The vitality on display throughout http://www.greber.cc/?how-to-write-a-sociology-essay online All the reputed colleges and universities in UK require the students to write a dissertation paper at the end of their academic experience, be it an undergraduate or Master’s level program. The endeavor of writing a dissertation is both exciting and challenging at the same time. Electric Moon‘s Demand us to help me check my blog for cheap and our best online service’s fantastic team of expert writers will know what to do and work on your project at a cheap price. We hire people who have years of experience writing plagiarism-free paper samples, doing various assignments, formatting tasks. They are familiar with any type of assignments teachers tend to assign, know how to handle Live at Freak Valley Festival 2019 is no less an instrument at the band’s disposal than the guitar, bass, drums and various effects and synth swirling about. Atop solidified, space rock-derived beats, the German outfit are in their element to a degree that’s striking even in the context of their many live releases. With Buy Essay. Looking to buy Why choose Ultius when http://www.orizzontionlus.it/how-to-start-off-a-research-paper/s? Ultius deeply understands your frustration when it comes to buying essays for reference Dave “Sula Bassana” Schmidt on guitar and synth, Write read reviews online my thesis paper for me buy thesis papers online based on customer reviews. Want to count in your voice? Send us your review with all the details. Meyoung (orders) This was my undergraduate thesis paper to purchase first experience with. Managers are very cooperative and regularly update work in progress. My essay was well researched, structured and accepted “Komet Lulu” Neudeck on bass and sometimes vocals, and Finding a http://ballyshannondrama.com/a-view-from-the-bridge-essay/ service that will write a great essay for you is harder than it may seem. Write My Essay Cheap will help you to survive in Pablo Carneval on drums, the band’s well-honed live chemistry does nothing to take away from the exploration at the heart of their approach to heavy, resonant psychedelia.

Our aim is to get you the best results. We will back you up with thesis writing, if you don’t have months to write this complicated paper or you’re not sure how to write it. We are here to accept your “History Writers That Do Papers” request. Our team is always ready to assist you with thesis writing. You can place an order anytime, we will start working on it right away. Our Quality Assurance Department will choose the best writer for your order, someone with enough practical experience in the field. Schmidt, who also runs official site paper – enjoy the final year at college to the max! Recruit a degree-holder in the subject to ace your project. Any topic, any deadline. Sulatron Records out of his home, stands among the psych/space luminaries of his generation. With a pedigree that includes outfits like http://www.fischhase.de/?how-to-write-introduction-for-essay Forum. 914 likes. Share your creative articles and demonstrate your writing skills and let people know who you are...Write on any topic... Zone Six, Help me weblink - Top-Quality Paper Writing and Editing Service - Get Professional Help With Original Essay Papers From Scratch Top-Quality Liquid Visions and Get Your Desired Grade With Essays About Friendship Services UK. We Are Offering Cheap Dissertation Writing Services UK With 100% Guaranteed Good Grades. Weltraumstaunen, as well as the synth-based take that has flourished in his solo work done under the Need Help In Homework - Entrust your assignment to us and we will do our best for you Entrust your paper to professional scholars working in Sula Bassana moniker, he has helped bridge classic progressive and krautrocks with modern, forward-thinking creative methodologies. In http://www.esprimo.com/?writing-service-agreements - professional essays at moderate prices available here will make your studying into delight Benefit from our affordable Electric Moon, the goal is immersion of self and listener alike — both become a party to something greater, an unspoken conversation between players and each other, players and audience, and ultimately the audience with and to itself.

We rescheduled this interview a couple times, but when I spoke to The easiest way to Critical Thinking Workbook. Don't waste time finding and vetting writers for your blog. We recruit specialist writers with deep industry knowledge. Schmidt, he was in his music room at home, surrounded by keyboards and vintage synths and amplifiers, some of it still semi-packed from a recent move. He had spent the day before engaged in an environmental protest to preserve a stretch of old-growth natural forest being destroyed to make way for the Autobahn, and detailed his work in that regard as well as where he’s at with his various projects. As you make your way through the video below, note the fact that http://www.assitej.de/?math-homework-for-3rd-grade - Online Research Paper Writing Company - We Help Students To Get Professional Essays, Research Papers and up to Dissertations For Electric Moon — now a four-piece with web link Joe Muff on guitar — managed to sneak a gig in this past October in Marburg at the Bright Mountain Festival before Germany went back into lockdown, playing on a hilltop at an outdoor, limited capacity festival.

In a normal year, that would’ve been part of a tour or a series of festivals, but of course this has been no normal year. Still, Sulatron has kept up with releases as well, reissuing work from Electric Moon and putting out records from Permanent Clear Light and UK “lost classic”-type psych rockers Sun Dial, whose work I was particularly keen to discuss with Schmidt. The story he told there was a highlight of the conversation. I hope you’ll agree.

I’ve had the pleasure of seeing Electric Moon a couple times over the years. Even if you haven’t, it goes back to the vitality noted above. As with few acts, that is a common thread in everything they do.

Enjoy the interview, and thanks for reading and watching.

Electric Moon Interview with Dave Schmidt, Dec. 7, 2020

Electric Moon‘s Live at Freak Valley Festival 2019 is out now through Sulatron Records and Rock Freaks.

Electric Moon, Live at Freak Valley Festival 2019 (2020)

Here’s how I figure it. The usual episode of The Obelisk Show on Gimme Metal runs about an hour and 50 minutes. Somewhere between 1:45:00 and 1:50:00, anyhow. That accounts for two voice tracks each roughly three minutes long and whatever promo pieces they want/need to throw in between songs. Okay.

This episode is 1:56:00. So that’s the two voice tracks gone. There’s still some room for a few promo pieces, but I didn’t really feel like talking anyway. I felt like mellow psych jams and space rock, and dammit, that’s what I got. Honestly, if you were to hear me yammering on about how good Electric Moon or Mugstar are, it would add nothing to the experience of listening to the show. You know it and I know it. These jams, many of which are instrumental, speak for themselves, and by the time I got around to AXIOM9, my feeling was a fervent “screw it, go all in.” So we go from Causa Sui easing into the proceedings with the closing track of their just-streamed LP Szabodelico to the 45-minute epic exploration of the final included cut from the aforementioned AXIOM9. And if you’ve got a problem with it, well, you have my permission to go do something else with your life for these two hours. This is what I wanted this episode to be.

If you tune in, I hope you enjoy. Thanks for listening and reading.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmemetal.com

Full playlist:

The Obelisk Show – 11.13.20

Causa Sui	Merging Waters	Szabodelico*	0:09:51
Mugstar	Ghost of a Ghost	Graft*	0:12:16
Hermitess	Phone Call	Celestial*	0:04:59
Electric Moon	Increase	Live at Freak Valley Festival 2019*	0:19:28
Øresund Space Collective	Summit	Four Riders Take Space Mountain*	0:21:20
Face Off	September	Machines*	0:03:22
AXIOM9	Cosmic Slime	Space Debris*	0:45:23

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Nov. 27 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Thee Facebooks

Bands and festivals have begun to announce 2021 dates and all that, but let’s be realistic: it’s going to be years before live music is what it once was. Especially in the United States, which is the country in the world hardest hit by the ol’ firelung in no small part because of the ineptitude of its federal leadership, an entire economic system of live music — not to mention the venues, promotions and other cultural institutions that support it on all levels — needs to be rebuilt from the ground up. It isn’t going to be just as simple as “social distancing is over and we can all crowd into the bar again.” Maybe not ever.

You’ve likely seen a band do a live stream at this point, even if after the fact, and I have too. Not the same as a real-life gig, duh, but if it helps raise some funds and keeps creative people working on something and gives an act a way to connect with its audience, you can’t call it bad. I’ve found, though, that with the dearth of live music happening and the nil potential that “going to a show” will happen anytime soon, I’ve been listening to more and more live albums.

This, in no small part, is because there are plenty to listen to. Some groups attempting to bring in cash either for themselves or relevant causes have put out live records in the last few months and made use of the downtime that would’ve otherwise been given to actually being on a stage or writing together in a room or whatever it might be. It’s been a way for a band to not just sit on its collective hands and wonder what the future will bring. When so much is out of your own control, you make the most of what you’ve got.

In that spirit, here’s a quick rundown of 10 recent live outings that I’ve been digging. If you’ve found you’re in the need of finding comfort in live music and whatever act you want to see isn’t doing a stream just this second, maybe you can put one of these on, close your eyes, and be affected a bit by the on-stage energy that comes through.

Thanks as always for reading, and thanks to Tim Burke, Vania Yosifova, and Chris Pojama Pearson for adding their suggestions when I asked on social media. Here we go, ordered by date of release:

Arcadian Child, From Far, for the Wild (Live in Linz)

Released Jan. 24.

Granted, this one came out before the real impact of COVID-19 was being felt worldwide, but with the recent announcement of Arcadian Child‘s next studio album coming out this Fall, including From Far, for the Wild (Live in Linz) (discussed here) on this list seems only fair. The Cyprus-based four-piece even went so far as to include a couple new songs in the set that’ll show up on Protopsycho as well this October, so it’s a chance to get a preview of that material as well. Bonus for a bonus. Take the win.

—

Kadavar, Studio Live Session Vol. 1

Released March 25.

Germany began imposing curfews in six of its states on March 22. At that point, tours were already being canceled, including Kadavar‘s European run after two shows, and the band hit Blue Wall Studio in Berlin for a set that was streamed through Facebook and in no small part helped set the pattern of streams in motion. With shows canceled in Australia/New Zealand and North America as well, Kadavar were hoping to recover some of the momentum they’d lost, and their turning it into a live record is also a part of that, as is their upcoming studio release, The Isolation Tapes.

—

Øresund Space Collective, Sonic Rock Solstice 2019

Released April 3.

Of course, I’m perfectly willing to grant that Sonic Rock Solstice 2019 (review here) wasn’t something Øresund Space Collective specifically put out because of the pandemic, but hell, it still exists and that enough, as far as I’m concerned. As ever, they proliferate top notch psychedelic improv, and though I’ve never seen them and it seems increasingly likely I won’t at the fest I was supposed to this year, their vitality is always infectious.

—

Pelican, Live at the Grog Shop

Released April 15.

Let’s be frank — if you don’t love Pelican‘s music to a familial degree, it’s not that I think less of you as a person, but I definitely feel bad for you in a way that, if I told you face-to-face, you won’t find almost entirely condescending. The Chicago instrumentalists are high on my list of golly-I-wish-they’d-do-a-livestream, and if you need an argument to support that, this set from Ohio should do the trick nicely. It’s from September 2019, which was just nearly a year ago. If your mind isn’t blown by their chugging progressive riffs, certainly that thought should do the trick.

—

SEA, Live at ONCE

Released June 19.

Also captured on video, this set from Boston’s SEA finds them supporting 2020’s debut album, Impermanence (review here) and pushing beyond at ONCE Ballroom in their hometown. The band’s blend of post-metallic atmosphere and spacious melody-making comes through as they alternate between lumbering riffs and more subdued ambience, and it makes a fitting complement to the record in underscoring their progressive potential. The sound is raw but I’d want nothing less.

—

Sumac, St Vitus 09/07/2018

Released July 3.

Issued as a benefit to Black Lives Matter Seattle and a host of other causes, among them the Philadelphia Womanist Working Collective, this Sumac set is precisely what it promises in the title — a live show from 2018 at Brooklyn’s famed Saint Vitus Bar. I wasn’t at this show, but it does make me a little wistful to think of that particular venue in the current concert-less climate. Sumac aren’t big on healing when it comes to the raw sonics, but there’s certainly enough spaciousness here to get lost in should you wish to do so.

—

YOB, Pickathon 2019 – Live From the Galaxy Barn

Released July 3.

They’ve since taken down the Bandcamp stream, but YOB’s Pickathon 2019 – Live From the Galaxy Barn (review here) was released as a benefit for Navajo Nation COVID-19 relief, and is an hour-long set that paired the restlessness of “The Lie that is Sin” next to the ever-resonant “Marrow.” Of all the live records on this list, this is probably the one that’s brought me the most joy, and it also inspired the most recent episode of The Obelisk Show on Gimme Metal, which jumped headfirst into YOB‘s catalog. More YOB please. Also, if you haven’t seen the videos of Mike Scheidt playing his guitar around the house, you should probably hook into that too.

—

Dirty Streets, Rough and Tumble

Released July 31.

If you’re not all the way down with the realization that Justin Toland is the man when it comes to heavy soul and blues guitar, Dirty Streets‘ new live record, Rough and Tumble, will set you straight, and it won’t even take that long. With the all-killer bass and drums of Thomas Storz and Andrew Denham behind, Toland reminds of what a true virtuoso player can accomplish when put in a room with a crowd to watch. That’s an important message for any time, let alone right now. These cats always deliver.

—

Amenra, Mass VI Live

Released Aug. 7

Look, I’m not gonna sit here and pretend I’m the biggest Amenra fan in the world. I’m not. Sometimes I feel like they follow too many of their own rules for their own good, but there’s no question that live they’re well served by the spectacle they create, and their atmospherics are genuinely affecting. And I know that I’m in the minority in my position, so for anyone who digs them hard, they put up this stream-turned-record wherein they play a goodly portion of 2017’s Mass VI, and even as the self-professed not-biggest-fan-in-the-world, I can appreciate their effort and the screamy-scream-crushy-crush/open-spaced ambience that ensues.

—

Electric Moon, Live at Freak Valley Festival 2019

Releasing Sept. 4.

Yeah, okay, this one’s not out yet, but sometimes I’m lucky enough to get things early for review and sometimes (on good days) those things happen to be new live records from Germany psychonauts Electric Moon. The Always-Out-There-Sula-Komets are in top form on Live at Freak Valley Festival 2019 as one would have to expect, and they’re streaming a 22-minute version of “777” now that rips so hard it sounds like it’s about to tear a hole into an alternate dimension where shows are still going on so yes please everyone go and listen to it and maybe we’ll get lucky and it’ll really happen. The magic was in you all along.

—

Look carefully at the front cover of Electric Moon‘s You Can See the Sound Of… and you’ll note, in small letters at the top, the words ‘Extended Version.’ And so it is. The original, limited-to-500-copies edition of You Can See the Sound Of… (review here) was pressed to white 10″ vinyl and issued at Roadburn Festival in 2013 to coincide with a residency from Electric Moon guitarist/synthesist/noisemaker Dave Schmidt, aka Sula Bassana. At the time, Electric Moon consisted of the core duo of Schmidt — who also runs Sulatron Records — and bassist/effects-specialist/sometimes-vocalist/graphic-artist “Komet Lulu” Neudeck, as well as drummer Michael Orloff, who had taken over from original drummer Pablo Carneval, who, in turn, has since rejoined the band. At the time, Electric Moon were embroiled in an absolute creative flood, and between 2010 and 2012 they’d done no fewer than (and likely more than) 10 releases between splits, live recordings and studio offerings.

Their foundation in improvised heavy psychedelic exploration, in space-rock-infused jamming, and the fact that they were releasing through Schmidt‘s own imprint as well as respected purveyor Nasoni Records, which by then was well familiar with Schmidt‘s solo work under the Sula Bassana banner, helped foster this relentless pace, and though they wouldn’t keep it up forever — how could they? — they were able to establish a reputation for the quality of their work as well as for the frequency with which it showed up. Even now though, multiple Electric Moon releases in the span of a year isn’t a surprise. To wit, they’re already set next month to follow You Can See the Sound Of… (Extended Version) with a live album captured at the 2019 Freak Valley Festival in their native Germany. But it is the standard of performance and chemistry they set that continues to make it such a joy to follow their progression from one outing to the next, and the original edition of You Can See the Sound Of… has always been a standout for me as a fan of what they do.

The three songs that appeared on that 2013 EP, “The Inner Part,” “Your Own Truth” and “No Escape From Now” are now featured as side A of You Can See the Sound Of… (Extended Version), and they remain a synesthetic pleasure to behold, from the bright shimmering, swirling greens of the lead cut to the Sonic Youth-gone-surf experimental feel of “Your Own Truth,” with Neudeck‘s semi-whispered vocals holding sway over a tense drum progression and a guitar line that is hypnotic enough to not give away the fact that it’s building to a more fervent payoff of fuzz in the song’s second half. By then they’ve already set the trajectory across the six minutes of “The Inner Part,” instrumental and expansive with a strong rhythmic foundation under Schmidt‘s floating guitar lines. It is no less the root of Electric Moon‘s approach than it is the basis for the dynamic of any number of power trios — bass and drums lock the groove, guitar wanders as it will — but given the keys to this particular spaceship, Electric Moon do not at all fail to make it their own.

And as with the best of their work, it doesn’t feel like it could be any other way as “The Inner Part” and “Your Own Truth” make way for the 11-minute “No Escape From Now,” which unfurls gradually, seeming to use multiple dimensions of its mix to set the drums deep within the soundscape of the guitars and effects, maybe-vocals coursing intermittently through the first half of the track in what might be spoken form manipulated by pedals/synth or might just be the band tapping into the hearing-voices subconscious of their listenership. Seven years after the fact, it’s still unclear, and that’s part of what makes it work so well. It’s not like Electric Moon are going to sound dated; time isn’t really a factor here, and the context in which this material is occurring isn’t one that depends on the moment in which it occurs, based on improv though it is. Once it’s out there, it’s timeless, because in a way, once it’s out there its time has already passed.

To that end, I’m left curious as to why the three songs that appear on the back half of You Can See the Sound Of… (Extended Version) didn’t make the cut initially. Side B — comprising “Windhovers” (6:15), “The Great Exploration of Nothing” (4:56) and “Mushroom Cloud No. 4” (11:19) — is taken from the same studio session, and is set up as a mirror for side A in terms of the runtime of each piece. The second here is a little longer, the third a little shorter, but still within a minute of each other from one side to the next, and while it’s true that in the case of the later songs — those added on to the new version of the release — that’s being done with fadeouts so that they’re in line with the originals, that does nothing to undercut what they bring to the proceedings in terms of atmosphere.

“Windhovers” sets itself to a patient drumbeat and gives some semblance of a post-rock vibe early — if it was the quiet midsection of an Amenra song, no one would blink — and executes a more linear build than anything on side A, while “The Great Exploration of Nothing” turns to more of an outward lumber, putting the bass forward as Schmidt seems to move back and forth to keys and Neudeck takes the lead as the guitar otherwise might. The result is almost a verse/chorus structure — at least a play back and forth — but of course that’s not where Electric Moon are at.

They push through and into a noise wash jam on “Mushroom Cloud No. 4” and cap hinting at a guitar line that could easily (and probably did in the studio) just keep going for some indeterminate amount of time. That is the band in their wheelhouse, touching multiple niches in terms of sound, but holding a flow and reach that is too much their own to be anything else. As a reminder of what they were up to at this point, You Can See the Sound Of… (Extended Version) brims with psychedelic vitality, but one should not discount the work they’ve done since — on 2017’s Stardust Rituals (review here), for example — because the breadth that is so palpable in this material has only continued to expand.

Electric Moon, You Can See the Sound Of… (2013)

Electric Moon on Thee Facebooks

Electric Moon on Bandcamp

Electric Moon website

Sulatron Records 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: Lulu Neudeck of Electric Moon & Worst Bassist Records (Germany)

—

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?

At the moment, we are separated from each other, as our drummer is living in Vienna, Austria. We really miss each other and also are sad about the so far canceled shows.

Dave [“Sula Bassana” Schmidt] and me are also at the edge at the moment, cause this situation really affects our labels Sulatron Records and Worst Bassist Records. Means, distribution does not sell so much anymore due to closed record stores, it’s not possible to ship records worldwide at the moment ’cause of the shutdown of flights and restrictions, and of course playing no shows also affects, so there is not much income at the moment, which brings us struggles quickly.

Health is okay, no one infected with covid-19 (yet). The only thing is my cronical disease which puts me on the risk-list in getting critical with covid-19. So, fingers crossed, won’t get that shit.

So we’re doing music everyone on his own at the moment. Which brings also many new ideas. But we all can’t wait to meet again, playing together. We also have plans for a fourth bandmember and can’t wait to rehearse with him, so Corona really crossed some plans…

But, most important thing is we all stay healthy!

At the moment, the days are somehow running quick and slow at the same time.

What are the quarantine/isolation rules where you are?

At the moment, we have the restrictions to meet up with people, only family members are allowed. Also, it is allowed to walk outdoors but you may not rest anywhere. Building groups is forbidden, not more than two people are allowed walking together.

You have to keep a distance of two meters of each other, also in supermarkets, and they only let a certain amount of people in to make sure it’s possible to keep that distance.

Shops which are not really necessary for the system to go on, are all closed down, like record shops, book shops, tattoo and so on, only supermarkets, pharmacies and banks are opened. Now they are talking about the obligation of wearing masks in public, people get the advice to make their own ones and not buying medical supplies as there is a lack of it.

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

It is weird, outside, somehow all looks normal but everything is different than before. Streets are empty. People are stressed in supermarkets, or are totally making fun of the situation, but go for tons of toilet paper. It’s a surreal feeling, I try to go into a supermarket as rarely as possible.

But nature seems to feel happy right now, the air smells better, it feels surreal to be outdoors, surreal beautiful, birds sing louder than usually –- this maybe seems as if because of the silence in the streets. Like a silence before a storm…

In music I feel a big shift within the connection between each other. I’m totally impressed of the support by all the people to the bands and small labels. It feels huge in my heart to get such a response.

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

We’re in this together, take care of those who might need your help! And: Don’t lose the humour…

www.electricmoon.de
https://electric-moon.bandcamp.com/
www.facebook.com/ElectricMoonOfficial
www.sulatron.com
https://fb.com/worstbassistrecords
https://worstbassistrecords.bandcamp.com/

The next installment of Freak Valley Festival will be held June 11-13, 2020, and I’m telling you right now, I want to be there. It’s held in Siegen, Germany, and as I’ve been writing lineup announcements for the fest over the last two years or so, I’ve been embarrassed to be invited and unable to make it. This year, Freak Valley was held not only the same weekend as Maryland Doom Fest in the US — where I was — but also as Hellfest in France, and probably six or seven other festivals throughout Europe I can’t think of off the top of my head. Was Copenhell this past weekend too? Yup.

Jesus.

This year, Freak Valley announced — I didn’t write it — they were teaming up with the iconic German concert-video institution Rockpalast to live stream the event as it happened, and the results were staggering. I sat in the early part of the day with my jaw hanging open and watched Monolord absolutely devastate the huge crowd assembled before them, the level of production and the job capturing it — audio and video — absolutely gorgeous. King Buffalo put on an incredible show. Electric Moon! So much awesome, so little time.

The only bummer was Slomatics having to cancel, but they’ve reportedly already been invited for 2020, so at least that’s something to look forward to, but the videos of the sets that came together and were streamed are awesome and still available for your perusal. Some aren’t up on YouTube yet, so I’m including the streams direct as they appeared on Thee Facebooks when they were live. I started out with five of them and then saw the Spaceslug one and had to add them as the sixth. Of course there’s also YOB, New Zealand’s Arc of Ascent and the aforementioned Monolord, Electric Moon and King Buffalo. I figure six-plus hours of live material should probably be enough to keep you occupied for a while. It’s certainly been doing right by me.

Enjoy:

YOB

Monolord

Arc of Ascent

King Buffalo

Spaceslug

Electric Moon

Freak Valley Festival website

Freak Valley Festival on Thee Facebooks

Freak Valley Festival on Instagram

The opening title-track of Electric Moon‘s latest live album, Hugodelia, pretty much tells the story. Not literally telling, since like the vast majority of the German psych-exploration trio’s work, it’s instrumental, but still, it gets the point across. “Hugodelia” itself is a 20-minute stretch that seems to start out with the band — guitarist Dave “Sula Bassana” Schmidt, bassist/occasional vocalist “Komet Lulu” Neudeck and drummer Pablo Carneval — kind of getting their bearings, almost like they’re waking up, and then that’s it: they’re gone.

Real gone.

It would be hard to overstate how much of a treasure in psychedelic heavy jamming Electric Moon have become over the decade they’ve been together. Fueled by Sula Bassana‘s effects-soaked guitar — and released on his label, Sulatron Records — the band are one of few whose reach extends to the genuine heart of lysergic creativity. The tonal flow and effects wash conjured by Sula and Lulu is not to be taken for granted, and though they’ve seen a couple drummers come and go, including Carneval, who was there at the outset, left, and came back, the chemistry he brings to the lineup proves itself essential quickly on “Hugodelia” and the live 2LP’s subsequent three extended tracks, four if you count the digital-only bonus cut “Ween.”

A 65-minute set, give or take, Hugodelia came to life in Austria on the night of the final concert at Graf Hugo, a venue in Feldkirch, on the western boarder with Switzerland, and the sense of homage comes through plainly in the offering itself. In listening, “Hugodelia” doesn’t just set the mood for open creativity and mellow-heavy vibes. It also carries the sense of homage that rings through the entire proceedings, as that jam wraps at 20:30 and leads into “Transmitter,” which goes to 20:34, and the two shorter, complementary side-consumers “Cellar Grime” (12:37) and “Cellar Slime” (10:25), both of which feature guest guitar from Erich Coldino, who was one of the promoters for the venue. It seems fitting to have Coldino take part directly in what’s clearly already a special occasion for the band, and his post-rocky lines come through Sula‘s amp to fill out a melody alongside the chugging space rock rhythm of “Cellar Grime” like, indeed, he was meant to be there. Like they planned it all along.

And yeah, they probably did, but Electric Moon‘s stock and trade is still at least somewhat based around improvisation and capturing the moment as it happens. They are one of few acts out there — Denmark’s Øresund Space Collective come to mind as another, but Electric Moon are more consistent in terms of their lineup — who so purposefully base what they do around jamming. That is, plenty of bands jam, but Hugodelia demonstrates once again that Electric Moon are able to capture the listener’s attention and imagination by letting go and seeing where the music takes them in a way that nearly no one else can.

Even before Coldino sits in, “Hugodelia” and “Transmitter” offer 41 minutes of a kosmiche supreme, the momentum of the opener carrying well into “Transmitter” as Sula‘s guitar noodles early over a plotted-seeming rhythm held together by Lulu and Carneval and the band builds toward a post-midsection spaceout that arrives with Hawkwindian motorik thrust before winding through a nebular field of bright colors and hallucinatory serenity. I’ve said this about Electric Moon live records before, and I’ll probably say it again when the next one comes through — any minute now — but if it weren’t for the audience cheering between songs, they would be viable as studio releases. In terms of sonic clarity and a feeling of purpose behind them, they want for nothing. Electric Moon are not a band who go through the motions live in order to support an album. Each show, especially those that eventually are pressed to LP and/or CD, is part of the overarching mission to the heart of the sun.

Thus Hugodelia is a two-fold event. Coldino finds his place quickly enough in “Cellar Grime” and the more linear, drift-into-wash “Cellar Slime,” which follows, but the strength of the rhythm section in keeping the flow and groove steady is a highlight unto itself, particularly of the finale. It is difficult not to put too much narrative to it — it was their last time in this place that clearly they enjoyed playing, the last show there at all, reportedly, and the guy who booked it was taking part; clearly emotions would have been riding high — but that too speaks to the evocative nature of Electric Moon‘s work and their ability to convey feelings through cosmic jamming. It’s not just ambience for its own sake. It’s as deep as the listener is ready to go with it.

By now, 10 years on from their outset, that should be pretty deep. For the band, Hugodelia is one more check-in — a live album in a series of given under various titles and artwork packages also put together by Lulu — but what it also makes plain is the level of soul put into what they do. “Ween,” which was tracked in Vienna, is a 23-minute-long bonus track, and it starts off with a hypnotic, molten progression even before the drums enter as the three-piece gradually, with expert patience, embark on a journey to and through a crescendo of stratosphere-shattering energy and cap with residual comedown noise. Another day at the office for Electric Moon, maybe, but still so vital to understanding where they’re coming from and what it’s their intention to capture in sound.

This is the part where I tell you not everyone’s going to get it. And it’s true. It’s always been the case with Electric Moon, psychedelia as a whole, and, in fact, everything. But what distinguishes Hugodelia among the universe surrounding is how much reward is offered for active engagement with it. How much the listener gleans from listening. The bottom line — such as one can perceive direction amid such aurally-induced vertigo — is that Electric Moon continue to hone an approach that is something truly special in or out of heavy psych, playing with a character that has only grown richer and more immersive over time, and presenting it with a charge that is purely their own. Hugodelia is a welcome reminder.

Electric Moon, Hugodelia (2019)

Electric Moon on Thee Facebooks

Electric Moon on Bandcamp

Sulatron Records website

No real running theme here other than it’s stuff that’s had my ears for the last couple weeks. I put the playlist together with a few tracks that were premiered here from The Dry Mouths and Cities of Mars, the new single from Astral Hand and a Bible of the Devil track to lead off because their amount of kickassery should most definitely put them up front. Some stuff here I haven’t covered as well. On the social medias I put out a question looking for album of the year suggestions and Elizabeth Colour Wheel were one of the top names that came back, so I included them for sure, and Magic Circle too. And I’ll listen to Lamp of the Universe any chance I get anyway, so having them was a no-brainer. Oh, and new Nebula, because duh.

I ended up cutting the voice tracks at Boston Logan Airport before my flight to Roadburn, so maybe there’s a little bit of muzak in the background. It was a little weird sitting there at the gate in Logan talking into my phone about how badass Dozer are, but you know, there’s a kind of anonymity in being in public like that too, and I wasn’t exactly projecting my voice. Bottom line is there’s a bunch of cool stuff though, so whatever I needed to to get it done was worth it. Similarly, I’m writing this from the office of the 013 before the show has even aired, so I don’t actually know yet how it’s all turned out [ed. – it sounds like crap]. If I sound like a jackass, we’ll call it par for the course.

Good fun.

Here’s the full playlist:

The Obelisk Show – 04.14.19

Bible of the Devil	Idle Time	Feel It*
Astral Hand	Universe Machine	Universe Machine*
Cities of Mars	Trenches of Bahb-elon	The Horologist*
BREAK
Nebula	Witching Hour	Holy Shit*
The Druids	Cruising Astral Skies	The Druids*
Pharlee	Warning	Pharlee*
Magic Circle	Valley of the Lepers	Departed Souls*
Elizabeth Colour Wheel	Life of a Flower	Nocebo*
BREAK
Dozer	Octanoid	Madre de Dios
The Dry Mouths	Impromental VII: Moustachette	Memories from Pines Bridge*
Lamp of the Universe	The Leaving	Align in the Fourth Dimension*
Temple of the Fuzz Witch	Infidel	Temple of the Fuzz Witch*
BREAK
Picaporters	M.I.	XXIII*
Electric Moon	Transmitter	Hugodelia*

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Thursday at 9AM. Next show is April 28. Thanks for listening if you do.

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