Jonas Munk & Nicklas Sørensen to Release Always Already Here in August

Posted in Whathaveyou on July 4th, 2019 by JJ Koczan

Alright, now you listen to me because I’m probably only going to say this seven or eight more times. You set some silly little alert on your phone or you sign up for an email list from El Paraiso Records or you do whatever you have to do, and when Jonas Munk & Nicklas Sørensen‘ debut collaborative album, Always Already Here, is back in for preorder, you get that order in and you make that happen, because it’s the only way they’re going to keep doing records together and FOR THE SAKE OF ALL HUMANITY, that is a thing we very much want. Munk, of course of Danish heavy prog-psych instrumentalists Causa Sui, and Sørensen, of countrymen expansive jammers Papir, have both done solo outings through El Paraiso in the past, and that’s super, but if you’re curious why I might be approaching this topic with such a measure of urgency, listen to the track “Shift” below. True, it’s only one song, and I’m sure it doesn’t necessarily speak to the character of the entire album, but god damn it, this is the kind of shit that when the aliens come to destroy our species because we wasted the planet, we’ll be able to point to and say, “Yeah, but some of us made this stuff,” and maybe, just maybe, get away unvaporized.

Release date is Aug. 16.

Make it so:

jonas munk nicklas sorensen always already here

Jonas Munk & Nicklas Sørensen: Always Already Here

We’re proud to announce this collaborative effort from Jonas Munk (Causa Sui) and Nicklas Sørensen (Papir), out August 16th! Read more and swim away in the 10 minute opening track here.

Jonas Munk and Nicklas Sørensen team up for a genre-defying record that explores American minimalism, psychedelia, and electronic music – both vintage and contemporary. On a foundation of interlocking guitar and synthesizer patterns, the duo constructs lengthy pieces that are experimental yet welcoming in nature, precisely executed yet with room for soaring improvisation.

Always Already Here pays homage to the masters of classical minimalism (Steve Reich, Terry Riley) and the pioneers of electronic music and kosmische (Brian Eno, Manuel Göttsching), still it doesn’t sound derivative or retrospective. The type of hypnotic bliss Munk and Sørensen strive for is distinctly timeless.

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audiObelisk Transmission 046

Posted in Podcasts on March 16th, 2015 by JJ Koczan

Click Here to Download

 

Here is the Music Player. You need to installl flash player to show this cool thing!

I was coming down to the end of this one and decided that I couldn’t let it go without including one more track to push it toward the two-hour mark, and the weirdness of Skunk Hawk’s “Lovers of Pompeii” won out. All bets were off after JPT Scare Band anyway. Nothing to lose between that and Jonas Munk and Headless Kross. Kind of all over the place stylstically there, but each song is so immersive on its own that I figured it would work one way or another. Heaven forbid you change it up once or twice in 60 minutes. Ha.

The first hour gets pretty heavy as well — I suppose it starts that way, with Ufomammut leading off, but look out. Once Wren kicks in from the Jarboe & Helen Money track, that, Gale and Watchtower get into some serious heft. Not that the others don’t, but you know what I mean. Blah blah blah riffs. Oh yeah, and I totally snuck in some new Acid King there, because that record is killer. So dig on that for sure if you haven’t yet. As always, hope you enjoy:

First Hour:
Ufomammut, “Plouton” from Ecate
Royal Thunder, “Time Machine” from Crooked Doors
Boarchucker, “Red Rain” from Swine Throne
Suzukiton, “Snakehead” from Suzukiton II
Jarboe & Helen Money, “Hello Mr. Blue” from Jarboe & Helen Money
Wren, “Before the Great Silence” from split with Irk
Gale, “Burn Your Person” from Vol. 1
Watchtower, “Living Heads” from Radiant Moon
Leather Nun America, “Bourgeois Pig” from Buddha Knievel
Worshipper, “High above the Clouds” from Black Corridor/High above the Clouds
Acid King, “Red River” from Middle of Nowhere, Center of Everywhere

Second Hour:
Headless Kross, “Rural Juror” from Volumes
Jonas Munk, “Absorb” from Absorb Fabric Cascade
JPT Scare Band, “Sleeping Sickness” from Acid Acetate Excursion & Rape of the Titan’s Sirens
Skunk Hawk, “Lovers of Pompeii” from Skunk Hawk

Total running time: 1:59:24

 

Thank you for listening.

Download audiObelisk Transmission 046

 

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Jonas Munk to Release Absorb/Fabric/Cascade in March; Preorders Now Available

Posted in Whathaveyou on January 28th, 2015 by JJ Koczan

jonas munk

If you’re wondering what you might expect from Absorb / Fabric / Cascade, what with its slashy title and all, look no further. Along with the preorder link, El Paraiso Records gives a pretty thorough runthrough — more like a “funthrough,” am I right??? — of the second solo album from Jonas Munk, better known as the guitarist and producer of Danish desert jammers Causa Sui. And I won’t lie, it’s an enticing description. Munk‘s bandmate, Jakob Skøtt, as tended toward progressive texturing in his own solo material, and Munk‘s 2012 solo debut, Pan, showcased krautrock leanings as well in its use of classic synth and guitar, as you can hear with the pulsating”Current” below. As these guys continue to branch out with solo offerings, I can only look forward more to what they might bring to the next Causa Sui. Whether they’re getting it all out of their system so they can return to head-down fuzz groove or whether these proggy elements will show up more in that band even than they did on 2013’s Euporie Tide, I feel like there isn’t really an option by which the listener loses out.

I look forward to hearing how or if it all ties together. Before we get there, Absorb / Fabric / Cascade is up for preorders now and will ship in March. Info follows, yoinked from the El Paraiso website:

jonas munk absorb fabric cascade vinyl

Jonas Munk: Absorb / Fabric / Cascade LP PREORDER

Second solo LP from Causa Sui guitar player/producer Jonas Munk. These three long pieces aren’t defined by Munks signature guitar-approach, but is rather a musical vision of vintage synthesizers, organs, piano and analog electronics elegantly weaved together to create extensive formations of pure sound. The harmonic simplicity and unrestricted dedication to sonic balance and texture is something of a first in Munk’s body of work. This is pattern music, characterized by slow builds and subtle, but refined, transformations, where gradual tectonic shifts and tiny harmonic gestures generate vivid emotional responses. Instead of imposing any direct intention or meaning, it’s an album that can create a mental environment for the listener to expand and open up into.

Absorb, taking up the entire A-side, is a piece of meticulous balance, structured from techniques recalling the classical minimalists: soft-glowing analog synthesizer patterns in perpetual motion, creating new harmonic content as each bar progresses. Gradually, randomized modular effects are introduced as well as layers of white noise and detuned, heavily tube-overdriven guitar drones, slowly bathing the piece in warmly filtered fuzz.

The B-side opens with two identical organ lines played against each other. After a few minutes the organs lock into a an effortless flow, gently rolling towards a pastoral peak several minutes later, where piano and various layers of electronics enters the soundscape, recalling the blissed-out spiritualism of Alice Coltrane or Popol Vuh.

The album’s last track, Cascade, opens peacefully but soon enough crosses into multi-textural self-oscillating psychedelia – related in spirit to Munk’s previous solo album, Pan, released in 2012. Gradually the intertwined layers of sound rises to enormous billows of sonic saturation, where each drone harmonizes against layers of distorted pulses.

Music like this is perceived as incredibly simple and free flowing, but, as is the case with the biological world, reveals textural minutiae and interweaved intricacy once studied close-up. Every tiny detail serves the bigger picture. It’s music that’s practically vibrating with possibility.

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Jonas Munk, “Current”

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