EDENA GARDENS

Same with the cover art. The first two covers look awesome and in the same ballpark but the third one completely different and my least favourite. I love the art for "Agar" but much prefer the music of the debut. It was more lush and spacey with echoes galore. Both are fairly relaxed slow to mid-paced records but with "Agar" the guitar notes are sharper, more slide guitar, a definite Post-Rock sound to those guitars at times. Just not as warm as the debut.

So a trio of bass/drums/guitar but the bass player plays guitar more than bass. Some pedigree here with the lead guitarist being from PAPIR, the drummer from CAUSA SUI and the bass/guitar player from many bands including several with the drummer. This was engineered and mastered by Jonas Monk who is also from CAUSA SUI. I'm told this is a trilogy so I'm not sure if the band continues after this. I hear their final record "Dens" was made up of music that they improvised and going through hours of tape they came up with that final recording.

So I highly recommend the debut but also know it works best for me as background music. But what a beautiful album. "Agar" just doesn't connect with me like the debut and I can't go more than three stars here.

Music to chill to you could say and this is one of those albums that just sounds really good. The warmth, the echo, spacey atmosphere, shimmering guitars, laid back drums for the most part all provide an uplifting sound. Other than the opener "Aether" really which is a slow moving piece that can be dark at times, the rest has the same vibe.

The closer is actually the song with the most light interestingly enough and maybe my favourite. It's called An T-Eilean Dubh" at 7 minutes in length. Clean picked guitar too which is unusual for this album. Active drums as well. Repetitive yes. Uplifting as well. Some of the songs become more passionate late but this is slow to mid-paced mostly with plenty of echo and space. "Now Here Nowhere" along with the closer are the two that standout for me but no weak tunes and uniform in sound. there's very little information in the liner notes(what notes?) but I do like the art work. It's great background music by the way.

The EP is short, just 4 minutes and 26 seconds. Obviously the music here is guitar oriented, repetitive melody throughout, quite psychedelic, without any major jumps or changes in the direction and dynamics, these are the hallmarks of psychedelic/space rock. It also has that krautrock feel, the effects surely add a lot.

Nothing really groundbreaking here in terms of music, though I really liked the meditative aspect of it. 7,5/10

If you are familiar with the other projects of these artists, the first thing you notice about Edena Gardens is that the music seems deliberately slower, intentionally drawing out melodies and rhythms to find the silence and space between the notes. It is rock music, but it brings some of the swing and spaciousness of spiritual jazz to bear on the compositions. The opener, "Aether," begins with ponderous minor key guitars, reminiscent of "The End" by the Doors. The music refuses to hurry, but instead dwells in a contemplative atmosphere. This is music where restraint and intentionality make every note count. You can hear the players listening to each other as the composition organically emerges. Though the tempo is even slower than a funeral march, it does not leave the listener frustrated or impatient, but rather, hushes the listener into an attentive trance, fascinated to see the delicate structures of melody break apart and reform like a kaleidoscope. The second piece, "Sliding Under," ascends to lighter atmospheres, and finds Martin Rude switching to guitar to interplay with Sorenson. The effect is akin to a half-time Allman Brothers Mountain Jam. Some delicate keys and slow-attack guitars produce a swirling sensation of movement.

"The Canopy" is a gentle ballad, surrounding Nicklas Sorenson's lyrical playing with some gentle backwards guitar and vibraphone sounds, as Jakob Skott demonstrates how to deftly coax time forward with his cymbals and toms. The fourth track, "Hidebound," takes a familiar 6/8 folk-rock rhythm and slows it down, with clean guitar chords delaying off into infinity and synthesizer swells washing across the sky of this landscape. All sounds are tastefully chosen, and the production lovingly caresses the ear of the listener with sounds that refuse to overpower, but instead invite closer attention to their subtlety.

"Now Here Nowhere" give us Edena Gardens' take on the blues, with psychedelic sound effects echoing across the space made between the bass and drum setting up their three-chord jam.

The closing track, "An T-Eilean Dubh," is perhaps the closest this album comes to playing mainstream rock music, with a tempo which pics up from the hypnotic pace of the preceding album, and allows the players to solo over a repeating chord sequence. Jakob Skott adds world music interest with some shakers in the background. Nicklas Sorenson cycles through a delicious palette of sounds as he states an ever intensifying case with his guitar.

This is truly music to open your mind, to contemplate, to relax and luxuriate in. The players evidently enjoyed the experience of making it so much that a second album is already on the way, before the first Edena Gardens album has even seen its anniversary. If it comes close to the profound achievement of this beautiful, breathtaking album, it may seem like a new genre of music is being born.