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EPR 068CD
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Members of Papir and Causa Sui travel through new musical realms. Three musicians with their own compass: Martin Rude and Jakob Skøtt have shared a wide range of musical quests: from Causa Sui's "Bitches Brew of stoner rock" crossing the folk meditations of Sun River and arriving most recently as members of the pre-fusion electric dealings of the London Odense Ensemble. Papir guitarist Nicklas Sørensen is not merely adding a new layer to an established duo, but his presence to the party have brought it into more meditative dwellings. These pieces move slowly, evolving like the slow growth underneath the ground. Whereas Causa Sui and Papir have always excelled at blistering panoramic and often sundrenched sounds, Edena Gardens takes a dive inwards and downwards rather than outwards. But there's also an electrically charged ecstatic rawness to the dealings. Like "Æther", the ten-minute opener's two guitars-and-a-drum kit improv, finding its way from tumbling drones into monolithic slow riffage. Elsewhere, we find trails of electronic vapors, misfiring bursts of noise and slow drones stretched out. Edena Gardens is a thing to be experienced first-hand -- it's not for everyone, but those who decide to stay are greatly rewarded. It's a debut unlike any other record on El Paraiso, perhaps unlike any you've ever heard. Welcome to Edena Gardens.
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EPR 068LP
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LP version. Members of Papir and Causa Sui travel through new musical realms. Three musicians with their own compass: Martin Rude and Jakob Skøtt have shared a wide range of musical quests: from Causa Sui's "Bitches Brew of stoner rock" crossing the folk meditations of Sun River and arriving most recently as members of the pre-fusion electric dealings of the London Odense Ensemble. Papir guitarist Nicklas Sørensen is not merely adding a new layer to an established duo, but his presence to the party have brought it into more meditative dwellings. These pieces move slowly, evolving like the slow growth underneath the ground. Whereas Causa Sui and Papir have always excelled at blistering panoramic and often sundrenched sounds, Edena Gardens takes a dive inwards and downwards rather than outwards. But there's also an electrically charged ecstatic rawness to the dealings. Like "Æther", the ten-minute opener's two guitars-and-a-drum kit improv, finding its way from tumbling drones into monolithic slow riffage. Elsewhere, we find trails of electronic vapors, misfiring bursts of noise and slow drones stretched out. Edena Gardens is a thing to be experienced first-hand -- it's not for everyone, but those who decide to stay are greatly rewarded. It's a debut unlike any other record on El Paraiso, perhaps unlike any you've ever heard. Welcome to Edena Gardens.
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EPR 069CD
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The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions Vol. 1, released last summer, Vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces -- traveling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It's an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxophonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skøtt and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like.
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EPR 069LP
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LP version. The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions Vol. 1, released last summer, Vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces -- traveling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It's an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxophonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skøtt and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like.
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EPR 066LP
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After three albums based purely on synthesizers, the Danish duo Videodrones take a leap by adding live drums and guitars to their latest album. A natural step, considering that Jakob Skøtt, one half of the duo, spends his time drumming in Causa Sui, as well as a slew of jazz-infused projects on El Paraiso Records. All basic tracks were recorded in an improv session at Jonas Munk's studio in Odense, capturing both synths and drums live. The expansion of drums adds a natural '70s groove, maintaining a spontaneous vibe that also soaks into the analog synths of modular wizard Kristoffer Ovesen. The improvised sessions were later honed, edited, and layered, bringing forth the best of both spontaneous ideas, as well a multi-dimensional approach bringing a new depth to Videodrones' extensive cinematic undercurrent of sounds. With the addition of echo and reverb drenched guitars, the duo is tapping into sounds in new realms yet strangely familiar. After The Fall may conceptually nod it's head towards a gloomy state of affairs, but akin to the Italian post-apocalyptic movies of the '80s, doomsday never felt this heady and funky before.
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EPR 063LP
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2021 repress; tri-color striped vinyl. Double LP version. Something different from Causa Sui. While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this set, that other dimension of the band is being explored full-scale. Szabodelico paints with a colorful palette, both compositionally and sonically -- digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15-year life-span, Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression -- forging new paths into an existing map. Szabodelico feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting. Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection. Sparsely dubbed and mixed with a natural, full-bodied flavor by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener "Echoes of Light", to the closing slow-motion epic "Merging Waters" you'll find yourself asking "where did the time go?" The answer of course is: Szabodelico.
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EPR 063CD
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Something different from Causa Sui. While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this set, that other dimension of the band is being explored full-scale. Szabodelico paints with a colorful palette, both compositionally and sonically -- digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15-year life-span, Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression -- forging new paths into an existing map. Szabodelico feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting. Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection. Sparsely dubbed and mixed with a natural, full-bodied flavor by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener "Echoes of Light", to the closing slow-motion epic "Merging Waters" you'll find yourself asking "where did the time go?" The answer of course is: Szabodelico.
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EPR 062LP
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Limited restock. Three of Norway's most vital musicians got together for a unique session, that places Fra Det Onde (From Evil) on the shoulders of the great American masters of improvisation, as well as the sleek European tradition of electric jazz poetry. There's a deep level of pure skill present -- they have travelled these roads many times before and the mileage behind them is frankly astonishing. Drummer Olaf Olsen, all hippie hair and broad smiles, from renowned prog-ensemble Bigbang. Rickenbacker bass plough Rune Nergaard is a part of Exoterm, with Nels Cline and Jim Black. Trumpeter Erik Kimestad Pedersen, from the southern tip of Norway, has turned Danish and stirred a wave in the Copenhagen jazz scene. Adding to the mystery is the clear presence of elusive noise-guru Emil Nikolaisen of Serena Maneesh behind the mixing console, and on the occasional Farfisa. Like a Teo Macero in space, Nikolaisen's singular mixing style adds a crucial signature to the album, pushing the limits of sonic exploration even further. Nikolaisen is a full force of nature at work, making the ghosts appear through his tubes and oscillators. You can hear their eerie howls throughout the album, like specters from other times, other places trapped behind and beyond the tapestry of music. Includes liner notes by Ando Woltmann.
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EPR 061LP
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California native Justin Pinkerton, aka Golden Void drummer and the man behind El Paraiso Records' own Futuropaco project, delivers a full-length album of playful synthesizer music. In contrast to a lot of the other projects Justin has been involved in over the years, Aak'Ab radiates slowness and tranquility. There's a rare sense of calm in these pieces. It would, however, be a mistake to categorize it as ambient or new age -- the intricate pattern-work and the raga-like structure of these pieces avoid the usual new age pitfalls, and reveals stronger musical ties to the tradition of American classical minimalism and the electronic side of German kosmische from the 1970s. Stylistically Aak'Ab harkens back to ideas that first materialized in Terry Riley's compositions in the 1960s and early 1970s. It's about patterns that gradually evolve and transform themselves -- much like an organic process unfolding before your ears. The six pieces ebb and flow, and slowly creates a sense of peace and buoyancy in the listener. However, Justin avoids any kind of unnecessary sonic sweetening, instead letting the synthesizers buzz and hum in all their purity. File next to: Terry Riley, Kaitlyn Aurelia Smith, Cluster.
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EPR 060CD
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There's really no other place like San Diego. The weather's balmy all year, there's 70 miles of the finest coastline California has to offer, it has one of the most ethnically diverse populations in the US and -- most importantly -- it's currently the epicenter for heavy psychedelic rock. Bands such as Earthless, Astra, and Radio Moscow have paved the way for an astounding number of bands, creating a tight knit community of musicians. On this session Denmark's Jonas Munk (Causa Sui) joins forces with San Diego native Brian Ellis (who's not only a prime mover in the psychedelic scene, but has also been active in California's jazz and funk circuits for several years), and an assemblage of prime musicians from the area, including members of Astra, Psicomagia, Monarch, Radio Moscow, and Sacri Monti. The result is an intoxicating brew that's hard to put a label on. Fueled by the furious drumming of Paul Marrone, and led by Jonas Munk's fuzzy lead guitar and the multicolored keys of Brian Ellis, there's an unmoored, floating quality to the music the large ensemble was creating at these sessions. It's the kind of record you can put on and just let it wash over you. The closest references would be Miles Davis circa Bitches Brew (1970), Hendrix at Woodstock, or perhaps Can at their most blazing and levitational. The music flows like an electric river of vintage keys, percussion, and fuzz guitars. And it's glowing with life. Art by Alan Forbes. Liner notes by Jonas Munk.
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EPR 060LP
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LP version. There's really no other place like San Diego. The weather's balmy all year, there's 70 miles of the finest coastline California has to offer, it has one of the most ethnically diverse populations in the US and -- most importantly -- it's currently the epicenter for heavy psychedelic rock. Bands such as Earthless, Astra, and Radio Moscow have paved the way for an astounding number of bands, creating a tight knit community of musicians. On this session Denmark's Jonas Munk (Causa Sui) joins forces with San Diego native Brian Ellis (who's not only a prime mover in the psychedelic scene, but has also been active in California's jazz and funk circuits for several years), and an assemblage of prime musicians from the area, including members of Astra, Psicomagia, Monarch, Radio Moscow, and Sacri Monti. The result is an intoxicating brew that's hard to put a label on. Fueled by the furious drumming of Paul Marrone, and led by Jonas Munk's fuzzy lead guitar and the multicolored keys of Brian Ellis, there's an unmoored, floating quality to the music the large ensemble was creating at these sessions. It's the kind of record you can put on and just let it wash over you. The closest references would be Miles Davis circa Bitches Brew (1970), Hendrix at Woodstock, or perhaps Can at their most blazing and levitational. The music flows like an electric river of vintage keys, percussion, and fuzz guitars. And it's glowing with life. Art by Alan Forbes. Liner notes by Jonas Munk.
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EPR 059LP
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Martin Rude (Sun River) and Jakob Skøtt (Causa Sui) team up for a genre-defying record that was recorded during an exceptional session on March 3rd, 2020. Martin brought his double bass, acoustic and baritone guitar into the studio of Causa Sui, where Jakob's drums were already miked and prepped by soundwiz Jonas Munk, freshly tuned from the new Causa Sui recordings. The music they played ranges from sprawled out pre-fusion electric jazz to psychedelic folk ragas. After the sessions, the hours of free-floating music was edited and dubbed by Jakob Skøtt into shorter cohesive segments, but maintaining the improvised vibe of these first takes. It is a record that pays homage to the great innovators of jazz: Miles and Trane (or perhaps more fittingly their peak-drummers: Tony Williams, Jack DeJohnette, and Elvin Jones), as well as Mingus at his fiercest or Sun Ra at his most exotic. Not merely a tribute, the album doubles down with guitar pickings ala John Fahey and Sandy Bull, as well as sparse layers of oddly-tempered mallet percussion and synthesizers. But perhaps the closest reference isn't something of a certain place in time, but rather a free-flowing ethos of stoic proportions: letting happen what it may, turning the accidents and mistakes along the way into something vital. Includes download code.
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EPR 058CD
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Kanaan from Oslo, Norway is back with their second album in 2020. Following the impromptu Odense Sessions with Causa Sui guitarist Jonas Munk released in February (EPR 057LP, 2020), Double Sun is a different beast all together: Treading the same path as their 2018 debut Windborne (EPR 050CD/LP, 2018), Double Sun is a studio effort in the best sense of the word. Perfectly balanced on the edge of dynamic improv, throbbing beats sizzled in scorching fuzz and topped off with deeply layered soundscapes. This album sees Kanaan reach a new plateau. Kanaan presents a unique perspective to psychedelic rock, painting with a wide palette that includes jazz and post-rock. Double Sun devotes as much energy to sonic color as it does to groove and energy. The spirit of experimentation is everywhere: From the savory, pastoral sounds of opening track "Worlds Together", to the soaring exploratory paths of the two-part title track. In the creative process, Kanaan dived deep into the possibilities of the studio, adding intricate layers and twists and turns to these tunes: acoustic guitars, percussions, and synthesizers embrace and enhance the Norwegian modern-day version of a power-trio.
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EPR 058LP
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LP version. Kanaan from Oslo, Norway is back with their second album in 2020. Following the impromptu Odense Sessions with Causa Sui guitarist Jonas Munk released in February (EPR 057LP, 2020), Double Sun is a different beast all together: Treading the same path as their 2018 debut Windborne (EPR 050CD/LP, 2018), Double Sun is a studio effort in the best sense of the word. Perfectly balanced on the edge of dynamic improv, throbbing beats sizzled in scorching fuzz and topped off with deeply layered soundscapes. This album sees Kanaan reach a new plateau. Kanaan presents a unique perspective to psychedelic rock, painting with a wide palette that includes jazz and post-rock. Double Sun devotes as much energy to sonic color as it does to groove and energy. The spirit of experimentation is everywhere: From the savory, pastoral sounds of opening track "Worlds Together", to the soaring exploratory paths of the two-part title track. In the creative process, Kanaan dived deep into the possibilities of the studio, adding intricate layers and twists and turns to these tunes: acoustic guitars, percussions, and synthesizers embrace and enhance the Norwegian modern-day version of a power-trio.
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EPR 056CD
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Mythic Sunship played three shows at the 2019 edition of Roadburn. Changing Shapes documents the most ferocious and courageous of the three. It follows 2018's Another Shape Of Psychedelic Music (EPR 048CD/LP). Changing Shapes is a continuation of those ideas, not just a live performance of previous material (only two tracks from Another Shape are featured on this set). Søren Skov joins the band again here as the five-piece burns through a handful of lengthy pieces in front of an ecstatic audience. It's an immersive listen, from the curious opening notes of "Awakening", to the relentless roar of "Ophidian Rising".
"If Mythic Sunship aren't the shape of psychedelic music to come, it's in no small part because there are so few out there who could hope to match what they do." --The Obelisk
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EPR 056LP
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2022 repress. Transparent orchre viynl. LP version. Mythic Sunship played three shows at the 2019 edition of Roadburn. Changing Shapes documents the most ferocious and courageous of the three. It follows 2018's Another Shape Of Psychedelic Music (EPR 048CD/LP). Changing Shapes is a continuation of those ideas, not just a live performance of previous material (only two tracks from Another Shape are featured on this set). Søren Skov joins the band again here as the five-piece burns through a handful of lengthy pieces in front of an ecstatic audience. It's an immersive listen, from the curious opening notes of "Awakening", to the relentless roar of "Ophidian Rising".
"If Mythic Sunship aren't the shape of psychedelic music to come, it's in no small part because there are so few out there who could hope to match what they do." --The Obelisk
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EPR 055LP
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Rasmus Rasmussen (Aerosol, Causa Sui) and Keith Canisius present another delightful set of Astral TV tracks with Travelling The Circuits. Since their debut album, Chrystal Shores from 2017 (EPR 042LP), the Copenhagen-based duo have refined and perfected their approach to making semi-improvised synthesizer music. Musically it doesn't get much more pure than this. From their vast assemblage of synthesizers -- that is, vintage, modern, digital, analog, and modular synthesizers -- the two producers are squeezing the finest sonic essence, for your neural pleasure. Forget about song structures and leads -- it's not that kind of album. Listening to Travelling The Circuits is like floating on an electronic river through a slowly changing scenery. There's really no story here, and it's not about the destination. It's about colors -- lots of colors. And the tactile beauty of sounds and patterns, filters slowly opening and closing, letting your senses tickle by a unique 80hz oscillation that only a wood paneled analog synth from the early 1980s can produce. Travelling The Circuits is a true auditory delight.
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EPR 054CD
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Jonas Munk and Nicklas Sørensen team up for a genre-defying record that explores American minimalism, psychedelia, and electronic music -- both vintage and contemporary. On a foundation of interlocking guitar and synthesizer patterns, the duo constructs lengthy pieces that are experimental yet welcoming in nature, precisely executed yet with room for soaring improvisation. Always Already Here pays homage to the masters of classical minimalism (Steve Reich, Terry Riley) and the pioneers of electronic music and kosmische (Brian Eno, Manuel Göttsching), still it doesn't sound derivative or retrospective. The type of hypnotic bliss Munk and Sørensen strive for is distinctly timeless. Always Already Here came to life during a handful of intense sessions in Munk's studio in Odense, Denmark. However, from a larger perspective the record seems to be a culmination of several years of collaborating. From 2010-2014, Munk recorded and produced three full-length albums for Sørensen's band Papir, and in the period 2015-2017 the two collaborated on Sørensen's two solo efforts Solo and "Solo 2". During the same period they have occasionally performed live as a duo, playing semi-improvised shows based around guitars and synthesizers. These live shows have assuredly influenced their collaborative work with an explorative, animated quality ? which is especially apparent on the album's free flowing, zen-orientated B-side. Always Already Here ties together several musical threads: academic pattern-music, psychedelia, avant-garde sound exploration as well as a highly melodic sensibility. It's a multi-layered, colorful album that demands full sonic immersion.
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EPR 054LP
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LP version. Jonas Munk and Nicklas Sørensen team up for a genre-defying record that explores American minimalism, psychedelia, and electronic music -- both vintage and contemporary. On a foundation of interlocking guitar and synthesizer patterns, the duo constructs lengthy pieces that are experimental yet welcoming in nature, precisely executed yet with room for soaring improvisation. Always Already Here pays homage to the masters of classical minimalism (Steve Reich, Terry Riley) and the pioneers of electronic music and kosmische (Brian Eno, Manuel Göttsching), still it doesn't sound derivative or retrospective. The type of hypnotic bliss Munk and Sørensen strive for is distinctly timeless. Always Already Here came to life during a handful of intense sessions in Munk's studio in Odense, Denmark. However, from a larger perspective the record seems to be a culmination of several years of collaborating. From 2010-2014, Munk recorded and produced three full-length albums for Sørensen's band Papir, and in the period 2015-2017 the two collaborated on Sørensen's two solo efforts Solo and "Solo 2". During the same period they have occasionally performed live as a duo, playing semi-improvised shows based around guitars and synthesizers. These live shows have assuredly influenced their collaborative work with an explorative, animated quality ? which is especially apparent on the album's free flowing, zen-orientated B-side. Always Already Here ties together several musical threads: academic pattern-music, psychedelia, avant-garde sound exploration as well as a highly melodic sensibility. It's a multi-layered, colorful album that demands full sonic immersion.
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EPR 053CD
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In recent years, Southern California has proved to be fertile ground for heavy psych, prog, and free rock. The amount of excellent bands growing out of the San Diego soil is simply unparalleled. Among the youngest generation of these bands are the five-piece Monarch, a band rooted in psychedelia and experimental prog, with a view towards broader horizons. There's something refreshing about Monarch's take on psychedelic rock: they aren't afraid to weave Allman Brothers-esque dual guitar lines with synthesizers and saxophone. They can be heavy, but there's an unmistakable panoramic quality to their compositions too, reflecting the rich and diverse environment they've grown up in, with dazzling pacific coastlines, mountains and desert highways. Compared to their debut album, Two Isles from 2016 (EPR 035CD/LP), Beyond The Blue Sky is a more complex record. The three-year journey has led the band through several separate recording sessions and ended up going all-analogue at Audio Design studios. It's an album that's meticulously crafted and with sights set on new musical territory. Their songwriting has matured and each track feels like a mini-epic, traveling unexpected routes before reaching their sonic destination. Nowhere is this more apparent than on the album's centerpiece, the three-part "Beyond The Blue Sky/Phenomena/Counterpart", where Monarch manages to fuse all their influences into one mammoth composition. It's an album to drive off into a careless summer sunset and beyond.
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EPR 053LP
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LP version. In recent years, Southern California has proved to be fertile ground for heavy psych, prog, and free rock. The amount of excellent bands growing out of the San Diego soil is simply unparalleled. Among the youngest generation of these bands are the five-piece Monarch, a band rooted in psychedelia and experimental prog, with a view towards broader horizons. There's something refreshing about Monarch's take on psychedelic rock: they aren't afraid to weave Allman Brothers-esque dual guitar lines with synthesizers and saxophone. They can be heavy, but there's an unmistakable panoramic quality to their compositions too, reflecting the rich and diverse environment they've grown up in, with dazzling pacific coastlines, mountains and desert highways. Compared to their debut album, Two Isles from 2016 (EPR 035CD/LP), Beyond The Blue Sky is a more complex record. The three-year journey has led the band through several separate recording sessions and ended up going all-analogue at Audio Design studios. It's an album that's meticulously crafted and with sights set on new musical territory. Their songwriting has matured and each track feels like a mini-epic, traveling unexpected routes before reaching their sonic destination. Nowhere is this more apparent than on the album's centerpiece, the three-part "Beyond The Blue Sky/Phenomena/Counterpart", where Monarch manages to fuse all their influences into one mammoth composition. It's an album to drive off into a careless summer sunset and beyond.
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EPR 052LP
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On their third album, the Danish duo Videodrones explore their kosmische take on synth wave further. Videodrones' first two albums tapped into short arabesque-like pieces, playing out like cues in a film. Atavistic Future sees them broadening out, with the two main tracks on the album clocking in at eight and almost 12 minutes respectively. And it's not only in the track lengths that Videodrones are reaching beyond: There is a wider range of influences and nods -- from the Phillip Glass Koyaanisqatsi-repetitions of "Church" to the Suzanne Ciani Buchla-bursts of on the title track. It's the seamlessly weaved together influences, that makes Atavistic Future tick. The album is based around improvisation and repetition, allowing ideas to drift and emerge -- catching fire at random. As always, most of the material were captured during a single prolonged day and night of jamming at Jonas Munk's studio, digging into his expansive collection of synthesizers. The pieces were then folded and reassembed by Jakob Skøtt -- maintaining the improvised spirit, where synths and float out of tune and clock, yet intricately detailed and ever changing -- bringing forth the best of both studio-production and jagged improvisation. As the title might remind you, we're always forgetting the most favorable traits of yesteryear -- in search of what's ala mode, we're missing what the future must have felt like in the past. Videodrones is a silver-clad reminder of what can come out of having keen eyes and ears in the past as well as the future -- leaving behind something vital for the present.
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EPR 001LP
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Causa Sui's three volumes of Summer Sessions are back in print, originally released in 2009. This time on the band's own label, on individual LPs for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso's signature style. Originally the Summer Sessions were intended as a side project for the band -- a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums. But these three albums came to define the band, and have become modern classics of psychedelia and progressive rock since their initial release ten years ago. In a scene often characterized by loyalty to a specific period, there's something refreshing about Causa Sui's eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example -- the 24-minute "Visions Of Summer" taking up the entire A-side on Vol. 1: here new and old sounds dissolve in a mind-bending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancock's Mwandishi group, as much as it sparks associations to Kyuss or Hendrix. Other tracks, such as the frenetic "Rip Tide" on Vol. 2 (EPR 002LP), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for atmospheric pieces such as the sun-drenched "Venice By The Sea" on Vol. 3 (EPR 003LP) or the Morricone-esque "Cinecitta" on Vol. 2.
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LP
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EPR 002LP
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Causa Sui's three volumes of Summer Sessions are back in print, originally released in 2009. This time on the band's own label, on individual LPs for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso's signature style. Originally the Summer Sessions were intended as a side project for the band -- a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums. But these three albums came to define the band, and have become modern classics of psychedelia and progressive rock since their initial release ten years ago. In a scene often characterized by loyalty to a specific period, there's something refreshing about Causa Sui's eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example -- the 24-minute "Visions Of Summer" taking up the entire A-side on Vol. 1 (EPR 001LP): here new and old sounds dissolve in a mind-bending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancock's Mwandishi group, as much as it sparks associations to Kyuss or Hendrix. Other tracks, such as the frenetic "Rip Tide" on Vol. 2, heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for atmospheric pieces such as the sun-drenched "Venice By The Sea" on Vol. 3 (EPR 003LP) or the Morricone-esque "Cinecitta" on Vol. 2.
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Artist |
Title |
Format |
Label |
Catalog # |
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LP
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EPR 003LP
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Causa Sui's three volumes of Summer Sessions are back in print, originally released in 2009. This time on the band's own label, on individual LPs for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso's signature style. Originally the Summer Sessions were intended as a side project for the band -- a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums. But these three albums came to define the band, and have become modern classics of psychedelia and progressive rock since their initial release ten years ago. In a scene often characterized by loyalty to a specific period, there's something refreshing about Causa Sui's eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example -- the 24-minute "Visions Of Summer" taking up the entire A-side on Vol. 1 (EPR 001LP): here new and old sounds dissolve in a mind-bending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancock's Mwandishi group, as much as it sparks associations to Kyuss or Hendrix. Other tracks, such as the frenetic "Rip Tide" on Vol. 2 (EPR 002LP), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for atmospheric pieces such as the sun-drenched "Venice By The Sea" on Vol. 3 or the Morricone-esque "Cinecitta" on Vol. 2.
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