PAPIR

I wish I knew the background how these two bands got together to record this album but at this point PAPIR had released two excellent records while Germany's ELECTRIC MOON had released several. This was recorded at the Dragons Hule in Copenhagen, Denmark August 9 2012. We get the trio of PAPIR and that's bass, drums and guitar while ELECTRIC MOON arrives without their drummer but Dave Schmidt(SULA BASSANA) is here playing mostly guitar and effects along with Komet Lulu their bassist and she's awesome, she also adds effects and did the cover art. The sixth member is ORESUND SPACE COLLECTIVE member Morgens Deenfort on keyboards a local Danish guy who's been on a ton of OSC albums including the self titled debut from 2006. This was recorded and mixed by PAPIR while EROC mastered it. Three long tracks and this is the third review in a row I've done where the album has had just three songs.

Man this is a beast with those synths swirling and growling and creating another layer as the ELECTRIC MOON duo is either playing their instruments or adding effects. Two guitarists is great and Schmidt is amazing at creating these guitar expressions and sounds. This isn't a perfect record as that final track doesn't start exactly the way I like but man that few minutes is it as far as music that doesn't simply blow me away. These guys had to be feeding off each other, showing off their stuff and having a blast doing it all. The opener "Farewell Mr. Space Echo" is my favourite at just over 16 minutes. Just a flawless Space Rock track as far as I'm concerned. This is very much a slow build until at 9 1/2 minutes it's a frenzy. It settles back around 12 minutes in.

"Red Dust" proves Mr. Space Echo is still around as we get plenty of that from the guitar and synths on this the shortest piece at 6 minutes. It's brighter with lots of atmosphere, trippy too. The bass is quite nimble on this one. The closer "The Circle" is over 21 minutes long and I'm not big on the start and it sounds like they started recording while this was being played. It's mostly the guitar style I'm not into for the first few minutes then before 4 minutes as calm with powerful atmospheric sounds taking over quickly. No structure here. Some cymbals and sparse beats come and go then guitar expressions and bass all before 6 minutes. It's starting to move some after 7 minutes. It's after 11 minutes that it moves quicker and turns much more powerful. Great sound! The guitar is wailing after 14 1/2 minutes.

Incredible the buildups of the opener and closer on this recording then add the short bright track and man we have a classic Space rock record right here folks!

PAPIR's second album is a doozy. This Danish trio released their 31minute debut the year before they released this almost 80 minute tour de force in 2011. It's really cool that fellow Danes CAUSA SUI got involved with "Stundum" helping PAPIR in different ways I'm sure as Jonas Munk records and produces this album and future ones as well along with CAUSA SUI's drummer Jakob Skott doing the cover art design and layout. He also will do this for future PAPIR albums except for the one PAPIR did with ELECTRIC MOON called the "Papermoon Sessions" where ELECTRIC MOON's bassist Komet did it as she has her own design company called LULU.

Pretty cool too that all three PAPIR members have been a part of ORESUND SPACE COLLECTIVE. I was reminded too of that ZONE SIX live record called "Live Wire" which is so trippy with some powerful outbursts of course but the emphasis is on the atmosphere and mood often with beautiful sounding guitar leads. "Stundum" is a lot like that. The guitar certainly comes in a variety of styles and tones here and this recording "sounds" really good.

The closer "Tuesday #2" is the most mellow of the lot being very spacey with all that atmosphere. Love the picked guitar and cymbals to open the album on "Sunday #1" while the synths and bass join in as well. The guitar starts to solo around 5 minutes in. So good. More mellow stuff before we get some power late. "Saturday" opens with the wind blowing fairly hard before a Reggae rhythm kicks in followed by guitar of the same style. Catchy stuff but it doesn't stay this way but themes are repeated so see you later on. Different guitar styles on this one and it clocks in at over 14 minutes.

"Monday" is one of my favourites as it builds with those urgent bass lines and drums as the guitar starts to make some noise. Man that bass is getting nasty 4 minutes in and the guitar is taking no prisoners. A long calm after 5 1/2 minutes and it starts to rebuild around 12 1/2 minutes with some gorgeous sounding guitar. "Sunday #2" is another really good tune with repeated guitar melodies which I like. A lot of trippy music here too and the guitar is just lighting it up before 5 minutes and later as well around 13 minutes when it turns powerful. A lot of jamming on "Tuesday #1" but that's not new here with five of these tracks being very long between 14 and 20 minutes.

Just a very enjoyable listen but a long one. A very solid 4 stars and an improvement on the debut that I really liked. And please check out Guldbamsen's review.

PAPIR are a Space Rock trio out of Denmark who add Krautrock colours to their music. This is their debut from 2010 which they did mostly themselves except for the mastering. It clocks in at 31 minutes with four tracks which certainly changed on album number two called "Stundum" an almost 80 minute recording where they get help from Jonas Munk also from Denmark and from the band CAUSA SUI who recorded and produced it and he certainly brought some inspiration on what I feel is their best album. I would put this their debut in my top three albums by them though along with "Stundum" of course and the studio album they did with ELECTRIC MOON called "The Papermoon Sessions" which is fantastic! Do yourselves a favour and read our resident Psychedelic expert Guldbamsen's review of this one and "Stundum". David has known these guys since high school.

So they are a bass/drum/guitar trio with the guitarist and bassist both adding keyboards which are on every track. The opener "Kurl Te Pow Ralise" is the longest at almost 10 minutes. Atmosphere with what sounds like crickets and experimental sounds before beats and keys take over around 1 1/2 minutes. The guitar comes in over top and the synths get growly as they swirl as it kicks in pretty good after 3 minutes. It will settle back a couple of times but man just head bobbin' music. "Lykk Trep-r Hi-Lose" is over 8 minutes and the drums kick in right off the bat with depth of sound here and outbursts of guitar. Some keys and strummed guitar follows this. Catchy stuff. It turns powerful before 1 1/2 minutes and I love that bass. Back to strumming that guitar as themes are repeated meaning the heaviness returns. Yes! A Post-Rock vibe 4 minutes in and the guitar is scraping away in the distance before 6 minutes. Them more heaviness.

"Une Frensal N-Erit" at 7 1/2 minutes opens with atmosphere on steroids before beats join in this experimental soundscape around 1 1/2 minutes. The atmosphere leaves after 2 minutes as bass and drums support those cool sounding guitar expressions. Synths agan swirl and they amp it up after 4 minutes then kick it up another notch after that. So good! The closer "Rogter Sot Oe Koft" is 5 1/2 minutes long opening with bongos(is that Bamsen?) along with atmosphere before it builds into a catchy groove. Piano after aminute which is interesting because it's going at a slower pace then the rest of the song. Heaviness out of nowhere after 2 1/2 minutes then it settles a minute later before piano ends it.

The next one "Stundum" blows this one up but this is a refreshing record that reveals a talented band who will only get better.

In 2008, 'Papir' was considered a young group of psychedelic musicians. Now they are young plus 11 years, what ever that is. They come from Denmark and dabble occasionally into krautrock. The original line-up is Christoffer Brochmann Christensen n the drums; Nicklas Sorensen on guitars and keyboards; and Christian Becher Clausen on bass and keyboards. They have released 7 full length studio albums since 2010, the latest one being 'VI' released in May of 2019. The original lineup is still together with this album, which has 4 tracks and spans a total time of 39 minutes. This is quite short in comparison to their previous album 'V' which was a double album and ran for over an hour and a half. The intention was to keep this album more concise and focused without the long wanderings of the last album.

The tracks on this album are simply numbered. The first track, 'VI.I', is just over 10 minutes and it immediately establishes the rhythm section with a groovy, repeating bass line and a moderate, floating drum line with embellishments. The guitar comes in quickly and does some improvisation and structured passages with the bass tagging right along, note for note on the structured melodies, but allowing for the guitar to go off on it's own on the improvised sections. The echo on the guitar hangs around long enough to create a slight drone in the background. The drums move things forward and back dynamically and the other musicians follow suit taking their intensity cues from the percussion.

'VI.II' works in the same manner as the bass picks out a faster moving bass line and this time the drums play a more driving rhythm than the last track. This time, the guitars joins in giving a more frantic and intense sound. There are fuzzy chords in the background as the guitar wails out an improvised melody. There are a few times along the way that the guitar stops and allows all of the echoing reverb clear out, washing everything clean of the droning sound created by the echo, sort of like resetting itself before it attacks again. The drums add some variety to its style, not satisfied just to sit back and pound out the same pattern.

'VI.III' begins much more atmospheric with guitar effects echoing in an experimental feel before the floating bass and percussion come in to establish a moderate background. The bass line becomes more prominent as the track continues. The guitar has a more sustained feel to it as e track feels more spacey, free-floating and atmospheric overall. There is a percussive, tonal sound added to one of the guitar lines later and then the guitar becomes more improvised as the tune floats along, becoming slowly more intense as it continues as synths provide a lush drone.

The last track, 'VI.IV' is the longest at just over 11 minutes. The bass line is a bit more complex this time and the percussion is more clanky and disjointed creating a frantic feeling. The guitar begins with its improvisation. After a minute, the drums kick in with a heavy, consistant beat as the bass settles in to a repeated pattern and the guitar's improvisation becomes heavier and more intense alternating between improvisation and structured heavier passages. The bass is then allowed to have some fun for a while with a more complex pattern as the feel turns a bit looser. An interesting sounding drone comes in as the percussion gets heavier with wild drumming and crashing cymbals and then the guitar goes wild in a stoner rock vibe. The intensity calms a bit when the drone gets dropped and the drums steady out the rhythm. The guitar turns jangly and sounds more free-floating for a while. Soon, things morph into a more driving rhythm and the guitar intensifies again, things become more solid as before and brings the entire thing to a rocking conclusion.

Papir prides itself in not playing to the masses, but instead, providing music where listeners can get blessed out on psychedelic and space rock style jams that are not always satisfied to remain in one style for too long. Rhythm and tempo changes are smooth and almost unnoticeable unless you are listening closely. If you do bliss out, this album will slip by quickly without hardly any notice to the dynamics that are present. If you listen closely, however, you will notice changes throughout each track as the sound moves around dynamically almost like the tides of the ocean. Either way, the music works well and serves the purpose that it was made for. It makes sense to not over-indulge listeners on this style of music, thus it makes sense that this album was shorter than the previous one, thus making this more convenient to listen to. Anyway, this is high quality psychedelic/space rock that will appeal to those that love to let their minds float free along with the music.

This is my first experience with Denmark's own PAPIR. I just noticed that they list CAN and HARMONIA as influences which is really cool and I had noticed the HARMONIA-like sounds on a couple of tracks. These guys are a trio of drums, guitar and bass. Interesting that John McEntire mixed this album as he's pretty well known in the Post-Rock world being part of bands like TORTOISE, RED KRAYOLA and GASTR DEL SOL. The music here is fairly laid back overall and being a double album we have close to 95 minutes of music. I would love to scale this back to a 60 minute single album but oh well, that's just me. Two of the three members belong to ORESUND SPACE COLLECTIVE which is impressive.

None of the tracks are titled so we'll start with track one. Drums and bass standout here but we get guitar as well and it starts standing out after 2 1/2 minutes. I like this, it's catchy and energetic yet not in your face until around 4 1/2 minutes when it becomes heavier. It does settle back again and becomes trippy with a great sounding rhythm section. Nice bass before 8 minutes and check out the guitar after 10 minutes as the intensity rises.

Track two is mellow with picked guitar and atmosphere. It's building after a minute as the drums join in. The bass is more prominent after 3 minutes. This is uptempo and reminds me of HARMONIA. The guitar is wailing away starting before 7 minutes as the bass throbs. They're kicking on all cylinders before 9 minutes before it settles right down late.

Track three opens with guitar, a beat and atmosphere. The guitar brings Dream Pop to mind. I like this. A calm before 4 1/2 minutes as we get atmosphere only. This is experimental sounding as it gets noisier. It starts to settle right down before 8 minutes as sounds echo.

Track four features guitar and a beat early on and I like when the guitar starts to soar over top at 3 1/2 minutes and the bass becomes more prominent as well. It settles back before 5 1/2 minutes. A Post-Rock vibe after 7 minutes then it settles down even more. It's building 9 minutes in as they start to groove.

Track five starts disc two. This is very laid back with beautifully picked guitar over this repetitive sound. That picked guitar stops and eventually returns as it echoes starting before 5 minutes.

Track six opens with atmosphere, a beat and sparse guitar. Very repetitive and laid back. It's building and getting heavier until the guitar starts lighting it up after 6 minutes. The tempo picks up before 8 minutes and they are kicking butt after 9 minutes.

Track seven ends it and it's a 25 minute closer. Atmosphere as some sounds echo and drift along. A beat joins in after 2 minutes. A bit of a change before 8 minutes as the guitar cries out with atmosphere and drums. It settles down after 10 minutes as sounds echo once again. Pretty much a dead calm before 12 1/2 minutes but a slow beat and the guitar that echoes along with atmosphere does return. A bass line before 18 minutes as it builds. A great way to end the album.

Man this is a tough one to rate because there's so much good music here but I wish it was about 30 minutes shorter. I'm really looking forward to some of their earlier albums though as this recording has definitely peaked my interest. It's a very consistent album but also there's no real standout tracks either in my opinion. So 3.5 stars it is but I may bump this up down the road.

This is what I expect from good space rock jams. Papir has been developing a style throughout their last albums, and while having discovered a winning formula in 'Stundum', they have polished their sound by perfecting their tightness; the musicians are very in tune with each other and have found a beautiful consilience. The jams are very atmospheric, extended, and develops slowly, in contrast to the highly concretely delineated song structure that is found in most progressive rock. This album is packed full of psychedelic color and has some great moments that are highly reminiscent of CAUSA SUI and to some extent MY BROTHER THE WIND. This is perfect music to just put on, sit back, relax and let your consciousness float up peacefully into the cosmos.

Princess Leia's due

I've been following this band for a long time. In fact, I've witnessed them progress from an experimental indie group called Etna to what they've become now: a fiery space rock trio that seems immune to any meandering riff raff..........and that's keeping in mind just how meandering this kind of psychedelic music can get.

Their two previous efforts, quite aptly named 1 and two, spearheaded a raw riff based psychedelic music that on several accounts sounds awfully close to a certain time and place oh so long ago in Germany. With lll the feel of the band is still heavily rooted in Krautrock, though to these ears, the approach seems altogether more focused. You won't find any 'songs' per se on this album, but you come across tracks that take you out on windswept journeys of big melodic riffs and a way with melody that wraps around your ears like a genuine Princess Leia due.

I believe this kind of music is experiencing a comeback. I don't know who's buying it, but just by scouring through modern artists who employ this kind of riff based psychedelic music here on the archives, you'll quickly sense an amalgamation of bands who all seem deeply enamoured with the sounds of yesteryear. The raw brute force of Jimi Hendrix' guitar playing, the infatuation with the everlasting qualities of the wah wah pedal as well as the influence of hard psych entrepreneurs Blue Cheer. What all of this amounts to in today's music agenda is a kind of ode to the past that not only seeks to mirror the past, but moreover tries to reassemble all of the cool and tasty bits and then stick em onto something special.....something that's supposed to be unique: your own sound.

Papir's sound does implement all of this, and especially guitarist Nicklas caters to those aforementioned trades. He has grown immensely as a musician over the last couple of years in my opinion, and the Jimi shading of his - the wah wah trickery - now seems to have matured. There is an immediacy there that channels melody and writing skills in a way that I haven't witnessed before. As a consequence of this, lll feels more 'together' and 'orchestrated'. It feels as if the lads had written down their ideas before they ventured into the studio........whereas their earlier releases often come across like they'd been recorded directly from a series of inspired jams.

Another reason as to why Papir sounds altogether different than what you would expect from a modern day space rock outfit, has to do with the impeccable rhythm section. Bass man Christian is like a stoic guru in his corner - contemplating the universe and the endless opportunities of the beat. In many ways he's always reminded me of Holger Czukay of CAN. There are distinct similarities in the casual and often laid back bass string strummings of his - the kind that can relegate a serene pool of sound in your back garden yet when unleashed take on the form of great big tidal waves that lap up against the torrential boom of the drums. Christoffer, whom I've previously compared to The Doors drummer John Densmore, is still an all important ingredient to the dish. His nonchalant way about the beat and how he chooses to embellish on atmospheres and crescendos is still a thing of beauty. I hear the best parts of the 60s in his playing and always have, which, for me, is just about the biggest compliment regarding how drums should be played. No metronome in sight here people, that's for damn sure!

Papir's third offering then should please fans of the equally Danish act Causa Sui as well as the wavering psych drenched moods of Colour Haze, Electric Orange, My Brother the Wind, The Spacious Mind and Earthless. These are all bands who share a common love of days gone by - days of making stuff up as you go along - smoking spliffs on the corner - swimming in public fountains and preferably dancing a wee little jig while you're at it.

I love these guys, and especially when they take their time and let the music breathe. On here you can witness them letting the music evaporate into thin air, as the longest track takes the listener into these beautiful slow sections of soothing guitar, gentle bass bops almost mimicking the great John Entwistle only far more delicate and soft - underlining the porous and airy texture of the music, and then this primal stuttering drumming beat gels on by you in the back conjuring up images of our ancient forefathers hypnotically dancing around the fire awaiting and hoping for the rains. 3.5 stars

I don't do many reviews, but when I do I usually choose an album/band that I feel are really very good, but also overlooked on this site. Quite simply Papir's latest deserves more than one review and will delight many if they take the time to listen. It is a release from the brilliant El Paraiso record label (home of causa sui) which I would urge anyone to check out.

This album is the best place to start with Papir, and indeed it is their best album. This is due to the immediacy of the melodies and the tight focus; Papir have finally perfected their formula of sprawling, kraut infused, psychedelic instrumental excursions. They craft sometimes jazzy hypnotic sections that build into soaring and heavy crescendos. Each instrument is played brilliantly, and I love it when bands use bass as harmony instead of just rhythm; here in particular it is impressive how the drummer is often the rhythm section by himself!

The album kicks of with IIII.I (papir have disregarded song names) which is a great statement of what the band do. It begins with a hypnotic guitar passage backed up by an infectious bass line and energetic drums, immediately capturing your attention. This builds as the guitar begins to gather pace and solo while the rhythm bubbles beneath it, culminating in what could be described as a 'chorus' section with retro keys and and just an epic sound. The songs settles back into a playful and jazzy section before the guitar starts a post rock like ascendance and the drums become increasingly frenetic. The song is then shattered by a blistering psychedelic riffing section, which is actually pretty surprising, and showcases the bands versatility. More keys come in for an almost reprise of the chorus section before the song draws to a close. This song really does 'set out the stall' so to speak and really hammers home how focussed the approach in this album is. Everything in this songs sounds just as it should be, both sonically and compositionally, and the organic production by Causa Sui's Jonas Monk supports this.

The second song is a more relaxed affair, drawing a lot from space rock. I begins with a slow beautiful passage of simple guitar picking and an echo laden bass, accompanied by jazzy drumming. This transforms slowly into a captivating post rock crescendo, before settling back into a nice groove while the main motif of the song carries on echoing overhead. This song is very well composed, with the build up, release and the strong outro. The flow of the album on the whole is brilliant, both within and between songs.

Next is III, the opus. I shan't to an in depth description here, as there are many passages, and I feel that I have adequately given a picture of the bands sound already. What I will say is that this track is the most urgent that Papir have sounded and never outstays it's welcome. It twists and turns through distinct sections each one bringing something new and feeling like a natural progression. It ebbs and flows. It really is the album centerpiece, edging out the first track.

The last track (only on the CD, not the vinyl) is the shortest track and serves as a relaxing outro. Another brilliant bass line and inventive drums are present while there is some heavenly guitar soloing on top. It is a good end to the album.

In summary, Papir have perfected their formula, and released their best album yet. If you like Krautrock, Psychedelic music, Space rock, or simply organic and spontaneous instrumental music, Papir IIII is something you should explore, and you WILL get lost in it! It is music to really listen to, if you know what I mean. I can't recommend this album and the general El Paraiso label enough.

I reserve my five stars for rare occasions, so It'll be a very solid 4.

Whenever I start listening to an album that's classified under 'Space Rock,' I always have the tendency to expect it to sound like Pink Floyd. More often then not, I'm surprised. Papir is no exception, forgoing gently lilting melodies in favor of Krautrock-ish, driving rhythms and noisy walls of sound. This eponymous release is a very good album, and it reminds me that I love the internet age for being able to bring me into contact with an obscure neo-Krautrock band from Copenhagen that I never would have heard of otherwise.

'Kurl te pow ralise' begins with some very faint electronic sounds and rumblings before some subdued, faintly dissonant chords pierce the atmosphere. These are quickly followed by a quiet but persistent drum beat over which some spacey guitars begin to play a slow pattern. This motif repeats a couple of times before the song really hits its stride: distorted electronic effects and wailing guitars enter, giving the song a very krautrock kind of feel. At about 4 minutes in this wall of sound abates slightly, giving way to a more delicate arrangement of electronics, guitars and keyboards. This part quickly begins to build in intensity as well, however, with many of the same motifs from the beginning of the track making reappearances. This first track is really brilliantly paced, with instruments weaving in and out of the mix to create a very cohesive blend of sound and melodies coming and going with seamless transitions. 'Kurl te pow ralise' is very reminiscent to me of a lot of classic Krautrock, but there's enough modern electronic to keep it sounding fresh and interesting.

'lykk trep-r hi-los' continues the Krautrock vibe with an intro that sounds like it could have come straight off of Phallus Dei. The track has that kind of pseudo-eastern sound that played very prominently on that Amon D''l II album, with distorted, psychedelic guitars and frenetic drumming playing a large role in the instrumentation. The music reaches a fever pitch at about 3 minutes in before the howling guitars drop back a little bit and the track transitions into a less crazy, dreamier feel, though the drums keep up a high energy level. The electronics as well play a large role, with a lot of screeching and distortion placed just far back enough in the mix to give the song a great atmosphere without coming off as grating. As the track goes into its last two minutes all these sounds begin to blend together into a distorted, cathartic hum that brings the track to its conclusion.

'une frensal n-erit' begins a little more calmly than the previous track did, with some faint droning starting the track off. This eventually transitions into a sound that sounds a bit more like machines grinding then synthesizer notes, and some drums enter over this with a wild solo. Eventually the song drops into a more standard rhythm, and guitars enter with a repeating line as multiple synth and keyboard parts play around this rhythmic backbone. Overall this track is a little less crazy and a bit more spacey than the other tracks, with the majority of the track being more relaxing then it is frenetic. The last two minutes in particular feature a very chilled-out guitar line and some great, psychedelic synth parts.

'rogter sot oe koft' is the closer here, as well as the shortest track on the album. Following in the footsteps of the track before it, it begins with the most laid-back section on the entire album, with some very pleasant bass and piano providing a relaxing ambience. This is shaken up halfway through, however, when a driving guitar part enters amongst crashing drums and a high pitched, wailing synth part. This doesn't last long, however, as these instruments drop out and leave only the piano and bass to bring the track to its end. It's a very satisfying finale to the album, a nice moment of relative peace to finish off a rather chaotic album.

So overall Papir delivers a very impressive, very accomplished debut album here. Bringing heavy krautrock influence into their sound, they're nevertheless a very interesting group with a sound the likes of which isn't heard too much in most of today's music. This album is definitely recommended to anyone looking for modern music that recalls some of the real Krautrock greats, or just fans of this sort of noisy, chaotic psych-rock.

4/5

Music without a harness

I´ve lived with this record for quite some time now, and there is no denying the fact, that these musicians must´ve had a picture of me hanging on the wall, when they recorded this. I mean, it´s psychedelic like a scene from Fear and Loathing in Las Vegas with booming colours and the cacti to go with it - it´s Krautrock, a type of music that makes my hair stand on end and leaves my mouth salivating for more, - and to top it off: It´s mostly improvised music, jumping carefree from branch to branch of an ever-expanding baobab tree throwing its roots high up in the clouds, like some confused species of wood. These guys have finally managed to cook up a record deal, and both the self titled record and this new monster are now available as tangible releases that you can actually touch and put into your stereo rack. In my review of their brilliant debut album I concentrated on the feel of the band and their history, and I thought It´d be fun to go into the tracks on this one, although it isn´t something I am used to. So out of the comfort zone and into the dream:

Sunday#1: Starts out tightrope walking, oozing away on atmospherics with soft bas and guitar patterns sneaking in on you, - and when you´ve finally calmed yourself down to 4 heartbeats a minute, the music starts to open up with a melodic guitar, sounding clean almost bluesy, alongside a rhythmic onslaught from the drums - playing both fusion-like but also with a firm hold in the 60s, -recalling the great John Densmore a good deal. The music ends in a violent and snarling attack. Fuzzy and distorted - the instruments now take on a whole new form, and slightly reminds me of blending frozen soil in a food-processor.

Saturday (Or Reggaemix as it was originally called...): The Bob Marley track? Well not exactly - not even remotely... Maybe one could look at this as de-constructed reggae, ripping the genre apart serving it with free-flowing fiery guitar - a wobbling bass that propels the music forward - and you wonder how many extra fingers there´s in play here... Well none actually, because much like the Krautrockers of the 70s, this is essentially live music performed in a studio with but a few overdubs here and there, and these are some drip drips from a coffee maker or just an extra touch of guitar, a synth or maybe just a muffled hand-drum in the background (as heard on the last couple of tracks.) All the reggae you´ll find here is in the form of a short lived guitar riff - that dissolves just as swiftly as it appears. Personally I just love the way the guitar takes over at one point and simultaneously plays solo and rhythm - WAAUW WAAUW WAAUW - making me feel as if I´m riding a see-saw from outer space.

Monday: Like throwing pebbles into a pond, creating ripples upon ripples lapping up against each other forming new musical patterns, - but then again you could be fooled by the powerful psychedelic eruption of crushingly loud drums - sounding like a stampede intertwined with a wah wah infused space excursion that sneaks it´s way into the track just before. A floating sonic universe appears - duetting with the gentle sounds of a coffee maker, and again you are reminded of the very nature of the beast. This band is all about diving head first into the music without any prefabricated ideas and structures and then sets off into whatever.

Sunday#2: Starts out creeping and crawling alluring you in - and then suddenly shifts contours and sounds like that of electric winds hitting a clothesline filled with giant coloured wash clothes moving in slow motion - flapping away according to the different tempers - highs and lows this track offers, with its rumbling drums, almost robotic sounding bass doodlings - that at times sprinkles the music with a spacey wah wah bottom, that preferably should take the listener into Krautrock dreamings. Add to this a guitar that flows from rocking and bulbous grooves to sluggishly drifting along - very much like cloths in the wind, you get a semi-jam that goes every which direction these musicians wants to go.

Tuesday# 1-2: Two pieces of contemplative music that seep into each other like 2 lovers in a sparking embrace. Both Tuesdays are like a brilliant mix of the music that comes before it. What really floats my boat and gets me going, is the fact that it sounds like the perfect soundtrack for taking a day off, just lying on the grass watching the skies pass by. This is really what it sounds like. Like listening to the big giant star-movie rolling across the blue screen. And just like the icy breezes, the intimidating black thunderclouds, narrow shafts of sunlight and the never ending colours of the day breaking or ending, - the music somehow also keeps shifting and evolving - with the ambient and low key section of the tracks being a clear blue sky - without a fluffy sheep in sight.

Essential music for looking upwards and dreaming yourself far far away.