SULA BASSANA

As much as I'm a fan of Dave Schmidt I must admit there's a lot of hit and miss with his solo stuff under the name SULA BASSANA, the same with the band ZONE SIX he's involved with. My favourite of his solo efforts is "Dark Days" from 2012. Not long after that one he got more into the electronic side of music which I wasn't as into. This latest from 2022 is called "Nostalgia" because it does recall the earlier days. In fact these tracks were created between 2013 and 2018 but weren't suitable to the style he's more into now.

We get five tracks under 42 minutes. Not big on Dave's singing just because he almost whispers or is distant sounding. Why bother but it's psychedelic music, it's all about the mood he's creating. The album opens with "Real Life" and it's slow and trippy as the guitar echoes. Whispered vocals here and they will come and go. Synths sound like a helicopter briefly before 2 1/2 minutes. It does get heavier when the vocals step aside then themes are repeated. More of those whispered vocals on "We Will Make It" but I do like this track better than the opener. Spacey is contrasted with heavy.

The title track is brighter with strummed guitar and electronics. A feel good sound that will include drums but this is quite spacey. "Wurmloch" is 10 minutes and the longest but also the least adventerous as they seem to lock into a groove and stay there. The closer "Mellotraum" is good for the upfront mellotron to start as a catchy mid-paced rhythm kicks in. Repetitive with the last 1 1/2 minutes being spacey.

I don't know this just doesn't catch my imagination at all other than the art work. It feels tired or maybe that's me. Check Dave out with Ax and Mani from GURU GURU they put out a couple of live records that's anything but sleepy.

There is something about summertime, that makes me more appreciative of electronic music. Maybe it´s because of the fact, that I know quite a number of underground dj´s - who occasionally invite people in the know to grand scale parties in the woods, or in dried out bogs - far away from society and cops, who generally think we are dangerous drug-addicts trying to kidnap the innocent youth of the nation stuffing them full of uncontrolled substances. Well, everybody´s entitled to seek out their own boundaries and minds IMHHO, as long as it doesn´t put others at risk or in danger. The reason why I´m starting this review like this, is because I feel several ties - common denominators between the music of these hidden events and the one you´ll find on this record.

Sula Bassana is a one man army, who dabbles in all kinds of approaches to making music - ranging from all out psychedelic and rocking assaults - using guitars in various disguises, drums, wobbly bass foundations, Krautrock flows of music that develops and unfolds on its own terms, , as well as highly structured pieces- to the bib bib bib electronics you will find on this mother.

This album is very much an echo of what is happening in the electronic underground scene in Copenhagen and Berlin, and if you are looking for something similar to the space rock found on the 2009 effort The NIght, you are most likely in for a nasty surprise. The guy behind the music is named something as mundane as Dave Schmidt. He masters a wide variety of instruments, but on this the emphasis lies on synthesizers, drumboxes, sequenced guitars and samples. All of the pieces here have their own flow, and I´d like to think of them as small ponds of sounds - each of them providing different symmetries to a record that exudes an otherworldly optimism and far away space travels on the edge of the solar system. They do feel like ponds to me, slowly parting with their tunes in compliance with the big beat conjurer throwing pebbles into the water. A kind of electronic music conveyed in ripples.

There is a dance flavor to this as well, that will drill its way into your neural pathways like an insistent snout beetle hooked on human flesh, but this should hopefully not deter you from trying out this rather original outing. The ump pah ump pah rhythm is only a minuscule part of the music, lying on the bottom of the pond. The psychedelics of Sula Bassana penetrates in a wonderful way - through a whirlwind of synths, that both bubbles rhythmically to the beat - as well as providing wings to the pieces making them airborne and swirling - just like a plastic bag caught in the updraft of wind gusts in the street. It´s a real melting pot of electronics and psychedelics, and you are in for a treat, if you´re able to pass through the bounciness of the beats and explore the whole package so to speak. Furthermore you´ll also get strange and outlandish trickery squeezed into the tracks, that adds a welcome and uncertain element to the music. Like the mouth harp on the opener Barberella, that acts as a cornerstone for the rhythm in an enticing but somehow very simple way, or the guitars of the last piece Pygar - which have an almost irrigating effect - showering the rest of the swirling synths and sounds.

I actually think, this is one of the few albums, I have heard, that combine that fleeting feel of underground trance parties together with the space voyages of the trippy hippy psych pastures, which normally evolves around a rock band. Well not this one matey!

A hypnotic and ebullient voyage handed over in musical ripples, that is recommended to space cadets, electronic pixies and those with a love for the modern foxtrot and salsa.

So here you can explore five downbeat/breakbeat or maybe even drum 'n' bass coloured songs decorated with Berlin School progressive electronic elements. All in all made of a strong repetitive behaviour, speaking of the beat (drumbox) first of all. The opener Barbarella comes hypnotic, simplistic, synths and mouthharp are only slightly varying over the course of eleven minutes. Thora and Stella Star however are showing a groovy beat and swirling synths which stylistically gets closer to some Ozric Tentacles stuff.

Trillian consists of swelling dub oriented elements where Pygar shows a Tangerine Dream similar outfit with melancholic relaxed synth and guitar patterns, a nice atmospheric one, for me the best track. As stated before a professional production and probably a revelation for fans of electronically worked out music, however not my cup of tea. I can't get used to it really, and the same applies to the artwork which unfortunately provokes mixed feelings - 2.5 stars.

"In Space" has this dramatic intro before a beat kicks in followed by guitar. Sounds like mellotron too but the main thing is that this sounds amazing. "Lost In Space" begins with sounds that pulse and beat as these spoken words come in in the background. This is powerful stuff. Crank it up ! "The Night" is 15 1/2 minutes long and divided into 4 parts. A haunting intro before this heavy yet relaxed sound takes over around 1 1/2 minutes. Guitar before 4 1/2 minutes takes the lead. A second guitar comes in. Nice. A calm 9 1/2 minutes in as the sound changes. Strummed guitar is prominant as it builds. Just a gorgeous sound here.There's a Post-Rock vibe because of the guitar 12 1/2 minutes in. It then settles some 2 minutes later.

The guitar makes some noise early on "Meteorritt" with spacey sounds coming and going. It kicks in around 1 1/2 minutes with drums. The guitar sounds great here. It's lighting it up then it turns spacey late. "Kosmokrator" is the longest track at 16 1/2 minutes. The guitar and other sounds echo as a beat comes in. Outstanding. Vocals 3 minutes in as we get a very strong HAWKWIND flavour. The vocals are brief. It settles some after 5 minutes then kicks back in. We briefly get those vocals again a minute later. It's heavier 7 minutes in. This is too much ! I swear this is blowing my hair back right now. It settles after 11 minutes as it becomes dark and spacey (the night) to end it.

A must for you space cadets out there.

4(+), of course, can sound quite repetitive after a while, especially when you're used to listen different kinds of music. But it's one man project, it's for sure advantage, as it means harmony. And of course beautiful cover.

"Dreamer" opens sounding very retro, very 60's actually with the organ,synths and drums leading the way. Vocals join in but it's the guitar before 2 minutes that's the highlight of this track. "Dealer McDope" is such a great title. Guitar to open as drums and a full sound arrive quickly. Spacey winds too before it settles around a minute. Organ and vocals after 1 1/2 minutes. It's very spacey late then it eventually blends into "My Blue Guitar". A trippy beat follows as the guitar soars. Love this track.

"Nervenlahmung" opens with sounds that hum and float. We start to get a rhythm after a minute. It stops after 3 minutes as it turns spacey. "Ananda" is spacey as a beat comes in. Some piano comes and goes as these strange sounds make noise over top. Sitar before 5 minutes. It kicks in unexpectantly before 9 minutes then settles again around 11 minutes. "Baby Blue Shuffle In D Major" is apparently an unreleased PINK FLOYD track. At least i've never heard of it. It has an unusual intro then it settles in with a trippy beat. Some mellotron too. Great sound. The guitar becomes prominant before 3 minutes and the sound gets spacier.

A solid 4 stars.

Here we have five playful songs mastered by Eroc (ex-Grobschnitt) - sounding relaxed and busy at once. This is trippy basically, except some rare heavy rocking elements. Probably this album is concipated as a time travel (didn't ask for clarification though) ... anyhow, the opener In Space appears in really retro clothes - mysterious - maybe even a little bit nightmarish. This is immediately reminding me of a sound track seemingly composed for a sci-fi series like the German 'Raumpatrouille Orion' for example which started in 1966. As for that the song even reflects a pop appeal in my humble opinion especially caused by this special beat and the synthesizer contributions.

Later then we are Lost In Space - this song might refer to the early 70s - krautrock tinged with hypnotic rhythm elements where Sula's keyboard work is very very attractive. With the epic title song the album gets going at the latest. Divided in four parts it undoubtely makes out a highlight of the production. Partially grooving but also trippy floating this song is ultimately dedicated to the psychedelic guitar! A wonderful melodic piece of work where you will detect the sole external contribution by Stefan Koglek from the band COLOURHAZE. He provides lyrics and vocals for the second part and this fits closely to the mellow mood.

Now hereafter we are up to enjoy contemporary space rock at its best I would say. Meteorritt - the song title shows a nice pun at first colloquially meaning 'ride on a meteorite'. A fine straightforward grooving ride indeed with many repetitve elements plus echoing and swirling guitars all over. Stylistically on nearly the same line Kosmokrator as the last (and longest) tune follows - much more diversified though containing also culminating heavy rocking impressions, some typical vocals - rather more sprechgesang and ambient gliding parts.

'The Night' is offered with a charming appeal but guarantees tension too - you can smell Sula's longtime experiences composing music. An excellent cosmic journey which will please krautrock as well as psych/space fans.

The album is started in a great way with the totally instrumental, rather slow, melodic and atmospheric "In Space" that has very pleasant guitar work and lush keyboards plus little psych sounds. "Lost in Space" rocks more already and is a pretty tight and hypnotic space/kraut rock number that also includes some spacey, quiet vocals. Wow! The fifteen-and-a-half-minute long "The Night" is formed of four parts. At first there is some more experimental, weird soundscapes until the slow-paced and brilliant part with Stefan's beautiful vocals reminding of some 70's prog/psych/kraut rock acts begins. After a short brake starts off the bit faster, rather progressive and melodic part in ¾ time. How incredible moods! The last six minutes go by in a peaceful haze in the spirit of Pink Floyd, although Dave makes the track grow a bit in the post rock style at one point. Totally amazing stuff! "Meteorrit" begins slowly but soon it gets into repetitive kraut rocking. This reminds me a bit of 90's Circle. The album is finished with the over 16-minute long "Kosmokrator" that is a really cosmic but hypnotically rocking space rock piece. At times the going gets pretty heavy as well, but the last minutes are hallucinatory, very spacey ambient.

It's too early for me to say if The Night is the best Sula Bassana album yet, but it sure is excellent. It seems to me that Dave has progressed nicely especially in his guitar playing and the music is of course guaranteed psychedelia. This album is supposed to be coming out on vinyl as well, and it's worthwhile also to get the first Sula Bassana 7" that has just been released on Nasoni!

SULA BASSANA's 'Dreamer' is a freaky but also accessible psychedelic trip. Six songs are offered and the complete album is played and produced by Dave Schmidt himself. Only one title is a cover - Pink Floyd's Baby Blue Shuffle in D Major which never was a part of any official release what I know. Apparently this is done by Dave Schmidt to show his great respect for the band and additionally points to one important aspect of the album - the songs are referring to the 60s/70s psych times more or less. On the other hand SULA BASSANA is successful to combine this with trippy ambient chillout elements and finally to create something very unique in its entirety.

The title song Dreamer has an impulsive driving rhythm and is provided with vintage keyboards - organ and mellotron pregnant. But for the last two minutes you're suddenly sent on a hallucinogenic acid trip. Dealer McDope is groovy funky with spacey guitars and fades into My blue guitar which comes with a typical Pink Floyd midtempo theme. You really can lie back to enjoy a long and wonderful emotional guitar solo. Ambient spaced out soundscapes are dominating Nervenlähmung whereas the hypnotic Ananda is meandering with an asian touch for several minutes only once exploding in the middle with a furious crazy interlude. Baby Blue Shuffle in D Major finally is presented relaxed in trippy chillout clothes with spacy bubbling sounds.

Good effort I can say. Also for Krautrock fans this album might be a good find. 3.5 stars

In 2006 the Berlin Nasoni Records label had its 10th anniversary and this album was released for the celebration. Dave Schmidt aka SULA BASSANA gathered members of bands like Liquid Visions, Weltraumstaunen, Johnson Noise and called this temporary project SULA BASSANA AND THE NASONI POP ART EXPERIMENTAL BAND. A freaky name indeed which forces some questions. Is it a reference to the legendary 'West Coast Pop Art Experimental Band' of the late 60's? It might be - anyhow - it's worth it to check this out. Very interesting songs are offered, played straightforward with much easiness, basically psychedelic/space and kraut stuff, well composed and performed in opposite to endless jams for example.

Mainly known as a bassist SULA BASSANA plays several instruments here. First of all his compelling mix of jazzy and psych guitar work is to mention sometimes reminding me of KRAAN's Peter Wolbrandt but also Jimi Hendrix with the song Pay for freedom. Silke Fugmann, known as Elli Popelli, has an important role on the opener Slowner handling a very unique instrument, the one-string corn-can-violin, and delivering a mysterious voice like Renate Knaup. A trance track with heavy organ and distorted guitar riffs. The Terrascrew is initiated by a dark scary Mellotron and then continues with acid rocking guitars changing to the catching Ridin' - a typical hypnotic krautrock tune with synthy additions.

Go! is grooving a lot. As one might say the only jamming part of the album with Chris Schwartzkinsky's impelling drums, repetitive background vocals and a fantastic guitar contribution plus delay effects. The song later gets near to the early american west coast psych alla JEFFERSON AIRPLANE or THE BYRDS. The same with The night after - a floating melodic piece with a bizarre whispering voice and backward played guitars. Daydreams is dreamy laid-back as the title implies with Mellotron for enhancing a very special atmosphere. Emmerting Spring finally comes with different lengths for the vinyl and digital version. Birds' twittering, jews harp and flute wrapped in a meditative, ambient, melancholic mood.

A pleasant collection of hypnotic beats, trance and spacey soundscapes. If you like 60/70's Psych and Krautrock this album is a top catch.