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18 Nov 2017

Asep Stone Experience "Golden Soul" 2015 Swiss Psych Blues Rock

Asep Stone Experience  "Golden Soul" 2015 Swiss Psych Blues Rock 
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The first Album Music Record from Guitarvirtuoso Asep Stone from England. Authentic selfmade psychodelic Blues-Rock…

Golden Soul - the debut work of the almost unknown at us now collective-heir of the great Jimi. They come from Zurich, Switzerland. The guys began to play in the parks, on the embankments, overplaying the compositions of Hendrix, and now, having gained popularity with the public, they collected money for the recording of their own album, which consists of 18 tracks,

Asep Stone was born in Bandung, Indonesia. He discovered a natural talent for the guitar and taught himself to play in a wide range of styles. He first performed at the age of 14 to an audience of nearly 20,000 people at the Bandung Gladiator Rocks Festival. He played extensively at venues in Indonesia and moved to the UK in 1993. He travelled all around the UK, performing original music with Stone Free. In 1999 Asep formed Purple Haze, who appeared on BBC Sessions and played with former Hendrix bass player Noel Redding at an auction of Jimi’s guitars. Noel was keen to play with Asep again, but sadly died shortly after their meeting. Purple Haze toured the UK to great acclaim, but split up in 2004. In 2007 he moved to Switzerland where he formed Asep Stone Experience. He played various gigs around the country and started recording his own songs…

Asep Stone comes from Bandung, Indonesia. He discovered there at a young age his natural talent for the guitar and the music. He began to make music in various musical styles. He gave his first concert at the young age of 14, before 20,000 spectators, in his hometown of Bandung on Gladiator Rocks Festival. 
He has played around Indonesia and settled in 1993 in England down. With its specially composed music he toured with the band was founded on the spot “Stone Free” all over England. 
In 1999, Asep founded the band “Purple Haze”, whose musical performance with former original bassist of Jimi Hendrix, Noel Redding, was broadcast on BBC. This in an auction of original guitar of Jimi Hendrix in Cork, Ireland. Asep aroused great interest in Noel Redding, to give more concerts together. However, Noel passed away unexpectedly a short time after their meeting. To great acclaim from fans, the band “Purple Haze” continued to tour through England. The band broke up finally on the year of 2004. 
In 2007, Asep moved on to Switzerland, where he formed his current band “Asep Stone Experience”. The band gave several concerts throughout the country, as well as repeatedly on the lakeside promenade in the city of Zurich, which earned her a large fan base. 
Asep Stone was known here as the born-again Jimi Hendrix. With his band “Asep Stone Experience” he plays diverse Jimi Hendrix songs, but has also begun to include new original compositions……

01. Golden Soul (1:16) 
02. I Wanna Show You (4:22) 
03. I Got No Reason (4:50) 
04. They Don’t Need (5:11) 
05. Get My Together (3:30) 
06. I Do It Tomorrow (4:07) 
07. Flower Child (3:51) 
08. In My Blood (7:39) 
09. To My Love (4:48) 
10. Wild Flower (2:56) 
11. Stone Free Every Day (5:56) 
12. One Of These Days (5:22) 
13. When I Say (3:57) 
14. Happy (3:20) 
15. Flower Heaven (4:39) 
16. Crazy (4:14) 
17. Hoochie Coochie Man (5:17) 
18. Voodoo Child (7:08) 

Metá Metá ‎ “MM3” 2016 Brazil Jazz Rock,Avant Garde Jazz,Experimental,Art Punk

Metá Metá ‎ “MM3” 2016 Brazil Jazz Rock,Avant Garde Jazz,Experimental,,Art Punk …recommended..!
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This is the ‘Afro-punk’ sound of Metá Metá, five of São Paulo’s most sought after musicians, struggling to survive the 21st century sonic schizophrenia of their home city. …..

Based in São Paulo, Metá Metá have played a key role in the city’s thriving experimental music scene, mixing samba and Afro-Brazilian candomblé with jazz and rock. Now they have added north African influences, inspired by visits to Morocco, in an album that constantly changes style and pace – often in the same song. Opener Três Amigos sets the mood, starting as an atmospheric piece with an Arabic edge and relaxed vocals by Juçara Marçal, before switching to a furious blitz of sound by saxophonist Thiago França and guitarist Kiko Dinucci, who played a key role in an extraordinary recent album from Elza Soares. Elsewhere, the songs vary from the cheerful and breezy Toque Certeiro (featuring scat vocals from Marçal that have the easy charm of Joyce Moreno) to passages that sound like an angry Brazilian post-punk thrash, influenced by their country’s political crisis….by…Robin Denselow…Guardian review

The consistently great brazilian output Metá Metá is back with their third album MM3. Juçara Marçal, Kiko Dinucci and Thiago França have been on pair with many of the top musical acts worldwide for some time now, and with MM3 the band finally returns to their main project (all three of them have been involved with excellent side-projects for the last four years), and once again, they show why they´re such an acclaimed band. This record sets a new songwriting standard for them, with different song structures and many other influences, displaying a plural and versatile aesthetic that sounds even richer than before. MPB, jazz, rock, avant-garde, dub and much more, all flow around these peculiar tracks with beauty and fluidity, never sounding incoherent or dislocated, and while they bring out many other long-time collaborators, it is their own blend of personal contributions that creates this vivid imagery that is hard to ignore. Even though it might not be the finest collection of songs they released together, MM3 will most likely remain one of their most cohesive and intriguing work yet. Highly recommended…….EMR…

Metá Metá, one of the more consistently fresh, jazz-rock/art punk groups to come out of Brazil, sadly end their consistency streak with a rather middling effort this year. From what you’ve come to expect from this band, this record will be a breeze to listen to for both longtime fans and newcomers alike, but it’s at this point where their style starts to get a bit stale for me. The way I see it, every element of MM3 whether it being the song structures or the specific performances of each member rarely ever go beyond the level of “getting the job done.” Despite how hard I tried to love this, the record overall, though mostly unadventurous, is fine for what it is and has its fair share of seducing moments thanks to the excellent musicianship and quality production work…….SiberianBreaks…

A very fine surprise. Brazilian combo Metá Metá plays a varied blend of rock, jazz and MPB that is very personal and attractive. On ‘MM3’ all 9 songs are winners, the instruments (sax, guitar, bass and drums) are really well played and the female vocals seduce the listener with ease. There are some slightly abrasive moments, but overall the music is very accessible, without being commercial. One of the best albums of a year with plenty of very good releases…by….eastford 

In his new album Metá Metá snatches the ‘strangeness’, by the unusual mix of Samba, Jazz, Candomblé, Art Punk and everything else that comes his way. It is melodic for a few minutes (or seconds) as in the opening track 'Três Amigos’ (which gives me the impression that it was influenced by Gentle Giant), 'Imagem do Amor’ or 'Angolana’. It is highly strange as in 'Angouleme’, 'Mano Légua’ or 'Obá Kossô’. However this sonorous house sounding and is extremely well executed. Well worth it, especially since it’s available for free download on the band’s website…

Metá Metá is a trio from São Paulo — singer Juçara Marçal, saxophonist Thiago França, and guitarist Kiko Dinucci. Their source materials are a clutch of moves taken from rock and various strains of improvisation, as well as the rituals of Candomblé, the Afro-Brazilian religion that uses music and dance to summon the spirits of deities known as orixás. On their exceptional third album MM3, Metá Metá’s flow constantly takes them toward the ecstatic. The final track, “Oba Koso,” is a traditional chant to the orixás, rearranged into a circular, nine-minute thrash. “Imagem do Amor” starts with a modest guitar figure that the band enlarges, alternating flurries and near silences that highlight their rhythm section for this album, bassist Marcelo Cabral and drummer Sergio Machado. In Portuguese, Marçal sings about “birth,” which a Brazilian source tells me is most likely about reproductive rights, as abortions up to three months were just legalized. (By email, França avoided specifics but allowed that “there’s a feeling of despair, pessimism, and anger in some of the lyrics that comes from this turbulent time we’re living, this dark cloud of political and social instability.”) If we need to channel jazz back into rock via São Paulo, so be it. (from Vill VCE) 

The punk jazz trio from São Paulo released their third album “MM3” on August 26th and will be performing on September 4th at the Ile de France Festival in Paris. 
Spotted in 2014 in our series new sounds of Brazil , the paulist trio Metá Metá had given us a memorable live session behind the scenes of Trans Musicales. Artists emblematic of the rich scene of São Paulo, the singer Juçara Marçal, the saxophonist Thiago França and the guitarist Kiko Dinucci are about to release their third album “ MM3 ” on the label Jazz Village. A new ecstatic and libertarian cry against the corruption of the Brazilian society at a time when the Rio Olympics are trusting the chains of the whole world. Between jazz punk improvisations and post-rock melodies, incantatory songs and Afro-Brazilian influences, Metá Metá transcends new musical universes with a darker album than the previous ones.
Formed in 2008, Metá Metá, which means “three at the same time”, released in 2011 a first album with a minimalist sound with few instruments, between imaginary folklore inspired by Candomblé, one of the Afro-Brazilian religions where every Orixa (divinity) has his song and his rhythms. A year later, their second album “ Metal Metal"was a radical change with a much more powerful and massive sound, mixing traditional Brazilian, African, Latino, free jazz, punk and avant-garde influences.On this new opus with complex arrangements, the trio evolves in another direction and reveals strong influences from Morocco, Ethiopia, Niger and Mali The three activist musicians are joined here by Siba, Rodrigo Campos, bassist Marcelo Cabral and drummer Sergio Machado all from the independent music scene of São Paulo.

"Our music is directly influenced by the current crisis, it is marked by anxiety and turbulence, on the eve of a coup d'etat. We are witnessing the arrival in power of the most conservative, reactionary and fascist faction of society, infected by a hatred of civil rights. A hate picked up, stoked and spread by the big media, hundreds of TV channels, news magazines and magazines, which are concentrated in the hands of five wealthy and very powerful families. Funny period to make music in Brazil but, precisely for this reason, it is all the more important that the art brings its counterpoint to so much misinformation and hate, and suggests the possibility of a better world and more tolerant.” ..Meta Meta"… Guillaume Schnee…

Two previously unreleased compositions - Atotô, Sozinho - and a curious interpretation of the classic Me Perco Nesse Tempo - a song originally presented in 1986 by the São Paulo post-punk band The Mercenaries, and later re-recorded by Ira! as part of the album 7 , ten years later. Metá Metá EP (2015) today seems to announce the change of direction that marks the third and most recent unpublished album of Metá Metá, MM3 (2016, Independente). It was released to the public in May of last year and almost unnoticed by the band’s public. . 

From the intense rhythm and strong voice of Juçara Marçal in Angoulême , through the semi-carnival touch that invades Corpo Vão , until reaching the extensive Oba Koso , closing range of the disc, all the elements of the present disc are articulated in order to reveal a material as intense and urgent as the successful collection on the MetaL MetaL album of 2012. A collision of ideas and references that incorporates elements of African culture, play with jazzy emanations from the 1970s and end up finding punk in a new direction for work of the band. 

The very way the album was designed reinforces the trio’s urgency - complete with the presence of Kiko Dinucci (guitars) and Thiago França (saxophone). Recorded within a three-day break at the Red Bull studio in São Paulo, MM3 seems to be talking with the same fluidity of the group’s live performances. “ It’s a matter of detachment: we do not pretend to make a perfect record, to be right ,” Dinucci explained in an interview with Rolling Stone Brasil. “ The idea was to leave the band sharp and settle everything fast, live, with two or three takes, "he adds.
The initial instants of songs such as Toque Certeiro and Angolana are sufficient to realize the pulsating rhythm that governs the disc. A quick game of verses and arrangements, always precise, as if the trio avoided the complex imposition that guides part of the last two unpublished albums. Such acceleration at no time prevents the album from creating small atmospheric gaps. It is the case of the descriptive Image of Love , music that creates a true film in the listener’s head, or even the last Oba Koso , composition with more than nine minutes of duration and a hypnotic clash between the saxophone of France and the metal guitar of Danucci. 

While reflecting a resounding sonority of the last two unpublished works, throughout the construction of the work, the trio establishes small bridges for the different parallel projects that surround Metá Metá. It is easy to see the dense Image of Love as a typical product of Marçal’s first solo album, Incarnate (2014). And what about Mano Légua , music that could easily be found in some record of Paso Torto. A delicate expansion of the rich universe of ideas and references that of course supply the work of the band. 

Centered on the balanced interference of each member, MM3 , as well as the last two studio records of the band, opens for the arrival of different musicians and composers. While Siba divides the composition in Toque Certeiro , it is the responsibility of Rodrigo Campos, old partner of the trio, to take part of the verses in the inaugural Three Amigos . In the studio, the group is complete with the presence of Marcelo Cabral (bass) and Sergio Machado (drums), longtime partners (and collaborators in different projects) that help build the essentially versatile sound that marks the record……..By: Cleber Facchi…

Formed in 2008, Meta Meta is Jucara Marcal (singer), Thiago Franca (saxophone) and Kiko Dinucci (guitar). 
The new and third record, “MM3”, the group presents yet another path, strongly influenced by music from Morroco, Ethiopy, Niger and Mali. MM3 was recorded live in two days and brings a more flexible sound with almost liquid structures, raging dynamics and lots of improvisation, faithful to the ecstatic and catarthic feeling from the group live perfomances. It sounds darker then the previous one and yet danceble, lots of strange minor scales and rough, sometimes indistinguishable harmonies, and more intrinsic arrangments, difficult to determine wether the song starts or the solo. 
The album also features for the first time three songs composed by the three member of the group, along with colaborations with Siba and Rodrigo Campos. Joining the trio, bassist and producer Marcelo Cabral and drummer Sergio Machado, both very active musicians in Sao Paulos independent musical scene.
“Our music is influenced directly by the present political crisis, it´s filled with anguish and turbulence, we´re about to suffer a coup d´etat. We witness the most conservative, reactionary and fascist sector of our society rise to power, contaminated with hatred against a few recently conquested civil rights by women, black people, the LGBT community and the poorest people in the country, all promoted by the main media, hundreds of TV channels, newspapers and magazines, all belonging to only five super rich and powerful families. 
A strange time to be making music in Brazil, and for the same reason, a very important one, to counterpoint so much misinformation and hate with art, and trhought it, glimpse at the possibility of a better, more tolerant place.” Thiago Franca, Kiko Dinucco and Jucara Marcal. 

Reflecting the political turbulence currently embroiling their country, singer Juçara Marçal, saxophonist Thiago França, and guitarist Kiko Dinucci create an upheaving, punk-style free jazz. Fighting repression through their music, Méta Méta draws heavily on Afro-Brazilian influences, their name meaning ‘three in one’ in the Yoruba language. Since releasing their album ‘MM3’ in Summer 2016 on French label Discograph, the São Paulo trio has been on tour, sharing their music, culture, and political messages with audiences across Europe. ....

Artwork By – Kiko Dinucci 
Bass – Marcelo Cabral 
Drums – Sérgio Machado 
Guitar, Backing Vocals – Kiko Dinucci 
Layout – Frédéric Thiphagne 
Lead Vocals – Juçara Marçal 
Mastered By – Felipe Tichauer 
Mixed By – Gustavo Lenza 
Recorded By – Rodrigo Funai 
Saxophone – Thiago França

1. Três Amigos 4:12 
2. Angoulême 2:01 
3. Imagem do Amor 5:57 
4. Mano Légua 2:45 
5. Angolana 4:03 
6. Corpo Vão 3:21 
7. Osanyin 4:43 
8. Toque Certeiro 4:09 
9. Oba Kosô 9:22 

Rainman "Rainman" (solo by Q65 frontman) 1971 Dutch Psych Folk Rock

Rainman  "Rainman" (solo by Q65 frontman) 1971 Dutch Psych Folk Rock  Listed in Hans Pokora’s 3001 Record Collector Dreams with a rating of 3 records
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How a guitarist of Q65 became the solo artist Rainman, An unexpected incident can have far-reaching consequences. During a friendly game of soccer Frank Nuijens was kicked in such a brutal manner that he ended up with a double leg fracture. Musing on his hospital bed, amidst baskets of fruit and other tokens of attention, he realised that this might be an excellent opportunity to finish some songs, which had not found favour in the eyes of his mates from Q65. The songs did not have definitive lyrics, but Q65 drummer Jay Baar took care of that. The latter subsequently contacted most of the other musicians, the majority of whom arrived at the studio ‘high as a kite’. Nuijens himself contacted guitarist Eelco Gelling and bass player Herman Deinum of Cuby + Blizzards. Due to contractual obligations, on the album cover they were named E. Stoffel and H. Staalmeester respectively. For a part, the production was carried out by ex-Blizzard Dick Beekman, at the time drummer with Livin’ Blues. The title track Rainman - sung as listlessly as the Dutch weather - provided the stage name, for a great part they took their inspiration from the music of Neil Young, John Lennon, James Taylor, the underground group Moby Grape and last but not least the compositional giant Tim Hardin. The only cover tune on the album was Hardin’s brilliant Don’t Make Promises. Anyone who listens to the reissue of Rainman (in the original artwork with insert, but with two previously unreleased bonus tracks), will recognize a typical 1971 production therein and understand at the same time why the reactions at the first release were so laudatory…

Originally released only in Holland,this is the first and only solo album by Frank Nuyens in close cooperation with band mate’s Q65 drummer Jay Baar. For these Q65 lovers I must warn that stylistically there is little to find of a Q65 association (although I didn’t hear their work later than the 60s). 

By this time, Frank had already left Q65 for a while, and together with Jay he had played before with Kjoe and after Q65 also one year with Circus, but he felt he wanted a platform for his own songs, so with all the time and investment he got he took the opportunity to record this album which was meant to reach the English, I think especially the American market. The album is co-produced by Cuby & the Blizzards drummer Dick Beekman. 

It is a well hung together song album, a strong collection of, often gentle, songs with nice rock arrangements. A moody blend of folk, pop and psychedelia, with some blazing guitar leads. “Natural Man” has small American/Nashville associations and progressive touches on flute and electric guitar solos. “Don’t” is a beautiful song which sound more like folk-pop like Donovan, led by acoustic guitar and Spanish acoustic guitar while “Get you..” directs slightly towards Al Stewart’s pop reaching abilities during the same years. The only cover is a song from Tim Hardin, “Don’t Make Promises”, in well done, and more up tempo and poly-rhythmic accompaniment than the original. Tim Hardin was a popular choice to cover, but the choice tells also something of the direction what he wanted to achieve. Only the last track is a bit weak ending for an overall really fine song album. The only other single track which he recorded is also included. 

After this project, he played almost two years with the group Lynx, who recorded one single which was never released. After this he played with the Red White and Blue band (with Supersister drummer Herman van Boeyen), who recorded another LP. Later 70s groups with more singles were the Cuby & Blizzards and The Freelance Band. ….by….adamus67 

Recorded in 1971, “Rainman” was co-produced by Cuby 'n’ the Blizzards drummer Dick Beekman and Nuyens. All tracks co-written by Nuyens and Q65 drummer Jay Baar (there’s one cover), far from the Q65-styled R'n'B or psychedelia. 

Musically material such as the title track, 'Don’t’ and “ the collection leans towards laidback singer/songwriter faire; albeit with electric backing. In spite of a fairly heavy accent, Nuyens had a nice voice that was well suited to the material. Individually most of the tracks were quite good, boasting strong melodies with Nuyens occasionally throwing in a tasty guitar solo ('Naturel Man’ - his spelling). 

Curiously, his cover of Tim Hardin’s 'Don’t Make Promises’ provides the most commercial and enjoyable track. …………..Bad-cat…

Really cool Folk Rock with some Psychedelic Rock influences. Frank Nuyens ex-Q65 guitarist made this album different from his ex-band and it’s softer and more melodic than Q65’s albums. 
sometime you can hear Neil Young and sometime The Beatles. 
it’s an obscured trusser which need more attention. i promise you will be fascinated if you like The Beatles, Fleetwood Mac or Neil Young…….tiliar 

Recorded in 1971, «Rainman» was co-produced by Cuby ‘n’ the Blizzards drummer Dick Beekman and Nuyens. All tracks co-written by Nuyens and Q65 drummer Jay Baar (there’s one cover), far from the Q65-styled R’n’B or psychedelia. 
Musically material such as the title track, ‘Don’t’ and » the collection leans towards laidback singer/songwriter faire; albeit with electric backing. In spite of a fairly heavy accent, Nuyens had a nice voice that was well suited to the material. Individually most of the tracks were quite good, boasting strong melodies with Nuyens occasionally throwing in a tasty guitar solo (‘Naturel Man’ – his spelling). 
Curiously, his cover of Tim Hardin’s ‘Don’t Make Promises’ provides the most commercial and enjoyable track……

*Frank Nuyens - Vocals, Acoustic, Electric, Bottleneck Guitars, Bass 
*Philip Peters - Keyboards 
*Piet Kuyters - Piano 
*Enno Velthuys - Bass, Acoustic Guitar, Electric Guitar, Background Vocals 
*Dick Beekman - Drums 
*Jay Baar - Drums, Maracas, Vibes 
*Francois Content - Flute, Cowbell 
*Co Co - Congas 
*E. Stoffel - Acoustic, Electric Guitars 
*Eugene Farago - Drums 
*H. Staalmeester - Bass

Tracks Listing & Line Up:

A1 Rainman 
Bass Guitar – Enno Velthuis Drums – Dick Beekman Keyboards – Philip Peters, Lyrics By – Jay Baar Music By – Frank Nuijens* Vocals, Acoustic Guitar – Frank Nuijens* 

A2 The Natural Man 
Bass Guitar – Enno Velthuis Congas – Co Co , Drums – Jay Baar Flute – François Content Lyrics By – Jay Baar Music By – Frank Nuijens* Piano – Piet Kuyters Vocals, Acoustic Guitar, Electric Guitar [Rhythm], Lead Guitar – Frank Nuijens* 

A3 Don’t 
Acoustic Guitar – Eelco Geling* Lyrics By – Jay Baar Music By – Frank Nuijens* Vocals, Acoustic Guitar – Frank Nuijens* 

A4 Vicious Circle 
Bass Guitar – Enno Velthuis Congas – Co Co , Cowbell – François Content Drums – Jay Baar Lyrics By – Jay Baar Music By – Frank Nuijens* Piano – Piet Kuyters Vocals, Acoustic Guitar – Frank Nuijens* 

A5 Don’t Make Promises 
Drums – Jay Baar Piano – Piet Kuyters Vocals, Acoustic Guitar – Frank Nuijens* Written-By – Tim Hardin 

A6 You Will Be Freed By Me 
Bass Guitar, Acoustic Guitar – Enno Velthuis Lyrics By – Jay Baar Maracas – Jay Baar Music By – Frank Nuijens* Vocals, Acoustic Guitar – Frank Nuijens* 

A7 Clouds (Unreleased Demo) 
Acoustic Guitar, Electric Guitar – Frank Nuijens* Bass Guitar – Enno Velthuis Drums – Eugene Farago Keyboards – Philip Peters , Written-By – Frank Nuijens* 

B1 Money Means Nothing At All 
Bass Guitar, Electric Guitar – Enno Velthuis Drums – Eugene Farago Keyboards – Philip Peters (2) Lyrics By – Jay Baar Music By – Frank Nuijens* Vocals, Acoustic Guitar, Electric Guitar – Frank Nuijens* 

B2 Get You To Come Through 
Bass Guitar – Enno Velthuis Drums – Jay Baar Lyrics By – Jay Baar Music By – Frank Nuijens* Piano – Piet Kuyters Vocals, Acoustic Guitar, Electric Guitar – Frank Nuijens* 

B3 She Told Me So 
Bass Guitar – Enno Velthuis Drums – Jay Baar Lyrics By – Jay Baar Music By – Frank Nuijens* Piano – Piet Kuyters Vocals, Acoustic Guitar – Frank Nuijens* 

B4 They Didn’t Feel 
Bass Guitar, Acoustic Guitar, Backing Vocals – Enno Velthuis Lyrics By – Jay Baar Music By – Frank Nuijens* Piano – Philip Peters (2) Vocals, Acoustic Guitar, Guitar [Bottleneck] – Frank Nuijens* 

B5 The Joy That Is Inside 
Bass Guitar – Herman Deinum Drums – Dick Beekman Electric Guitar – Eelco Geling* Lyrics By – Jay Baar Music By – Frank Nuijens* Piano – Philip Peters , Vocals, Acoustic Guitar – Frank Nuijens* 

B6 Money Means Nothing At All (First Version) 
Acoustic Guitar – Frank Nuijens* Bass Guitar – Enno Velthuis Drums – Eugene Farago Keyboards – Philip Peters , Written-By – Frank Nuijens* 

17 Nov 2017

Øresund Space Collective “Out into Space” 2015 3 CD `s Denmark Psych Space Rock

Øresund Space Collective “Out into Space” 2015  3 CD `s Denmark Psych Space Rock 
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watch interview by psychedelic baby....

Ltd. Edt. 500 copies - digipack - 8 page booklet
recorded live February 20th 2015 at Loppen / Copenhagen to the OSC-10years live anniversary
Formed in Denmark in 2004 as a collective of Danish, Swedish and American musicians doing free form improvised space rock music. The band has evolved into a large changing collective that plays many concerts and festivals ……
If you know a little about the Danish Group, it goes without saying that you know what to expect. I do not even talk about their music but the duration of their albums.
Well, if ever this Triple Live celebrating their 10-year career is recorded around the world for a decade in your hands, plan a very long evening as it lasts more than 4 hours. And yes, they are like that, the Danes, they never pretend, and that’s all to their credit.
Despite its long duration, my only desire is to listen to this record again and again. Not only, I’m single, but I have to be maso. On this one, the two are paired!….by Bad Ass…

This triple live CD was captured on the occasion of our celebrating 10 years of live Øresund Space Collective concerts. 
The first concert was at our local favorite club, Dragens Hule (RIP) in Feb 2005. Since that time the collective grew greatly from the roots of Mantric Muse and Bland Bladen to a multi-international collective of like minded musicians. 
The amazing venue, Loppen in Christiania was the site of this amazing night, which featured 3 sets of music with three completely different line up of musicians…

Øresund Space Collective are among psychedelia’s most open and most stringent of bands. Now active for more than a decade, the Danish collective are fiercely committed to a single idea — it just happens to be that single idea is being open to all things at all times. To wit, the prolific, prone-to-documentation Danish/Swedish outfit led by synth-player and bandleader Scott “Dr. Space” Heller have maintained their ethic of being entirely improvisational and amorphous in their lineup, and that has resulted in an expansive catalog of live and studio recordings of some of the world’s most expansive space and kosmiche rock. 

Their latest pair of offerings through Space Rock Productions, released within a month of each other, together stand as a solid compendium of some — not all — of their scope. Released last month, Out into Space, is a 3CD live offering captured in Feb. 2015 at their 10th anniversary show at Loppen in Christiania, playing to support 2014’s Music for Pogonologists (review here) though obviously not actually playing anything from the record since it’s all improvised, and the even-newer Different Creatures is a 2CD/3LP studio album. Both are completely different lineups apart from Heller — in fact, in the case of Out into Space, it’s no fewer than three different incarnations of the band playing a single show. It suddenly makes sense why Øresund Space Collective would have the recorder running as often as they do. How else to keep track of what they’re doing at any given point? 

The concept for Out into Space is an exception to start with, though. Their 10th anniversary gig was more than the average show. They played three sets, again, each with a different lineup, in an attempt to capture the beginning, middle and current eras of the band — or at least give them some representation. As a result, each set has its own specific feel, whether it’s the way the band seem to rally around the guitar in “The Last Glide” on disc one or how “Stargate 7431” on disc two has its own progressive edge. Heller speaks to the assembled crowd between jams, informing them of what’s happening and introducing each band, and though at over three and a half hours of material, one could hardly call Out into Space anything other than comprehensive, it’s worth noting that it’s not complete. The third set, the recorder gave out. They literally out-jammed the recording equipment. That’s the scale of jams we’re talking about here.Heller announces it’s 1AM as that third set kicks off with the 34-minute “A Long Night Amongst Friends” — he says, “Time to go to another planet” as the ultra-fluid track gets underway with a soft jazzy roll on the drums and yet another foundational bassline, the low end seeming to be the factor that holds the material together no matter who’s playing it at any given time — Jocke first, Thomas second, Jiri third — and it’s around the solid groove that the molten jamming happens in extended earlier pieces like the krautrocking “Has Anyone Seen Nick?” from the first or the particularly spacey “Chocolate Orange Candle” in the second set. While each has its own personality, I’m not inclined to pick a favorite from among the three lineups. It seems against the concept of Out into Space entirely, which was so clearly to bring these different personae together as one cohesive (if constantly shifting) whole, rather than to drive them apart. While it can be overwhelming in a single sitting — it is an afternoon long, after all — Out into Space provides years’ worth of psychedelic fodder to dig into. 

So naturally they let it breathe for about a month before dishing out a follow-up. That’s not a criticism. In the tradition of the best of space rock, Øresund Space Collective do not stop to examine, do not stop to bask. They continue to move forward and on to the next thing, letting history sort it all out in their wake. The next thing? Different Creatures, which was recorded over a period of three days, Oct. 24-26, 2014, and found the band working as an eight-piece with Heller on synth as ever, plus Alex on drums and percussion, guitarists Jonathan (also violin, Theremin, electric mandolin and Hammond), Mattias (also pedal steel and shaker) and Mats (also bass on “Juggle the Juice,” “Digestive Raga” and “Bon Voyage”), bassist Hasse, key specialist Jonas and sitarist/synth-player KG. This lineup tears into over two and a quarter hours’ worth of material, showcasing distinct and differing vibes on the half-hour “Digestive Raga” and “The Man from Wales” while universally impressing with the chemistry at the heart of their improvisations. “Digestive Raga” — which, presumably, was performed after lunch — or the penultimate “Raga for Jerry G.” would be highlight candidates were it not for the sheer immersiveness of closer “20 Steps Towards the Invisible Door,” which is an album unto itself at 45:14 and emphasizes not only the beauty at heart in Øresund Space Collective‘s creative process — getting to the very core of group performance that brings individuals together working toward a common purpose — but also the beauty in the result of that process. 

Hypnotic from its launch stages through to the strings and synth at its gradual comedown, it lives up to the promise of album-opener “The Ride to Valhalla” and speaks in its entirety to what makes Øresund Space Collective such a special project to begin with. To compare it to Music for Pogonologists seems moot since it’s different players throughout, but it wouldn’t matter anyway. “20 Steps Towards the Invisible Door” and Different Creatures as a whole have their own persona, and in capturing that special moment in time, unfiltered, unrestrained, gorgeously mixed, Øresund Space Collective once again affirm their position as the foremost jammers in the known cosmos. There are others who jam, and others who improvise their work along similar lines, but nobody who seeks to turnover their lineup with such regularity and still maintain such a consistent quality of output. Even within the vast realm of space rock and heavy psychedelia, Øresund Space Collective remain one of a kind…..The Obelisk……

The latest from Scandinavian/American improvisational Space Rock ensemble Oresund Space Collective (OSC) is a 3-CD set documenting the February 20, 2015 celebration of the 10th anniversary of the collective’s first live performance. OSC have always had a fluid lineup, with the one constant being synth maestro and chief organizer Scott “Dr Space” Heller. Each CD represents one of three sets performed that evening. 

The first set consists of members that started the collective in 2004. The second set consists of members who played frequently in the 2007-2011 period. And the third set consists of members who have played most recently. So many people have played with the band that it wasn’t possible to include everyone. What a problem to have, huh? Because it’s this talented array of like-minded musicians that has helped keep OSC exciting all these years. 

Set 1 includes 5 jams in the 12-20 minute range. Open The Skies finds that ultra groovy point on the easy paced rhythmic pulse meets chill-out vibe axis. It rocks out loosely and dreamily in space and has a Bluesy edge that feels really nice. At times it brought to mind a Blues take on Ozric Tentacles. Tasty guitar soloing, synth melody and sci-fi electronics. Ditto for Flyby Guitar Hero, on which the bass takes the rhythmic lead along with light jazzy drumming while the guitars and synths create jamming meditative atmospherics and melodies. Has Anyone Seen Nick? has, at various times, late 60s West Coast Psych, grungy hard rock and jazzy vibes, and all within the trademark OSC Space Rock context. I love how The Man Who Ate Planets starts off like a deep space grooving Shaman call, but after a while starts to rock increasingly harder and gradually takes on an acidic intensity, eventually settling into a powerhouse space rocking groove. And the final Set 1 track, The Last Glide, opens with some lovely Gong influenced gliss guitar before developing into a heavy space rocking jam with some killer ripping guitar leads. 

Set 2 also includes 5 lengthy jams, starting with Jamming For Your Mind, an appropriately titled mind-bending trip in space with the focus on acid ambience and rhythmically grooving soundscapes and effects. Stargate 7341 is a high intensity, cool grooving and totally ass kicking Space Prog jam which, as is so often the case with OSC, feels goal oriented and composed yet still loosely improv free flowing. This lineup is really cookin’ now and transitions smoothly to Circular Perimeter which starts off rocking harder with spirited uplifting intensity. I love the combination of Space-Funk guitar and rip rocking solo guitar. After a while it descends into a Space-Bluesy chill-out jam with more killer dual guitar and soaring electronic effects, before ripping it up again for the finale. Absolutely freakin’ awesome! Thankfully there is NO rest for the weary. These guys are on a complete roll as they quickly feel their way into the warp drive, Space Rock blazing Chocolate Orange Candle. The bulk of the tune is seriously heavy rocking, though it eases toward the finish with a nice extended Floydian/Space-Bluesy descent. Ditto for the final track, One More Space Out, which comes roaring out of the starting gate as a high intensity Funk infused Space Rock rocker. Damn, Set 2 is going to be tough to top, with music that stands alongside some of OSC’s all time best. 

But we’ve still got Set 3, with 3 tracks, 2 of which are quite long, and the CD notes point out that due to technical issues there were two additional tracks that could not be included. But that’s ok because we’ve still got 70 minutes of music. The fun starts with the 34 minute A Long Night Amongst Friends, which quickly finds its groove as an acidic, droning, exploratory journey that gradually builds in rhythmic pace and rocking intensity. Once again we have killer dual guitars that play distinctive but cooperative roles, a hypnotic thump in your chest bassline, and electronic effects galore. And it just keeps rocking hard for the remainder, never wandering or wavering for a moment. There are of course some twists and turns which the band deftly veer in and out of. One I particularly enjoyed is a keys/synths dominated segment that has a Jazz-Fusion and even a wee bit of a Quarkspace flavor. 34 minutes of space rocking bliss. At this rate I would have hung in there with them all day. Let It Groove is next and does precisely that, with a fast paced Dub-like bassline and fiery drumming that lay the foundation for rocking guitar soloing and more ambient/soundscape guitar licks, plus a jazzy keyboard melody. Things get monstrously acid spaced out intense at times with both guitars soloing, swirling and generally circling the cosmic wagons around each other for what might be some of the most Holy Shit freaked out moments of all three sets. Finally, we’ve got the 23+ minute Find The Way Out Of Here, another high intensity space rocker (with a gorgeous cosmic lullaby segment) that brings the evening to a close. 

What a night this must have been! In one of the announcements Scott says that some people came from Germany for the show and thought there was even someone from Greece. Note that the CDs come in a very nicely packaged quadruple foldout digipack with an 8 page booklet with details and photos…..Aural Innovations……

“Out Into Space” … three CDs, three sets, three different line-ups. For the 10th anniversary on stage, RockTimes congratulates . 
Out Into Space has a total playing time of no less than two hundred and fifteen minutes. The Fold Out Digipak contains an eight-page booklet with the most important information about the album. The Jamsession took place on 20 February 2015 in the Club Loppen, Christiania. Since the Øresund Space Collective ( ØSC ) hit the nail on the head, because on 28 February 2005, the first concert in Dragens Hule, Copenhagen was denied. 
It is also interesting that »CD 1 features the original line up which played all the jam sessions and made the first 4 albums. Disc 2 features players that played mostly from 2007 - 2011. […] « In the third part of the records you can hear the current Øresund Space Collective cast from 2015. 
The three discs with intergalactic content are not limited to the orbit our Earth, which indeed looks from the sky actually still looks blue. 
The song title “Has Anyone Seen Nick?” definitely has nothing to do with Pavlov’s Dogs search for Sigfried . Rather, one might wonder where Pink Floyd guitarist David Gilmour was hiding. 
The powerful opener “Open The Skies” comes with the effect of a combination of valium and dopamine. Cosmic winds from different speaker directions dominate the beginning of the first track on “Out Into Space”. When using the guitar group with Magnus and Sebastian on the spacey six-string it will,Dr. Space ), really nice groovy. The string magic becomes more rocky as time goes on and the piece gets more and more drama and more intense impact on the listener. In the middle part of the completely improvised music, the number has a floating light trait. Wonderful, how one can delve into the weightlessness of the gliding trip. For such effects the ØSC is well known. 
Applause from the audience ends the opener and with chirping synthesizer sounds Dr. Space command for the track “Flyby Guitar Hero”: “Ready for take off!” Jocke’s flowing bass sounds ground the guitars oscillating between eruptive eruptions and effective Hall / Wah Wah research assignments. Not only here we experience a show of string complexity. 
Already mentioned “Has Anyone Lakes Nick?” One could call, among other things, an approach to the fictitious planet 15Jazz08. ØSC has entered the Space Jam Jazz Rock section of the flexible kind. The high top speed bursts the silence of the universe and you are in a breathtaking dive to the earth’s surface. Hammer! 
Line-up change … Set II … with Tobias , Johan and Stefan are now three guitarists at the start and the woofer Thomas . Pib is the groove machine on drums and Rasmus is responsible for the Farfisa and the synthesizer. Dr. Space is of course always there. 
The second record also has relaxed phases within the five improvisations, but overall, the middle section of the triple album is much more rocking than set I. The electric guitars let it crack loud. “Stargate 7341” starts with a kind of ØSC-Lullaby, then peels off the cuddly blanket but a space rock that is almost unbeatable in Groove. Since the organ sounds, without any reference to any song, even after The Doors sound. 
Bassist Thomas and Pib (drums) put on a melodic track for the string department and it takes no time until Tobias , Johan and Stefanto engage in the interaction. There will not be a long shuffle and the listener is already in a cosmic “circular perimeter” storm chasing through space. The synthesizers catch the on-flight electric guitars and the situation relaxes considerably, only to be dramatic at the end of the piece. 
“One More Space Out” is definitely the dance number of the over three hour Space Jam. The ØSC is even funky with the Wah Wah pedal . 
Dr. Space announces the beginning of the third set at one o'clock in the morning. Scott Heller is at the start with a fresh team. Jesper is on the “Find The Way Out Of Here” tripwith the bongos. In general, the third CD has two particularly extended long iron. On the one hand it is “A Long Night Amongst Friends” with thirty-four minutes and on the other hand the final just over twenty-three-and-a-half minute, extremely melodic “Find The Way Out Of Here”. Together with “Let It Groove”, the third CD also contains exquisite food from the Space Jam area. On the three plates, the individual character of the musicians comes into their own. The phases of relaxed improvisation are longer on the last piece and the intuitive similarities of guitars and synthesizers are more apparent. 
Nonetheless, Set III is as enjoyable as the predecessor discs of “Out Into Space”. 
Of course, the Fold Out Digipak and booklet of the music are spacy images. Nice! ØSC is the star chef Space Jam band in the musical universe and that’s pretty damn big……by…..Joachim ‘Joe’ Brookes…

Øresund Space Collective “Out into Space” 2015  3 CD `s Denmark Psych Space Rock
During a live performance, there is something about the synergy between the band and the audience with the spur of the moment vibe played within the mement that builds upon the psyche. A passive-aggressive element of telepathy that invokes mutual amusement and the organic and spontaneous combustion of ideas come from the depths of the soul being at the heart of enigmatic performances taking place in the flesh. No filtering, now added ingredients, and no preservatives in the form of studio trickery – There are reasons why albums such as Live/Dead & Space Ritual are milestones with their free spirited improvisations and hypnotic resonance that memorize those within earshot. 

A unit of musicians from Scandinavia, Øresund Space Collective throws all studio wizardry out the window and lets the performance itself do the talking. Aside from mixing & mastering, nothing has been sent though a post-production filter that could have otherwise discarded the soulful elements. The more raw energy that travels from the neurons all the way to the amps, the better. Two albums of melodic fulmination persist of two albums by this collective. Of course, this series of tunage takes place on the live stage and it literally began the moment these guys hit the stage as no charts, not sheet music, no demos and no type of musical GPS of sorts there to provide the roadmap of what would happen. It’s all in favor of capturing everything from the ground up in this (ahem) space in time.
Several hours are spread out between these two releases; crescendos, sweeping synths, swirling moogs, odd time signature and tempo inclinations all make headway as everything executes various moods, with the band often igniting musical affinity from natural cues. Each set of performances is unique, Out Into Space gives us a performance spanning three CDs running through elements of funk (“Has Anyone Seen Nick”), low key groove (“The Man Who Ate the Planets” & “Jamming for Your Mind”), and metalize shred guitar ecstasy (“One More Space Out” & “Let it Groove”); definitely being a journey through and through. But the journey doesn’t end there. 

Different Creatures sees the collective venturing further into outer space through a chaotic, yet harmonious sprint on the opening “The Ride to Valhalla,” playing out a Gilmour-esque steel guitar to refine a bluesy edge on “Raga for Jerry G,” and diving into world/ethnic sounds on the transe-like “Bon Voyage.” So through these two albums, you hear that these guys are way beyond simply standing around. The music in fact, never ends, it constantly evolves, even as if a trackslist or set of song titles might denote something of more of a singular manner, separation and what not, everything is glued together, not by some arrangement or a compositional goal. Compelling with deep intrigue, Øresund Space Collective delivers a triumph of free form music to the ears……2015 Tommy Hash for……

An 80-minute natural high for Space Rock fans

Øresund Space Collective is, like the name says, an ever-changing collective of musicians. They are the number one improvisational jam band I can think of and since their creation in 2004 they’ve put out a huge amount great records. Every record has his own line-up and sound, but it all rotates around Psychedelic Space Rock. Their newest release, Visions of … isn’t an exception, recorded as a live improv session at Black Tornado Studio. Sit back and engulf yourself in this 80-minute long trip, it’s going to be a strange one.

How is the sound? 
With Visions of …, ØSC takes a jazzier, funkier shot at Psychedelic rock and takes us back to the early 70’s jazz fusion sound from bands like Billy Cobham and Soft Machine, which is best to be heard in the second song, ‘Above the Corner’. With a funky bassline that sounds all too familiar to Cobham’s hit from ’73, ‘Stratus‘, the fusionesque influence can’t be ignored anymore. But before we even get to this track, we have to find our way through the 42-minute long title ‘jam’ of the record. 

Where even to begin to describe this track? It’s 42 minutes of fully improvised riffs, solo’s, bass lines and sound effects. All the different parts and instruments intertwine and merge together, just to take their own turn again and go with the natural flow of the jam. The dynamics in the track allow the listener to casually go with the flow or focus on every single twist and turn it takes, without getting bored for a single second out of all the 2.532 it includes. 

‘Piece of Seven’ is built around a steady, heavily grooving drumbeat with psyched out sound effects swirling and circling around it. The song has an oriental sound to it which makes it again, different to its predecessors. The 4-song album finishes off with ‘Around the Corner’, the second part of a jam that started with ‘Above the Corner’ but has an entirely different sound than the previous part. A more straight-up Psychedelic rock track, with a fast-paced built up, a funky rhythm guitar and a soloing guitar that takes the lead. Nothing very original and a bit less interesting than the rest of the tracks, but I suppose you got to come down to earth again at some point……by Mr. Sputnick…………

“Space is the place” – it’s something declared by an Alabama-bred musician born nearly one-hundred years ago, and something we’ve accepted as fact – which may be one reason we feel so immediately linked to the cosmic compositions of Øresund Space Collective. 

Even without a telescope, it’s been hard to miss Øresund Space Collective. Since their formation in 2005, their name has appeared on ten full-length albums – including four in 2011 alone, highlighted by the recent release of “Sleeping With the Sunworm.” Like all of their releases, “Sleeping With the Sunworm” is the space-rock result of improvisational explorations made by a collective of musicians from Denmark and Sweden (on occasion including members of such bands as Siena Root, Causa Sui and Carpet Knights). And like all of their releases, the results are mesmerizing, given patience and the proper, vanguard state of mind – hypnotic rhythms strike across the chest while guitars and synth-lines paint the mind like a solar flare. Outer space without a map – it’s the ultimate psychedelic road trip. 

Certainly the influence of the interstellar rises like a rocket throughout the music we love – from the aforementioned Sun Ra’s impact on the Motor-City Five to those space-ritual holding favorites of Johnny Rotten, the unforgettable astral adventures of Voivod, and even more recent signals sent to bend against the most distant, dying stars. Øresund Space Collective fits nicely in this universe. 

For those paying attention, over the last few weeks we’ve had the pleasure of exploring earth (Hills), wind, (uhhhh … Wind) and fire (Magdalena Solis). We could not be more excited to now explore outer space, in the form of this Øresund Space Collective interview with the group’s synth-master-general, the appropriately named Dr. Space. 

Where does the connection between outer space and music – two outrageously broad categories, we admit – begin for you? Can you recall when it was that you first began your fascinations with both? Who are the artists that you consider pioneers in this realm and what is it (if anything) about their music that captures your imagination? 

In the late 70s I was a huge Pink Floyd fan and was collecting up all their records and bootleg vinyl records as well. This was my first interest in spacey music. I did not really get into Hawkwind until the late 80s, after my “heavy metal” phase when I was putting out a heavy metal fanzine from 1984-1988. These two bands as well as my old friend Doug Walker’s (RIP) band Alien Planetscapes set the stage for me as far as musical influences and space rock. I also got into the 80-90s UK scene with all the great bands like Mandragora, Ozric Tentacles, Omnia Opera, Paperhouse, Dead Flowers, etc. As far as space, it is only in the past 5 years or so that cosmology and the physics of the universe has become extremely fascinating for me. Perhaps it is all the discoveries we have today and the amazing telescopes that can see so far back into time and the events that happened millions of years ago, that it is all coming together. Clearly, Hawkwind with the “In Search of Space” record and fold out and booklet and “Space Ritual” – this was the first real band connecting rock music with space and sci-fi fantasy, largely due to Robert Calvert, Barney Bubbles and Nik Turner in Hawkwind. I can’t see how any young person today who picks up these records would not be pretty blown away at the details and imagination put into it. Clearly pioneers 
What do you consider your earliest musical memory? Can you recall what your first true musical obsession was, during your adolescent years? What made that music so important to your own personal musical evolution? How has your opinion of that music changed over the years? 

My earliest musical memories are my dad playing Chuck Berry. He told me when he was in college before I was born, he saw Chuck Berry, Little Richard and Jerry Lee Lewis in concert. When I was about 9 I bought one of my first records, when my grandfather took me to the military base where he could buy food discounted because he was a war veteran, and I bought Chuck Berry’s “Live in London” and my grandmother made us return the record when she heard him play the song “My Ding-a-Ling” (she was very religious). In the 70s I was really into Aerosmith, CCR, Ted Nugent, and Chuck Berry. I for sure became obsessed with music in the late 70s and we had this great record store in New Mexico called Merlin’s Record Workshop and we would go there and buy records every week when we got paid from our jobs. I met one guy named John, a older guy who was into live bootlegs and he turned me on to live recordings and soon I was getting some recordings from him, recording concerts myself and buying some from a guy in Arizona named Sam, who illegally sold live recordings but it was a way to build up a collection. In a few years I had 200-300 cassettes and eventually through 20 years of tape trading I ended up with over 5000 tapes! 

I still really love most all of the music that I have liked over the years. I never really liked death and thrash metal that much but I ended up with a lot of it over the years (mostly 80s stuff) from writing about music, so that is probably the only music that I am not so fond of today that I may have liked a lot more back then. But I still love Chuck berry, CCR, Aerosmith (old), Pink Floyd and most all of the music I collected. I have broad tastes in music. I just don’t like mainstream commercial music. I prefer instrumental music in some way and this is also maybe one reason why my band plays instrumental music. 

Where did the idea to create Øresund Space Collective originate from? What were the determining factors when considering who would be asked to join the new venture? Was it part of the ambition from the beginning to make the band purely improvisational? 

ØSC was not really formed as a band to begin with and it is still not a band but a collective of musicians. It all started because the band I used to play in, Gas Giant, decided that they did not want any spacey synthesizers anymore and asked me to leave. I was also the band manager and so afterwards, the group slowly died, sadly. Anyway, I still wanted to play music so I asked my friends in Mantric Muse (Copenhagen) and Bland Bladen (Malmö), if they might want to just have some jam sessions. We agreed and Magnus (Mantric Muse) and I took off over the Øresund bridge to Sweden and had the first jam session in April 2004 in Malmö. It was so much fun and the music was actually really good (since these guys are all such good musicians and listeners), that we started to do this on a regular basis with them coming over here or Magnus and I and the others in Mantric Muse also started to join, going to Malmö. In February 2005, we decided to try to play our first live concert and we needed a name, etc. That was the real start. Because everyone in the collective except myself has other bands they play in and write music for, this group has always been improvised. I am not a real musician so I can’t compose music that others could learn or anything like that. We will stay an improvised unit as far as I can see. 

Improvisation holds the perhaps dubious distinction of being a musical approach that is widely practiced but seldom well understood. What is it about improvisation that appeals to your nature and to the other members of Øresund Space Collective? Do you feel that you must be willing to give up a certain degree of the cohesiveness of your sound in order to gain the wide range of exploration that improvisation allows? 

Nearly all the people in the collective come from bands that have done a lot of jamming and improvising in their rehearsal rooms but also in their live concerts so they are quite experienced with live musical experimentation. Also, Gas Giant, the band I played in, were known as the Grateful Dead of stoner rock because we changed the set all the time and did a lot of long spaced out jamming at times. As for the appeal of improvisation, I find it very exciting that I can bring all kinds of musicians together and we can create something new, fresh and exciting. I listen to a lot of music, perhaps 6 hours a day and when I go see a band live, I am not really interested in hearing them play the songs just as on the record. I want something extra, something special, so I pray and hope that a band will jam or improvise. This is what is exciting about live music. A band like Iron Maiden, Metallica, any mainstream metal band, or Porcupine Tree (where it all tied to the visuals and almost like a movie, with a band playing its record along), etc., is not interesting to me, even though I might like their record very much. I recently saw a triple bill of all new young Danish bands (Hedgehogs, Troldmand, Papir) and all three really experimented and jammed and really played. It was one of the best concerts I went to this year!!! 

As for cohesiveness, we are pretty experienced now so this is usually only evident when we start or finish a jam, but we are all really good listeners and once we get the groove going, we really hold it together well now and everyone has a chance to express themselves musically. We are not the kind of improvised band like Acid Mothers Temple or Seven That Spells that freaks out and gets really noisy and wild and crazy with our instruments and loses the melodic and musical element completely. It is always playing with the elements of melody and groove and myself adding the space sounds. 

We find the song titles attached to the Øresund Space Collective compositions to enhance our enjoyment of the sounds – titles like “Reintroduce the Snakes to Ireland,” “Dead Man In Space,” and “My Heel Has A Beard.” To whom does the job of titling a particular piece fall to? Is there anything in particular you like to see ØSC capture in the titles? Would it be possible for a ØSC title to be too comical or too silly? 

The song titles are sometimes a challenge and sometimes fun and more thought out. “Reintroduce the Snakes to Ireland” came about that the day after we played at Roadburn. There were some Irish guys staying at the same hotel and one guy was a real talker and some how we hit upon that there were no snakes left in Ireland … a song title is born. “Dead Man in Space” and “My heel Has a Beard” were made by my creative daughter. She saw the back cover for the “Dead Man in Space” LP, which at that time did not have a title and she said, “Dead man in space”. It was after this that I also did the spoken word piece in my home studio. The titles should be something interesting, fun and maybe be related to an event that occurred at the concert or studio session that we can make a title around or when we are on tour. We try to make a list sometimes of what could be funny titles based on our experiences on the tour. Sure, a few of the titles are perhaps a bit too silly, especially if you don’t know the inside story like “Mogen’s Mini-Pussi Cheese Balls”! Most of the time it’s fun to come up with the titles, but sometimes, I just want to get the concert up on the net and come up with the titles over a few minutes. 

Would you care to comment on the rumor (the rumor that we are attempting to start right now) that curious listeners can sync-up any ØSC release to a screening of the 1996 semi-animated film “Space Jam” … and that the result is a sonically improved experience that makes the film almost watchable? 

OK … I don’t know this movie but perhaps we should try it sometime! 

What music have you been listening to lately? If push comes to shove, what is your favorite Zolar-X song? 

Since I do a lot of reviewing of music for Aural Innovations, my blog and other places. I hear a lot of music. The latest things I have been playing are: Papir- Stundum, Gösta Berlings Saga “Glue Works,” Johnfish Sparkle “Flow,” Primus “Green Naugahyde,” Titan “Pacific Living” cassette, Ozric Tentacles “Paper Monkey,” Gnod “Chaudelande Vol. 1” LP, Premonition 13 LP, Candlemass “Doomology” box set, Causa Sui “Pewt’r Sessions Vol. 2” LP, Rotor “Festsaal Kruesberg” CD, and Hawkwind “Parallel Universe” 3CD compilation. My daughter is into Bob Marley at the moment so we hear a lot of Bob as well. I have also been listening a lot to the last concerts by local bands, Troldmand, Hedgehogs and Papir that I multitrack recorded and mixed in my home studio. As for Zolar-X … never really heard them. They were some Hollywood cult band, right? 

Our understanding is that ØSC operates in live performance much like it operates in the studio – essentially, instant composition. What are the attributes that make performing live a thrill for you? Who are the improvisational musicians that you have seen perform live which ended up making the biggest impact on you? 

That is correct, the only difference between the studio and the live concert is an audience as we set up a PA in the studio so everyone can hear the synthesizers without wearing headphones so it is more like a live concert with friends. As for the thrill and challenge of playing live, we are quite affected by the audience. Some places we play the people are dead and stoned (our local concerts) and when we play in Finland, the place is really into it and this gives you a totally different energy and we tend to get into better grooves and when the audience is more spaced out or just talking and not paying much attention, we my explore a more spaced out realm. Here in Denmark, there were not many bands that did a lot of jamming but being in and playing with Gas Giant had a huge effect on me to see the potential and magic that we could create with an incredible jam and how I would feel very euphoric and blown away when we really took off to another realm. Guitarist Stefan Krey could blow me away on a nightly basis with his amazing and inventive guitar work. He still can! When Morten Aron was in the band On Trial, they used to do a lot of jamming and spacing out as well. Ozric Tentacles when I used to see them in the mid 90s also totally blew me away and the two GONG shows I saw in 1996 as well. When I lived in Boston, their was a local act called Das Ludicroix lead by a cool guy named Larry (RIP) and they also were very spaced out and a cool jamming band. We also had Architectural Metaphor who I was friends with and saw play some amazing jamming shows as well. Greg Kozlowski was a very creative guitar player. He now plays in Secret Saucer. 

Sun Ra was quoted as having said the following: “In tomorrow’s world, men will not need artificial instruments such as jets and space ships. In the world of tomorrow, the new man will ‘think’ the place he wants to go, then his mind will take him there.” What does this quote mean to you? To what extent do you use music as a vehicle for your mind to take you places? 

Sun Ra will always have a special place in the musical world. He was a man from another world for sure and he used his craziness for very positive experiments in music, which was great! The mind is a very powerful biological energy and, when focused through meditation or THC or drugs, can allow you to go other places. I try to host monthly music nights at my place where my best friends Nils, Magnus, Tom and sometimes others join us to spend an evening really listening to music. Have some good food, beers, etc., and really hear some of the new records and also old and just absorb the music and the adventure that the bands have prepared for you. One of the most intense new musical experiences that I highly recommend is the new CD by the UK band, the Higher Craft! It is called “The Quest Into the Stepping Stone Age” and it is one 70-minute trip to another world, with all the spoken word spacey pieces carefully pieced together with the psychedelic rock music. Quite a masterpiece but sadly, few people in this day and age will ever sit down and just listen and experience the record. I have done it four times. I think the new Omnia Opera double CD is also really amazing and very well thought out. I put aside a lot of my time to really hear and enjoy music. I don’t watch TV and do not use the mobile phone very much or spend much time on places like Facebook (I do have a page though). 

What’s next for Øresund Space Collective? 

Dr. Space: We have our 11th release coming out on our own Space Rock productions on Nov 21st in a limited edition digipack in 500 hand numbered copies. We have another vinyl record planned for 2012 but are not sure if we will release it or another label at this time. It is from the same recording session as the “Entering Into the Space Country” LP. We also have another CD from the 3rd day of the studio session from 2010, which features 3 tracks with KG from Siena Root playing sitar and Mattias Danielsson from My Brother the Wind on pedal steel and guitar, as well as Claus Bøhling from Secret Oyster/Hurdy Gurdy fame. We may get a chance to go play in India in 2012 and I would like to go back and play in Finland, one of my favorite places to play as the audiences are so into it and the people very cool. If we can come up with the money, I will schedule another studio session and try to get some of the old players and some new blood in as well, like Nicklas from Papir! We will see. Thanks for this chance to chat … This Zolar-X is pretty cool … I found it on the net while finishing this interview … thanks!….Revolt of the tapes………

Line-up / Musicians 
Disc 1: 
- Søren / drums 
- Magnus / guitars 
- Sebbe / guitars 
- Jocke / bass 
- Ola / synthesizers 
- Dr. Space / synthesizers 

Disc 2: 
- Tobias / guitars 
- Johan / guitars 
- Stefan / guitars 
- Thomas / bass 
- PIB / drums 
- Rasmus / synthesizers 
- Dr. Space / synthesizers 

Disc 3: 
- Dr. Space / synthesizers 
- Mogens / synthesizers 
- Christoffer / drums 
- Nick / guitars 
- Nicklas / guitars 
- Jiri / bass 
- Jesper / bongos

Songs / Tracks Listing 
Disc 1 (78:10) 
1. Open The Skies (15:40) 
2. Flyby Guitar Hero (12:00) 
3. Has Anyone Seen Nick? (15:11) 
4. ØSC History Lesson (1:48) 
5. The Man Who Ate Planets (19:33) 
6. The Last Glide (13:58) 

Disc 2 (69:11) 
1. Jamming For Your Mind (14:35) 
2. Stargate 7341 (12:41) 
3. Circular Perimeter (13:13) 
4. Chocolate Orange Candle (13:35) 
5. Band Introductions (0:23) 
6. One More Space Out (14:44) 

Disc 3 (71:46) 
1. A Long Night Amongst Friends (34:02) 
2. Band Intros (1:08) 
3. Let It Groove (12:59) 
4. Find The Way Out Of Here (23:37) 

Øresund Space Collective “Hallucinations Inside The Oracle" 2017 Denmark Psych Space Rock,Raga Rock 2 LP`s Released: 11 Oct 2017 


johnkatsmc5, welcome music..





Cassete Deck

Cassete Deck