Album Review: Speck & Interkosmos, Split LP

Posted in Reviews on March 13th, 2023 by JJ Koczan

Speck Interkosmos split lp cover

Maybe there’s some secret improv-based heavy psychedelic jam group on Facebook or something where everyone talks about the proper water temperature for tea and how to build delay pedals and cosmic synthesizers out of common items found around the household — or, you know, they played a show together or something — but however Speck and Interkosmos know each other, they’re a good fit.

Speck are from Vienna, Austria, and Interkosmos hail from various locales in Germany. Both explore space through spontaneous excursions of aural weaving, shaping organic vibes with electric means, finding their way as they go and making that process — at least on this shared full-length release issued through Sulatron Records — the basis of their expression. The explorations, abidingly mellow but not at all staid or unipolar, are the point, in other words. And with Speck‘s “The Metz Session” (23:16) on side A and Interkosmos unfurling “Beyond Hibernation” (22:32) on side B, it’s about as packed as a 12″ platter can be with dug-in, out-there brainmelter kosmiche-ism, both bands aware and ready to incorporate the tenets of space rock, but refusing to subsume their impulses to the tenets of genre.

Taken as an entirety, the split heralds a vitality of approach shared across both outfits, while each showcases a personality and progression of its own, working largely instrumentally — there’s some conversation at the end and a “woo!” in the second half takeoff in “The Metz Session”; no argument — to carry them ever deeper toward the center of lysergic creativity, the root of all things, maybe the weird 400-mile-wide iron ball said to rest at the core of the Earth, and so forth. Wherever they’re headed, it’s not unimportant, but the focus is on how they get there rather than a landing spot.

That said, Speck do offer a rousing, blaster crash wash and ripper solo shred — dig that punker snare too amid the push — starting around 21 minutes into “The Metz Session,” devolving the piece named after its recording circumstance into noise before capping with residual undulations of echoing guitar, then sharing a good laugh after. The three-piece of guitarist/vocalist Marcel Cultrera, bassist Lisa Winkelmüller and drummer Patrick Säuerl jammed out “The Metz Session” as the first part of a video series (with sound and video helmed by Sebastian Hödlmoser and Lukas Sukal, respectively), and begin with the drums tapping themselves to life on the ride cymbal before launching a relatively uptempo beat as the foundation. Guitar and bass join, and before the extended piece is even a minute in, everyone is present and accounted for in a stretch deceptive in its tension but still fluid enough for the band to ride it as long as they do.

It’s an exciting start. Not so much in a way that has you waiting for the payoff — the song’s 23 minutes long, and the patience to let Speck unfold it as they see fit is an inherent ask — but in a way that offers rewards even before they get to the already-noted finish, whether that’s Cultrera‘s solo after the three-minute mark, expansive and shimmering over the somewhat-understated-for-now bass from Winkelmüller or the turn to deeper-distorted chug at around five minutes in that shifts almost immediately to a more drifting comedown, drums stopping and turning at 5:43 to mark the beginning of the next stage. With wah to spare, Speck work their way into another build, and at 9:28 they start to more directly coalesce around a fuzzy cosmic thrust that is all the more sweeping when the guitar howls out its acid-drenched lead atop the now-solid groove beneath.

More chug and a furious round of crashing follows, but the stretch is relatively shortlived, shifting before the 13-minute mark into a long opposite-of-a-build unmaking — highlight bass work included after 14 minutes in — that brings “The Metz Session” eventually down to just floating guitar as the setup for the all-the-way-back return of volume splurge that finishes. Do I need to use the word “dynamic” when dynamic is the whole point? I don’t know, but Speck offer full-spectrum audio anyhow, and the laughter and chat at the end offers a palpable sense of exhale, putting the listener even more in the room with the band for the session recorded in 2021, just about two years after they formed.

Speck (photo by Florian Lehner)

Interkosmos

To contrast, Interkosmos are an entity reborn, and perhaps that’s where the title “Beyond Hibernation” comes from, since their only prior release, the extended full-length Hypnotizer, came out in 2008 (there was also a 2016 remaster). Whatever the case, the trio of guitarist Sergio Ceballos (also Mohama Saz, RIP KC way back when, etc.), guitarist, synthesist/sampler, recording engineer, mixer and label head Dave “Sula Bassana” Schmidt (ex-Electric MoonKrautzone, Zone SixSula Bassana, Weltraumstaunen, etc.), and drummer Bernhard “Pablo Carneval” Fasching (Electric MoonSula Bassana‘s Dark Days LP, and so on) are short neither on pedigree nor chemistry, lacing “Beyond Hibernation” with an ambient backdrop of synth around which the guitars curl and reshape themselves according to the whims of the moment.

A more gradual beginning has some kind of sampled echoing loop fading in even before the guitar starts to wake up, serene and less raga than the notion of waking up implies. The drums start soft shortly before 90 seconds in, more the presence of a thud at first than anything so rampantly active, but there’s a space-jazz sensibility to the rhythm behind the post-rock drift and entwining swirl of the guitars, and when taken together, it is duly entrancing. Again, it’s the drums that signal the shift into business-proper, at 3:24 establishing a more forward beat, still gentle but solidified, and the current of that groove pulls Ceballos and Schmidt along as well, threatening space rock takeoff at about five minutes in with the synth rising in the mix, but keeping to its course, not forcing “Beyond Hibernation” to go someplace it doesn’t seem to want to go; band and song working together to make the thing what it is.

Hitting another echelon in minute six, they’re underway and headed into the unknown with an ultra-flowing movement, calm on the surface in the synth and space-noodling guitar but decisively busier on the drums as they dig into the part and let it go, gradually reshaping it until as they approach the 12-minute mark, it seems almost like the guitar is noting the tension that’s come about in the piece itself not because they’re in a build, but because it’s starting to sound like the jam is coming apart. It’s not, actually, of course, but that danger is there as the drums fade back momentarily to regroup. By 12:45, they’re back at it in constructing a new procession, trying one way, then another, before at 14 minutes they seem to rally and find their way into a more angular manifestation, guitar and snare bouncing playfully and almost bluesy, lighthearted.

They hit into the twisting path of guitar and maybe-bass-or-just-other-guitar that at 17 minutes in enters a build in earnest and the somewhat understated — at least it’s not as noisy as Speck‘s was — crescendo for side B, which both feels earned and rests easily as the culmination of the release as a whole, particularly with the residual layers of guitar and synth and the flourish of cymbals that accompany the settling-down at the very end, a corresponding “woo!” thrown in as if to underscore the excited sentiment put forth on side A, though this time it was an audience response, as the “Beyond Hibernation” was recorded in 2008 at Space Farm Ahoi Festiva in Austria, with overdubs added last year.

In its very last seconds, not looking at the clock but just listening on headphones, there is a sense that Interkosmos might pick back up and keep going, but no, thepy don’t. The fact that “Beyond Hibernation” was captured on stage suits the feel of the split in general — live creation is the throughline of both sides, it’s the context that differs — but there’s no appreciable dip in sound quality from Speck (who were in a studio) to Interkosmos either, and that bolsters continuity as well. To be perfectly honest, however, if Speck doesn’t draw you in at the outset, by the time Interkosmos take over, you’ve probably already checked out.

There is, then, a kind of for-the-converted mindset to the proceedings, but aside perhaps from the intimidation factor of taking on longform jammy psych instrumentals for the first time, the barriers to entry are negligible, if not entirely absent. All gates open. Both Speck and Interkosmos welcome their audience (figurative and literal) with steady immersion, and if you’re not careful, you might find yourself back in reality when it’s done wondering where you’ve just been. And maybe that’s the ideal anyhow, since getting lost in it and taken by the moment as it happens could hardly be truer to what each act presents in their given time is the result of the players doing much the same, submerging in the musical conversation taking place right then, come what may in terms of the actual realized material. Boldly impulsive, the split underscores the appeal of psych-jamming more generally in that, and whether one actively follows along or allows the totality to speak to the subconscious, the only wrong answer in terms of how to approach it is to ignore.

Speck, “The Metz Session”

Interkosmos, “Beyond Hibernation”

Speck on Facebook

Speck on Instagram

Speck on Bandcamp

Interkosmos on Facebook

Interkosmos on Instagram

Interkosmos on Bandcamp

Sulatron Records on Facebook

Sulatron Records on Instagram

Sulatron Records website

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The Obelisk Questionnaire: Dave “Sula Bassana” Schmidt of Sula Bassana, Zone Six, Interkosmos, Krautzone, Liquid Visions, Sulatron Records and More

Posted in Questionnaire on February 27th, 2023 by JJ Koczan

Sula Bassana (Photo by Kilian Schloemp)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Dave “Sula Bassana” Schmidt

How do you define what you do and how did you come to do it?

I’m Dave and I make music (play several instruments, do the recordings and mixing). And I run a record label and online shop. I started making cosmic sounds at age 10 with a trashy organ and started again when I was 15 or so when I got my first crappy Synthesizer. I played my first gig when I was 18, in 1986, with a electronic duo (Solaris). Played electronic music in several projects and played a dozen live concerts. Later I started playing bass in psychedelic rock bands (we founded my first real band Liquid Visions in 1994). I started my label in 2004 and I still run it. This and playing in bands is my life. Btw: I play in Zone Six, Interkosmos, Die Raumpatrouille, other jam projects, and my main project is Sula Bassana, which started as my solo-project in 2002 and I have a live band now for my songs and our first concert is in March. And many more to come. ;-)

Describe your first musical memory.

To be shocked as a child when my parents took me into a classic opera. Hahahhaa, not the best start. But luckily I discovered electronic music some years after this. But to be honest, I still like to listen to classical music as Bach, Händel, Grieg, Holst and more. But that’s NOT opera! :-D

Describe your best musical memory to date.

UH! There are so many, much too many to pick out just one. But playing live and creating a improvised track with a psychedelic feel and some wall of sound always makes me happy. Last weekend we played two shows with Zone Six and it was super-nice. Brings tons of positive vibes and feelings!

One of the highlights was for sure our week at a residency in Tunisia, where we went with Electric Moon. Met amazing people, made a lot of music, played on a two-day festival and became friends with so many wonderful people!

Or my first concert in a Planetary (at Insulaner, Berlin) in 1990, with my friend Peter Dembour, playing two sold out shows with our Berlin school like electronic music. Sadly Peter passed away some years ago. A big loss….

When was a time when a firmly held belief was tested?

Always, when I read the news about the unbelievable madness of war, corruption and destruction of nature. I was born in Berlin in the Cold War era. And now we are back in war… so sad.

Where do you feel artistic progression leads?

Freedom and happiness.

How do you define success?

I’m still happy to make a living as a label owner and musician. Dreamed of it my whole life, and you can imagine how poor the first years were (almost 20 years ago), from economical view. But I arranged myself with a simple but free life. :-)

What is something you have seen that you wish you hadn’t?

I leave the very sad moments untold here. Sorry!

Describe something you haven’t created yet that you’d like to create.

Cosmic music with a full orchestra and electronics and a full band. :-)

What do you believe is the most essential function of art?

Connecting people. And to open minds of people. And bringing peace. And letting the inner child live on!

Something non-musical that you’re looking forward to?

Peace on this planet. And in general more respect to nature and animals!

https://sulabassana.bandcamp.com/
https://www.facebook.com/sulabassana
http://www.sulabassana.de/

https://www.facebook.com/zonesixz6
https://www.instagram.com/zone_six_official/
https://zonesix.bandcamp.com/

http://www.facebook.com/interkosmosofficial
https://www.instagram.com/interkosmos_official
https://interkosmos-official.bandcamp.com/

https://www.facebook.com/Sulatron.Records
https://www.instagram.com/sulatron_records
https://www.sulatron.com/xoshop/index.php

Zone Six, “Song for Richie” live Feb. 18, 2023

Interkosmos & Speck, Split LP (2022)

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Sula Bassana Leaves Electric Moon; New Solo LP Coming

Posted in Whathaveyou on February 14th, 2022 by JJ Koczan

Two separate updates here, one from Electric Moon and one from Sula Bassana, aka Dave Schmidt, himself. The first is the rather surprising news that Schmidt has left Electric Moon, which he’s been part of for more than a decade as a founding member, and the second — markedly less surprising, but welcome — is word of a new solo album by Schmidt under the Sula Bassana banner. Cool beans on that, but if you’d asked, I would’ve listed him as essential personnel along with “Komet Lulu” Neudeck as a founder of Electric Moon. One assumes that the band will continue under her guidance as spearhead all the more for being the lone remaining founder who’s been there the whole time.

Though, it’s worth noting that situations and music are both fluid and it looks like they’re leaving the door open to doing more in the future, so who knows. Never say never until everyone’s dead, then just say holograms. Maybe some day we’ll all be beams of light in the corporate metaverse. Until then, enjoy your vinyl.

Speaking of, here’s news about some:

electric moon

Dear friends,

Since 2009, Electric Moon’s core were always Lulu and Dave (Sula), so we can imagine, that this announcement seems surreal to y’all.

It’s also surreal for all of us, but sometimes, life happens and makes certain decisions necessary.

Unfortunately, we have to announce, that Electric Moon will go on again as a trio from now on. Dave is leaving the band and so we’ll play all yet confirmed markedly less concerts already without Dave.

Sometimes ways part and new opportunities are given. Dave will go on with Zone Six, Interkosmos and of course solo, and certainly will always be a part of Electric Moon’s journey. Such a close bond cannot be cut and that’s also not intended.

Electric Moon will continue to exist as what it has always been: a formation to celebrate the love of sound and music, and build a symbiosis between audience and band.

Nonetheless, we are looking forward to meeting you at concerts and on and off the road.

Love and peace,
Lulu, Sula, Pablo, Joe

Sula Bassana Nostalgia

Sula Bassana – Nostalgia

Good news:

The mastering for my new solo album is done and I’m super satisfied and super excited and look forward to get the finished copies! sadly we must wait until later this year (maybe september, october?) for the release. it will contain 5 songs, 2 with vocals and again in a band-style, not so much electronic like my latest ones. the fantastic artwork is taken from a painting Hervé Scott Flament did and I’m so happy I can use it! thanks so much! mastering is done by Eroc! everything was recorded again only by myself (guitars, basses, drums, synthesizer, organ, electric sitar, mellotron, vocals…). recordings started in 2013 or so, some very old songs in the meantime. :) latest one started in 2017. but it needed the right feeling to finish them, but now all is done and I’m so relieved!

LP will come in gatefold cover with stunning art, 2 different vinylcolours (lim. to 500 on 2-colour corona vinyl and 500 on black, both 180 gr. vinyl), and on CD.

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

https://sulabassana.bandcamp.com/
https://www.facebook.com/sulabassana
http://www.sulabassana.de/

https://fb.com/worstbassistrecords
https://worstbassistrecords.bandcamp.com/

www.sulatron.com

Sula Bassana, Loop Station Drones (2021)

Electric Moon, Phase (2021)

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