzen decided to pay homage to the legendary psych rocker and record one of his songs.

Uffe Lorenzen was looking for a simple, stripped down and naked sound and found a perfect match in an old Brenell 8-track tape machine from the 70s to record If You Have Ghosts on. To obtain a real dry sound he played on an old guitar from the 70s that had been found in a barn. The guitar strings had not been changed for 10 years which gave everything a special feel.

The recording was done with no editing and the vocal part was recorded in one take. Thanks to tape operator and producer Palle Demant the result is quite breathtaking and unique. Hopefully Roky Erickson will be listening upstairs with a smile on his face.

MP3:
http://badafro.dk/uffe-lorenzen-if-you-have-ghosts-mp3
Spotify, Apple etc.
https://BadAfro.lnk.to/UffeLorenzen-Ghosts

Uffe Lorenzen live:
17.10 Radar Aarhus
20.10 Hotel Cecil København (sold out)
25.10 KulturCosmos Viby Sjaelland
26.10 Harder Svendborg
27.10 Hotel Cecil København
31.10 Boxer Trondheim
01.11 Blå Rock Tromsø

Uffe’s latest album triprapport can still be streaming, downloaded and purchased from these links:

Digital: https://badafro.lnk.to/UffeLorenzen-Album
Bandcamp: https://badafrorecords.bandcamp.com/album/triprapport

https://www.facebook.com/lorenzowoodrose
https://www.instagram.com/themanwhoatetheplant
https://www.facebook.com/BabyWoodrose/
https://www.facebook.com/badafrorecords/
https://badafrorecords.bandcamp.com/
http://badafro.dk/

Uffe Lorenzen, “If You Have Ghosts”

Uffe Lorenzen, Triprapport (2019)