Friday Full-Length: My Brother the Wind, Twilight in the Crystal Cabinet

Posted in Bootleg Theater on July 16th, 2021 by JJ Koczan

Like a lot of two-guitar records, Physics Topics For Research Paper - Quality drugs from reliable international manufacturers. Safe and efficient affordable drugs made by licensed manufacturers. Buy My Brother the Wind‘s debut, EssayEmpire.com offers professional Homework Help Science. 100% plagiarism free, from per page, 24/7 support, 100% money back guarantee. Twilight in the Crystal Cabinet, is all about the bass. Released in 2010 through The members of the http://www.kugel-medical.de/?dissertation-writing-and-research-for-construction-students team have earned their own degrees in a wide variety of disciplines and subject areas. They are well aware of what is involved in the writing, revising and examining process that leads to a successful degree. To avoid failure, send your dissertation to PRS along with any guidelines that you are following, and one of our professional dissertation Transubstans Records, the debut outing from the Swedish outfit formed in Västra Götaland on the Swedish west coast is pretty unassuming on the face of it. The cover art doesn’t tell you much, and though colorful with red and blue making purple in the middle in a way that also kind of symbolizes the musical coming together happening in the songs, the spindly nerve-looking design and black background give a darker, less shimmering impression than the material itself. Nothing against the artist, mind you, but what you see isn’t necessarily what you get when it comes to the entire spectrum of the at least partially improvisational psychedelic craft on display.

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The coming together of the dramatis personnae really only matters because of what they did during their time — to wit, science reminds us that dudes in bands often form bands with dudes from other bands — and on the six tracks, 59 minutes of Twilight in the Crystal Cabinet, that’s to create a swath of spacey, pastoral and engaging instrumentalist heavy psychedelia. You can hear from the outset in opening track “Karmagrinder” how much of the impetus of the band is the interplay between Barker and Danielsson, and fair enough. Both guitarists seem keen to explore, and their tones complement each other in headphone-ready fashion, while underneath, Ronny Eriksson‘s bass provides highlightMy brother the wind twilight in the crystal cabinet runs of its own for those who’d seek glories in the lower frequencies.

Count me in. In the subsequent “Electric Universe,” they’ll dig into some more classic space rock — blah blah motorik, blah blah obligatory Hawkwind namedrop, etc. — but the dynamic is not unlike the solo section of a classic power trio: the drums hold everything together, the bass fleshes out the groove and does some showy runs of its own, and the guitars go where they want to go. I don’t know what the balance is in the songs between what was improvised off the top of their heads, but Twilight in the Crystal Cabinet reminds that the most important element in that equation — the trio made four in this case, obviously — is instrumental chemistry, and improv or not, My Brother the Wind‘s material is rife with it. You can hear it in the later reaches of “Karmagrinder” and the intertwining cosmic shred of “Electric Universe,” but also in the quieter stretch of the title-track, shorter than either of the two preceding cuts at just under four minutes long, and followed by the free(k)-jazz 1:47 outlet “Precious Sanity,” the latter an obvious splurge in the studio — a thing that happened while recording — and fun for the sense of the experience it gives.

I generally think the idea of the “format wars” are garbage. A thing to argue about on the internet. But with Twilight in the Crystal Cabinet, in the 2LP version, the side split between C and D is between the last two inclusions — “The Mournful Howl of Dawn” and “Death and Beyond” — and that makes sense to me somehow. Mind you, earlier in the outing, I’d be grumbling at having to get up to flip the platter over after the 13 minutes of “Karmagrinder” — how’s anybody supposed to get dishes done listening to vinyl? — but given the meandering hypnosis wrought by “The Mournful Howl of Dawn” (13:08) and the consuming freakout that is “Death and Beyond” (16:47), it’s worth having an extra breath between the two that doesn’t happen when hearing the album in a digital or linear format. There’s nuance in the noodling of both that’s worth specific attention, and even unto the way “Death and Beyond” takes off in its 11th minute, building to a head and giving way soon enough to the drift that, presumably, serves as the titular ‘beyond,’ the lesson being given is one of dynamic and organic methodology. Nothing My Brother the Wind are doing is magic, but they kind of make it sound that way, in stretches vital and serene.

As noted, My Brother the Wind produced three studio albums between 2010 and 2014: Twilight in the Crystal Cabinet, 2011’s follow-up, I Wash My Soul in the Stream of Infinity and 2014’s Once There Was a Time When Time and Space Were One (review here). The first two were issued on Transubstans, while the third came out on Free Electric Sounds — you’ll note full-lengths two and three had brighter, more lush cover art — and their live album, Live at Roadburn 2013, was on Burning World Records and also came out in 2014. It was their last work to-date. I have to think that if they were going to do another record now, it would come out through El Paraiso Records. One would hope, anyway.

Instrumentalist heavy psych, or jazz-influenced psych, or wherever you want to situate it, can easily be fodder for a mental checkout, and that’s valid. There’s nothing wrong with escapism (to a point). But whether Twilight in the Crystal Cabinet serves that purpose or the more academic, sit-and-pick-it-apart-style experience, or even just active enjoyment of what these players accomplished together in a room over a decade ago, the life in this music is worth companionship. That’s all.

As always, I hope you enjoy. Thanks for reading.

Thank you if you’ve been reading the Quarterly Review at all. We hit 100 reviews today and I’ve got the last batch of 10 already in progress to go up on Monday, so that’ll be it. I’ve added a few of those releases to my best of lists, which, out of 110 records, frankly, I should damn well hope so.

I got my laptop back yesterday afternoon. Drive crashed. Boom. The guy who repaired it managed to recover all the data. He remarked on how much shit I had on the drive; it was 1TB, about two-thirds full, didn’t seem unreasonable to me but apparently it took him two days to sort it all out. When he did, he installed a new drive on the computer, but it’s 500 gigs instead of 1TB. In trade, he also gave me a 500 gig external that had all the non-system stuff — albums, docs, etc. — that was on the machine before on it.

Thus I am denied the satisfaction of removing 110 albums from my desktop into the “Albums” archival folder after this Quarterly Review wraps up on Monday, which I will tell you outright is some no-justice-in-the-universe level bullshit.

I’m looking at 2TB drives now to replace the 500 gig, because really, what am I, a child? 500 gigs is nothing. There’s cloud storage, but you know what? I’ve had a record leak with my watermark on it before (when, no, I didn’t leak it), and that’s a hassle I never need again in my life. I’m not saying I’m important enough that someone’s gonna hack into my Dropbox and spread that shit around — I’m not — but the interwebs is full of people doing stuff for lulz and I’m a no-fun kind of guy. I’d much rather keep it to myself and run the (evident) risk of crashing a drive, which seems less likely with more space rather than less, which I have now.

Or the same amount of space, differently organized. An external HD. Wonderful. One more thing for The Pecan to grab and be like “this is?” while dropping it or throwing it or just ripping it out from the machine or stepping on it or spilling something on it or whatever the fuck. Something. Always something. I can’t really have my computer open while he’s around.

Which, if you’re wondering (you’re not, I know) is one of the reasons I got up at 1:30 this morning to start writing this post. The other was it was too warm in the bedroom.

We’re in CT for the next couple days. It is stressful here. A small space. An active kid. No real buffer between my man the invincible and the Long Island Sound. Lovely view if you like fighting with a toddler trying to escape so he can jump in the ocean without being able to swim.

Fighting with a toddler about everything. Ugh.

I had oral surgery on Monday. They put a rod in that seems to be healing okay — antibiotics, all that — and then I’ll get a crown put on and apparently that’s it. The Pecan had a cold. We kept him home from camp Monday and Tuesday. Watched a lot of Daniel Tiger’s Neighborhood, which is about all he really wants to see at this point. Fine. Let the worst thing that happens be he’s the first human being ever to walk the earth with a shred of emotional literacy. Seems like a high aim, frankly. He certainly won’t have gotten it from my ass.

But so we did that Monday, less Tuesday — more reading, which is good — and after going to the doctor on Tuesday and checking in there for the looming specter of plague and all that, he went back to camp Wednesday and scratched a kid and was pushing and to hear them tell it kind of continued to be a jerk Thursday morning. He’s still congested, getting over the cold, so I blame that. He fell asleep in the car yesterday on the way up here from NJ — a normally two-hour trip took four, so there was plenty of time to nap — so I chalk it up to tired, still under the weather, etc. Knowing that doesn’t make living with him any easier.

Which I assume is the case because I didn’t watch enough Mr. Rogers’ Neighborhood when I was his age.

He resents the shit out of me. He’s not yet four years old. I fail him every day, and myself. At what would be an impressive rate were it not so sad.

But at least I got my computer back.

No Gimme show this week. Next week. Turned in the playlist Wednesday, all Quarterly Review stuff. It’ll be good.

Great and safe weekend. I hear we’re going to a sculpture park. Will bring water. Have fun whatever you’re doing. Be safe. Watch your head. Hydrate. It’s 4AM. I’m gonna go take a cold shower.

FRM.

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audiObelisk Transmission 043

Posted in Podcasts on December 23rd, 2014 by JJ Koczan

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Since I don’t do theme podcasts or anything, the thoroughly unofficial subtitle of this latest one is “SOME of the Best of 2014.” Truth be told, it’s four hours long and I feel like I barely scratched the surface, so definitely the emphasis should be on “some.” By no means is it meant to be comprehensive, or am I claiming that it’s all the best and the rest sucked or anything like that. But some of the best stuff is here, so, you know, I hope you enjoy.

My intent was to make it three hours long, and then I got there and it just didn’t feel done without another hour’s worth of extended psych jams. That’s an odd habit to have. Could be worse. For what it’s worth, I was thinking of this as a companion for some of the year-end coverage that’s already been posted and is still to come. Some of this was inspired by picks from the Readers Poll, the submissions for which are still open. If you haven’t added your list yet, I’d greatly appreciate it.

And once again, hope you dig it:

First Hour:
YOB, “Nothing to Win” from Clearing the Path to Ascend
Fu Manchu, “Radio Source Sagittarius” from Gigantoid
Radio Moscow, “Death of a Queen” from Magical Dirt
The Golden Grass, “Stuck on a Mountain” from The Golden Grass
Monster Magnet, “No Paradise for Me” from Milking the Stars: A Reimagining of Last Patrol
Pallbearer, “The Ghost I Used to Be” from Foundations of Burden
The Skull, “Sick of it All” from For Those Which are Asleep
Electric Wizard, “Time to Die” from Time to Die
Orange Goblin, “The Devil’s Whip” from Back from the Abyss
Moab, “No Soul” from Billow

Second Hour:
Sleep, “The Clarity” from The Clarity 12”
Mars Red Sky, “Hovering Satellites” from Stranded in Arcadia
Floor, “Rocinante” from Oblation
Slomatics, “And Yet it Moves” from Estron
Conan, “Foehammer” from Blood Eagle
Druglord, “Feast on the Eye” from Enter Venus
Apostle of Solitude, “Die Vicar Die” from Of Woe and Wounds
Pilgrim, “Away from Here” from II: Void Worship
Blood Farmers, “The Road Leads to Nowhere” from Headless Eyes

Third Hour:
Lo-Pan, “Regulus” from Colossus
Elephant Tree, “Vlaakith” from Theia
The Well, “Mortal Bones” from Samsara
Lucifer in the Sky with Diamonds, “Counting Time” from The Shining One
Brant Bjork and the Low Desert Punk Band, “Stokely up Now” from Black Power Flower
Joy, “Driving Me Insane” from Under the Spell of Joy
Greenleaf, “Depth of the Sun” from Trails and Passes
Mothership, “Priestess of the Moon” from Mothership II
Truckfighters, “Get Lifted” from Universe
Mos Generator, “Enter the Fire” from Electric Mountain Majesty
Mammatus, “Brain Drain” from Heady Mental

Fourth Hour:
Øresund Space Collective, “Beardlandia” from Music for Pogonologists
My Brother the Wind, “Garden of Delights” from Once There was a Time When Time and Space were One
The Cosmic Dead, “Fukahyoocastulah” from Split with Mugstar
Montibus Communitas, “The Pilgrim to the Absolute” from The Pilgrim to the Absolute

Total running time: 4:02:57

 

Thank you for listening.

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My Brother the Wind Premiere Video for “Song of Innocence”

Posted in Bootleg Theater on October 3rd, 2014 by JJ Koczan

my brother the wind

On their third album, Once There was a Time When Time and Space were One, Swedish improv jammers My Brother the Wind present “Song of Innocence” as divided into two parts with a track break in between, the second piece emerging at a fairly upbeat clip — relative to some of the record’s more languid stretches, anyhow — from the first, no less a wash of echoes and tones, but moving more with a forward drum beat from Daniel Fridlund Brandt to propel the airy guitars of Nicklas Barker and Mathias Danielsson and match lockstep with Ronny Eriksson‘s bass. The transition is fluid — the whole album (review here) is like a river that carries you along its currents, some rough, some smooth — but there’s a clear break, and that’s true in the video as well.

The clip for “Song of Innocence” actually goes a long way toward explaining why the two pieces are broken up but given the same name. Footage for “Song of Innocence” was shot exactly as the material was being recorded, the version of “Song of Innoence” we hear My Brother the Wind tracking is the one that went to tape to wind up on Once There was a Time When Time and Space were One, and though one jam comes to an end after about seven minutes in (we get a piece of what became “Prologue” as well at the start), the other picks right up without any real break in between. They’re two parts of the same moment captured on the recording, and thus, they’re presented together. It’s more honest to how the session actually took place, rather than name one part “Song of Innocence” and the other something else.

We get to see the room where My Brother the Wind — who also released a Live at Roadburn 2013 live record this year — made the album, their configuration all facing each other while they played, and get a sense of how they follow each other through the jams. And of course, there’s “Song of Innocence” itself, which with its lush and instrumental feel gives an excellent sense of what to expect from Once There was a Time When Time and Space were One, driven by the chemistry between these players and the carefully woven interplay of the work they do.

“Song of Innocence” was Filmed by Eleni Liverakou Eriksson and Per Karlsson and edited by Patrik Roos. Please find the clip on the player below and enjoy:

My Brother the Wind, “Song of Innocence” official video

My Brother the Wind‘s Once There was a Time When Time and Space were One is out Oct. 14 on Free Electric Sound. Below, guitarists Nicklas Barker and Mathias Danielsson comment on the video:

Says Nicklas Barker:

“The video was recorded at the actual take of ‘Song of Innocence.’ We were happy that Eleni and Per were there during the recording and captured this for us very special song. As always, we record live onto an analog tape machine from 1969 with no overdubs and everything is improvised from scratch. The mixing was done the day after by us with some help from the great Love Tholin who is a big part of creating the sound of My Brother the Wind. I think it turned out great. Especially Mathias wonderful guitar solos and Daniel’s very unique drum playing. We are very happy with how the sound turned out on this one. The studio we record in is tricky since the sound in it differs from day to day. Probably because of all the vintage analog gear. The afternoon we recorded ‘Song of Innocence’ the tape machine, mixing console, tape echoes and plate reverbs were in perfect harmony.”

Says Mathias Danielsson:

“I wish that all of you could see what I experienced when recording this piece. Since the music is totally improvised we connect to each other on another plane. It’s hard to describe but I guess it’s almost astral. I have my eyes open but the sight isn’t the main sense I’m using while we’re playing, it’s the ears. But when concentrating so hard on what we create together I see wonderful colors and waves before my eyes. It’s almost like meditation. We connect to the core of the music and form it together with mindcraft. I’ve never before experienced it on this level with any band. Being unable to show you that, this video is the perfect visual to go with the music. This is the way it happened!”

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My Brother the Wind, Once There was a Time When Time and Space were One: Gardens Growing

Posted in Reviews on October 1st, 2014 by JJ Koczan

my-brother-the-wind-once-there-was-a-time-when-time-and-space-were-one

Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.

On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.

my-brother-the-wind-(Photo-by-Eleni-Liverakou-Eriksson)

Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost.

My Brother the Wind, Once There was a Time When Time and Space were One album trailer

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My Brother the Wind at Laser’s Edge Group webstore

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audiObelisk Transmission 040

Posted in Podcasts on September 26th, 2014 by JJ Koczan

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This one’s beamed in from a universe of all good times. I don’t want to walk around tooting my own horn like I actually did anything, but you’ll pardon me if I say that once you get on board here, you might not want to jump back off. The flow is up and down, alternately drawn out and rushing, and right up to the last song which is a bit of a return to earth, the second hour is the most spaced out it’s ever been around these parts. I’m way into it. I hope you’re way into it.

Like last time, I tried to get a mix of excellent stuff upcoming with other recent items you might’ve missed. One of these days I’m gonna do another one of these where I talk, but this is straight-up track into track the whole way through and I think it moves really well that way. Please feel free to grab a download or hit the stream and dig in and enjoy.

First Hour:
The Melvins, “Sesame Street Meat” from Hold it In (2014)
Fever Dog, “One Thousand Centuries” from Second Wind (2014)
Lo-Pan, “Eastern Seas” from Colossus (2014)
Witchrider, “Black” from Unmountable Stairs (2014)
Alunah, “Awakening the Forest” from Awakening the Forest (2014)
Craang, “Magnolia” from To the Estimated Size of the Universe (2014)
Slow Season, “Shake” from Mountains (2014)
Lucifer in the Sky with Diamonds, “Guillotine” from The Shining One (2014)
The Proselyte, “Irish Goodbye” from Our Vessel’s in Need (2014)
Flood, “Lake Nyos” from Oak (2014)
Lord, “Golgotha” from Alive in Golgotha (2014)

Second Hour:
My Brother the Wind, “Garden of Delights” from Once There was a Time When Time and Space were One (2014)
Spidergawd, “Empty Rooms” from Spidergawd (2014)
The Myrrors, “Whirling Mountain Blues” from Solar Collector (2014)
Witch Mountain, “Your Corrupt Ways (Sour the Hymn)” from Mobile of Angels (2014)

Total running time: 1:54:28

 

Thank you for listening.

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My Brother the Wind Post Album Trailer

Posted in Whathaveyou on August 28th, 2014 by JJ Koczan

my brother the wind

Yes. Yes. More of this. Less of not this. Swedish improv psych explorers My Brother the Wind will issue their third album in October via Free Electric Sound. The cumbersomely-titled offering, Once There was a Time When Time and Space were One, has just been given a video trailer, and I put it on to check it out and not one minute had passed before I was immersed. Hypnotized. The gorgeous, lush wash of tones had me in their grips to the point that, by the time its two minutes were played out, I forgot I wasn’t listening to a full album and that was all I was going to get.

Kind of a bummer about that last part, but the trailer really makes me look forward to what the album might hold when it hits in October, which I guess is the whole point. Fair enough. The PR wire brings info and of course the video itself:

MY BROTHER THE WIND: Expansive Album Trailer For New LP By Swedish Cosmic Rock Instrumentalists Released

Sweden’s instrumental cosmic rock quartet, MY BROTHER THE WIND, will release their third full-length album this October, the opus harnessing forty-five minutes of the band’s entirely improvised, instrumental psychedelic rock, entitled Once There Was A Time When Time And Space Were One. Recorded live in the studio with no overdubs during a single day, the band used six and twelve string acoustic and electric guitars, mellotron, flute, bass, drums, congas and more to complete the task. The album was captured in full analog on 2″ tape courtesy of a 16 track Ampex from 1969 at Drop Out Analogue, in the snowy wilderness of Åmål, Sweden, with engineering duties handled by Love Tholin, who used vintage flangers, plate reverbs and tape echoes to achieve the LP’s unrestrained sound and exceptionally organic tones, after which it was mixed by Tholin and the band, and mastered by Hans Fredriksson.

A trailer for Once There Was A Time When Time And Space Were One has been released, featuring an array of photos documenting the album’s creation as well as the band performing both on stage as well as outdoors, an in-depth look at the LP’s awesome artwork, and the first audio sample to be leaked from the album.

MY BROTHER THE WIND is a fully improvisational cosmic rock collective consisting of members of widely known Swedish progressive rock acts Makajodama, Magnolia, Animal Daydream and Anekdoten, their output an inviting sound for fans of Popol Vuh, Amon Duul, Sun Ra, Ash Ra Temple, Gong and Pink Floyd, Free Electric Sound — the instrumental music division of The Laser’s Edge — will release Once There Was A Time When Time And Space Were One worldwide on October 14th. Stand by for further transmissions including preorders for the CD and deluxe LP versions as well as additional audio from the album in the coming days.

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https://soundcloud.com/my-brother-the-wind
http://www.lasersedgegroup.com/labels/free-electric-sound
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My Brother the Wind, Once There was a Time When Time and Space were One album trailer

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audiObelisk: Stream Roadburn 2013 Sets from The Pretty Things, Cough, Pilgrim, Goat, The Atlas Moth, Zodiac, My Brother the Wind, Amenra, Satan’s Satyrs, Raketkanon

Posted in audiObelisk on June 10th, 2013 by JJ Koczan

A couple things you’ll want to note as you make your way through the latest batch of audio streams from Roadburn 2013. First, the Satan’s Satyrs set is a Blue Cheer tribute, and that’s frickin’ awesome, and second, I’m pretty sure that Pilgrim photo below (from the same set as the one above) is one of mine. So, you know, it’s nice to be included.

Thanks as always to Walter and the Roadburn crew for letting me host these streams, and to Marcel van de Vondervoort for continuing to boldly helm the recordings year after year. Posterity owes you a gratitude.

Enjoy:

The Pretty Things – Live at Roadburn 2013

Goat – Live at Roadburn 2013

Amenra – Live at Roadburn 2013

Cough – Live at Roadburn 2013

The Atlas Moth – Live at Roadburn 2013

My Brother The Wind – Live at Roadburn 2013

Satan’s Satyrs Tribute To Blue Cheer – Live at Roadburn 2013

Pilgrim – Live at Roadburn 2013

Zodiac – Live at Roadburn 2013

Raketkanon – Live at Roadburn 2013

If you missed them, check out the first batch of Roadburn 2013 audio streams here and the second batch of Roadburn 2013 audio streams here.

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