Papir : V

The Danish trio Papir have always sounded much larger than you’d expect three guys to sound. With just the guitar/bass/drums rock trio standard set up, these guys make a mountain of sound. At times brash and fuzz-covered, other times dreamy and atmospheric, Nicklas Sørensen, Christoffer Brøchmann Christensen, and Christian Becher Clausen cover terrain as diverse as psych rock, post-rock, and even moments veering on progressive. Their tenure with El Paraiso Records gave our ears classics like Stundum, IIIIV , and their explosive Live At Roadburn that showed they are a force to be reckoned with live. These records set the stage for the trio from Copenhagen to seriously blow minds(and eardrums) for years to come.

Papir have returned from a three year hiatus with a brand new album and a brand new record label. Papir’s V is everything you’d hope from them and more. A double LP that spans over 90 minutes, V is a heady, expansive journey into the cosmos and back. Grab some headphones and a couple beers and get set to take flight.

Papir’s move from the mighty El Paraiso Records to Stickman Records has done nothing to quell the trio’s heady, hazy musical atmospherics. The record is seven songs clocking in over 90 minutes and is easily their most epic set yet. This is their most consistently dreamy collection of songs as well. At times there’s moments of Krautrock repetition(“V.II”), grand moments of blissed-out psychedelia(“V.III”), and epic musical statements(“V.VII”), but nothing ever gets into overdrive here. There are a few moments where Sørensen pushes his amps into overdrive territory, but for the most part this is a groove-driven affair. The rhythm section of Christoffer Brøchmann Christensen and Christian Becher Clausen lay down some solid groove foundations which allow the guitars to float above the proceedings and go where they may.

That’s not to say this isn’t a heavy record.

On the contrary, this album is like looking into some unknown abyss. It’s a beautiful and overwhelming experience. There are moments when everything melts together into one cavernous sound, as if the band are performing in a black hole. I liken it to my experience with vast, open spaces; back when I used to ride rollercoasters and would often go to Cedar Point in Sandusky, Ohio for the non-pharmaceutical thrills. Sitting amidst the gray, ominous waters of Lake Erie, those slow crawls up that first great hill on the Magnum XL-200 were both exhilarating and horrifying. Clear days were okay, but overcast days the lake looked like this endless expanse that would devour you whole in an instant. And at night, the giant ferris wheel sat on what seemed to be the edge of the world. Lights flickered as you were cast up into the night sky to look over into Lake Erie’s beckoning calls. V has moments of that overwhelming vastness.

“V.III” starts out like some great post-rock anthem and then seems to slowly dissipate into that black abyss. “V.IV” is reminiscent of the lighter moments of Stundum. It feels like an early morning buzz as the crisp air hits your lungs and the day unfolds before your eyes. There’s a jazz quality to the drumming here. It’s like Tony Williams getting weird with NEU! in 1973. Opener “V.I” is like a hand guiding you through a technicolor maze. It’s breezy and takes flight many times, with the guitars getting nice and gritty at moments. Nicklas Sørensen seems to be channeling the great Michael Rother at times with his fluid guitar notes. This really is the perfect opener for an epic album like this.

Papir have never come across as a band that feels they need to rush through a song. They start a musical journey and explore like free jazz pioneers did before them. Their music is the wandering kind. You put on headphones, drop the needle, and just go where the music takes you. V is their most expansive set yet, giving us seven worlds to explore and get lost in. And they are beautiful worlds, indeed.

8.4 out of 10

 

Table Scraps Unleash “My Obsession”, 7″ Split w/Black Mekon

Way back in the year 2015 the Birmingham garage/psych wizards Table Scraps dropped their excellent masterpiece More Time For Strangers. It was a blitzkrieg of guitar squall, hyperactive drumming, and banshee howls that could resurrect the dead and make those zombified ghouls bang their heads and pump their skeletal fists. It was a raucous example of how rock and roll can still be fun and a little dangerous.

Well lo and behold our Table Scraps have returned, hungrier and gnarlier than ever with one of their best songs yet. “My Obsession” is a dark and doomy jangle that sounds like a cross between Alice Cooper, The Misfits, and The Kills on a bourbon bender. Their sound is more precise and deadly this time around. The vocal swirl of Scott Vincent Abbot and Poppy Twist is spot-on, bringing to mind New York City’s White Hills and in spirit X. Seriously folks, this thing rocks. Just listen:

The track is being released on a 7″ split with Black Mekon as part of a 7″ series Black Mekon is releasing with various artists. According to the band’s Bandcamp page:

The 45 Consortium is a series of split 7” releases, founded by Black Mekon, and sees Table Scraps join an esteemed lineup of worldwide garage heavyweights (previous participants include White Mystery, Bob Log III and King Brothers)

Includes digital pre-order of My Obsession (Split 7″ w/ Black Mekon). The moment the album is released you’ll get unlimited streaming via the free Bandcamp app, plus a high-quality download in MP3, FLAC and more.

If you get moving you can order the limited edition 7″ via the band’s Bandcamp page and see that cover in glorious 3D. And yes, you get 3D glasses. Hurry. There’s only 9 copies left. Get to it!

Hit up the Bandcamp page for all the details. Until then, play this LOUD!!!

Causa Sui Revisited Part One : Summer Sessions Vol. 1 – 3

In lieu of the boxset Live From Copenhagen dropping next month, I thought I’d hit up a couple of my favorite Causa Sui albums. You know, chat ’em up, break ’em down, and generally just wax ecstatic about some of the amazing records that have been bestowed upon this world by these rock and roll Danes. So by all means go grab a beer, your favorite Danish snack, or put on your favorite pair of party slacks and dig in.

img_2841Would it be wise to recommend to the uninitiated listener a three volume record set as their first foray into the Causa Sui musical world? Hell if I know, I’m not all that wise. So instead of playing it safe and throwing Euporie Tide out there, I’m saying you should jump head first into it and dig into Summer Sessions Vol. 1-3. These albums, for me, are where it’s at. The first Causa Sui record, self-titled, was a toe dipped into the psych and stoner rock waters. Lots a Fu Manchu and Kyuss love happening on that album, but had these guys kept on that road(complete with fuzzed-out guitars and vocals) I don’t think I’d be sitting here talking to you folks about Causa Sui. While they were very adept at the genres, they were merely sewing their oats. They got the crunchy rock out of the way so they could crack open their heads and let the serious mojo ooze out. Summer Sessions Vol. 1-3 take you on a musical journey. Intellectual noodling. Free form psych. Interstellar jamming. Three records that have it all, and then some.

Summer Sessions Vol. 1 opens with a psyche crusher called “Visions Of Summer”. It’s like early Santana, the Doors “Riders On The Storm”, and Miles’ Bitches Brew all rolled up into this exquisite and tasty delight. Latin-flavored rhythms intertwine with dreamy keys, tasteful big riff guitars, and some punchy bass. It ebbs and flows between heavy moments and atmospheric horizons. It flows between late 60s idealism and early 70s “f*ck it, lets burn it down” machismo to stunning effect. If you’re looking to make a statement, “Visions Of Summer” is a hell of a way to greet folks. And at nearly 25 minutes you’ve got time to step away for a smoke(or make an omelet) and come back before you miss anything good. “Red Sun In June” has a nice jazzy feel in the tasteful drumming of Jakob Skott, while Jonas Munk lays on some heavy phased-out guitar. This track feels like a companion piece to a hella summer buzz. Bloodshot squinted eyes look past a blazing sun burning its way down into the ocean as you melt into the summer sand. Smooth. As. F*ck. “Portixeddu” is this spaced-out exploration into the heart of the sun. Whizzing noises and some serious grooves(more cowbell, please) fly past your ears as the Causa Sui crew mine some serious desert rock voodoo. “Soledad” sounds like some heady Meddle-like Pink Floyd haziness. I also think this track hints at future endeavors and vibes the Sui cats will explore with their Pewt’r Sessions.

Summer Sessions Vol. 2 greets us at the door with some Andre Segovia overtones in some classical guitar vibes and specter-like sounds before getting all dirge-y with the behemoth called “Rip Tide”. Imagine a cross between Black Sabbath and Hendrix’ Experience and you may have an idea of what you’re getting into with this hell of a track. Munk finds his inner Jimi while the Skott and Kahr do a damn fine job of laying down some serious Redding/Mitchell vibes. Then when you least expect it Johan Riedenlow lays down some seriously squanky sax that brings on the Interstellar Space vibes. “The Open Road” is this intense psychedelic freakout. Munk, Kahr, Rasmussen, and Skott can make some of the best freakout noise out there. Riedenlow shows up once again to lay down some serious bebop sounds. It’s 14 minutes of heady noises to clear the cobwebs from your tired minds, folks. “Cinecitta” is nearly a new age vacation from all the noisy grandeur and bombast. You can almost feel the breeze coming off Kattegat or Skagerrak as you let the mellow vibes come over you. The epic ending to Vol. 2 comes in the form of the atmospheric and expansive “Tropic Of Capricorn”. Whether Henry Miller’s classic novel or the December solstice was the inspiration remains to be seen. Regardless, this 23-minute epic ride that sounds like a cross between Hawkwind and At Fillmore East-era Allman Brothers Band will satisfy every aspect of music lover. It’s a beautiful mix of classic rock and jam-inspired musical exploration. You can’t go wrong here. Not one damn minute is wasted.

Summer Sessions Vol. 3 kicks off with “Eugenie”, a doomier track than we’re used to hearing from Causa Sui. Riedenlow shows up for some more nuanced saxophone, but the real star of the show here is Jonas Munk’s guitar display. He makes good use of the Crybaby pedal and let’s the dirge do the talking. “Red Valley” hints at Euporie Tide and its ability to go from doom-laden riffs to more upbeat, head in the clouds optimism. “Red Valley” has become a staple of Causa Sui’s live show and for good reason, it rocks. “Lonesome Traveller” feels like a “Red Valley” reprise, while “Santa Sangre” opens like Billy Thorpe’s “Children of the Sun” on mescaline. There’s a feeling of earth and soil with this one, as if the music is emanating from the cracked ground under our feet. This is one where the sax should’ve sat out, as it feels like it breaks up the massive tension created from the rhythm section and Munk’s guitar work. Still, that’s a small complaint. “Venice By The Sea” sets us off on a course into the sunset. It’s an adios to the explosive riffs and crystalline expanse of the world Causa Sui created for us to exist in.

Now these three records were originally meant to be listened to separately, as they were all released at different times. Last year all three records were sold together as a box set and I have to say that I think as a whole the three different Summer Sessions volumes compliment each other quite nicely. You really get the vibe of this massive journey. Waves breaking in the distant background, voices carrying over the valley below as music swells and builds along the lakeshore. Late night jams lift into the blackened sky as synapses pop and spark in minds being blown. Causa Sui’s Summer Sessions Vol. 1-3 feel like a musical microcosm of the death of the Summer of Love and the birth of the darker era known as the 1970s. Jams took on darker tones. Music was more about satisfying the artist than the listener. If the listener dug it, then great. If not, well that was their problem.

Summer Sessions Vol. 1-3 are the point where Causa Sui let loose their most creative tendencies and never stopped.

Up next: Part Two

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GOAT : Requiem

Listening to GOAT’s new epic album Requiem one gets the feeling of coming across some strange, acid-drenched dance party in the Shire. Big-footed hobbits drinkinggoat-requiem-3600 goblets of homemade rastleberry wine as they succumb to the psilocybin-fueled hallucinations as the sounds of GOAT echo through Middle Earth. Requiem could also pass for the soundtrack to a new Wes Anderson movie at times; playful and giddy enough to coat an Anderson scene with just enough punch and chutzpah as to give the oddball protagonist some serious cool(think the bee scene in Rushmore scored by “A Quick One, While He’s Away”.) GOAT have already established themselves as expert purveyors of psych/folk rock on their first two records. But here they’ve doubled down by giving us a double album teeming with the pastoral and the acid-burnt; pop confections and spectral psych. These masked Swedish psych freaks have laid out the map to enlightenment here. We best be getting on our way.

GOAT have never shied away from getting lost in the groove on their previous efforts, 2012s World Music and 2014s CommuneRequiem proves to be no different, and that’s a very good thing. The heavy acoustic mix here grounds these songs firmly into an organic world. No space explorations or intergalactic mind melting here. All the otherworldly music is retained in nature; the wet earth, loping trees, and dew-covered valleys come to mind on tracks like “Union of Sun and Moon” “I Sing In Silence” and “Temple Rhythms”; while “Alarms” gets a little noisy with some Hendrix-style guitar freakouts. “Trouble in the Streets” is exuberantly fun and dance-y. It’s like Bjork singing along to Rusted Root in her car on the way to pick up her kids. Thing is, the same person that would stick their nose up to GOAT would also be the same person sitting in front of their computer drunk at 11:30 pm on a Saturday night playing Rusted Root’s “Send Me On My Way” on Youtube and singing along off key(just an observation.) Anyways, back to the album.

I think the most important thing to point out here is how groove and rhythm-heavy this album is. “Goatband”, is nearly 8 minutes of serious heavy groove. It sounds like the E-Street band on some serious Afro-Cuban kick. “Try My Robe” is almost funky. Heavy bass, fuzzy guitar, with an eastern flair gives this track it’s own little groovy world. “Goatfuzz” is just a massive jam. A glorious, heavy jam. “Goodbye” would seem to be a perfect note to end the album on as it feels like a proper, awe-inspiring sunset on this perfect day of an album, but “Ubuntu” is the actual album closer and it feels like waking from a dream.

GOAT has spun a massive web of musical vibes on Requiem. It’s over an hour of mystical vibes and psychedelic colors and shapes. These masked musical marauders continue to enlighten and hypnotize with their earthy brand of jangly, earthbound psych and I don’t see that changing any time soon.

7. 8 out of 10

 

Heaven’s Gateway Drugs : Rubber Nun

For four years now there’s been something brewing in the Midwest. A sound. A sound and a movement. Call it dark magic. Call it a cult. Hell, call it voodoo if you want.cover But whatever you call it one thing you can’t do is deny the force of it. The whisper within the vibes that pulls you towards it. The catchy grooves and otherworldly pop sensibilities that mask a deeper sense of the universe. These reverb-drenched apostles come in the form of Heaven’s Gateways Drugs, a band that began as one thing, fell apart, then reformed into another. Yet despite internal stress and band member changes they still retained the essence that those three seemingly harmless words strung together formed, and the mantra that should be echoing in your skull right now:

“You are Heaven’s Gateway Drugs.”

Rubber Nun is the band’s newest record. It’s their best yet; fully formed, sonically richer, and filled with all those psychedelic sweeps and quirky pop moments that’s made them one of the most interesting bands to emerge from the Midwest rock scene in some time.

“The Heathen Twist” opens up with a meditative drone before sitar-like guitar and tribal drums force their way into your brain. The psych rock crew of Derek Mauger, Ben Carr, Brandon Lee Zolman, and James Francis Wadsworth know how to put together an eerie psych rock banger, and that’s just what “The Heathen Twist” is. The takeaway from it? We’re all doomed, so do what you want. You bought the ticket, so you better enjoy the ride while it lasts. “Copper Hill” has the swagger of Brian Jonestown Massacre and the melody game of “Strawberry Fields Forever”, complete with Leslie speaker-affected backing vox. “Fun & Games” has some groovy rhythms courtesy of Sir Wadsworth and a seriously magical vibe mined right from those classic Nuggets collections. The guitar sounds like its hanging in the air courtesy of some seriously milky reverb. Title track “Rubber Nun” is a psychedelic powder keg, blasting at the seams like the Banana Splits on the verge of a psilocybin freakout. It’s a nonsensical, giddy pop concoction that you’ll find hard to sit still to. “Dear Charlotte” is a ghostly track that morphs the ‘Village Green’ with ‘Welcome To My Nightmare’. And “Utah Spirit Babies” is the heaviest I’ve heard these guys yet. Despite being a hell of a song title, it’s also a call back to some serious Fort Wayne music scene history.

Jason Davis of Off The Cuff Sound has done an exquisite job of bringing these tracks to life in the studio. He’s given them a sonic depth and offered the guys just enough studio wizardry to allow for a rich and heady headphone experience. “The Horrible Tale of Edwin Crisp” and “Knowing” prove to be worlds unto themselves under the guidance of some seriously bulky Koss headphones(or ear buds if you’re so inclined.)

Rubber Nun is a honing in on the strengths and dark magic that makes Heaven’s Gateway Drugs the magical group of musical occultists they’ve become. You’re not going to hear something out of place on this record. No piano ballads or blues rockers. What you will hear is a band that has found their sea legs, as it were. Casting spells, laying down mystical grooves, and generally freaking out in the best way possible.

8.2 out 10

 

Midwest Freakout : Echo Chambers, Hot Tubs, and Heaven’s Gateway Drugs

by EA Poorman

Photo by Adam Garland

 

Heaven’s Gateway Drugs has come a long way since the release of their last album, Apropos. Between that record’s release in 2014 to now(2016 for you folks just waking from a two year coma) the band was deconstructed and reconstructed. Derek Mauger and Ben Carr were the two remaining original members left to continue to fly the HGD freak flag high, and they have indeed flown that flag. With the loss of guitarist/singer C. Ray Harvey, bass player Joshua Elias, and drummer Eric Frank, Derek and Ben put together HGD 2.0 like some psychedelic Frankenstein, bringing in bassist Brandon Lee Zolman and drummer James Francis Wadsworth. They hit the road and tightened up as a band and spread the word to hungry ears. In-between gigs and that thing we call life the guys would hit Off The Cuff Sound and work on what would be the re-christening record for Heaven’s Gateway Drugs. Well folks, that record will soon be here. It’s called Rubber Nun and it’s a scorcher. HGD finally sound like the band they were meant to be. No disrespect to HGD 1.0, but it seems as though the mojo has most definitely been found.

Derek Mauger sat down with me to discuss the record, the band, and their upcoming Middle Waves Festival spot.

EA Poorman: So it’s been two years since ‘Apropos’ was released. How have things changed since October of 2014?

Derek Mauger: Two years ago we were essentially a brand new band. 3 of our original members had left the band due to family, school or work reasons so Ben and I were left to decide if we wanted to carry on. We felt like we had more to do – including release ‘Apropos’ – so we enlisted James Wadsworth for drums and Brandon Zolman for bass and off we went. Two years on, it really feels like we have come into our own with this line up.

EA Poorman: Do you feel like this is where HGD is supposed to be now?

Derek Mauger: Absolutely. Even with a line up overhaul it really feels like we are still journeying down the same path we set out on 4 years ago. ‘Rubber Nun’ doesn’t feel like a re-hash of what we’ve done before but it feels right at home with everything else we have done.

EA Poorman: Let’s talk about the new LP, ‘Rubber Nun’. First off, where did the name come from?

Derek Mauger:  The name ‘Rubber Nun’ came out of nowhere while I was working on the song that became its namesake. Originally, it was just a nonsensical term that I was using to flesh out the melody but since then I have my own interpretation of what it means. I like hearing what other people think a ‘Rubber Nun’ is. Some have metaphoric interpretations, but a lot of people just think it is some kind of sex toy. Both work.

EA Poorman: How long has the writing process been happening? Was this record conceived completely by the current crew?

Derek Mauger: ‘Rubber Nun’ is 100% the result of the current incarnation of Heaven’s Gateway Drugs. Basically from the time James and Brandon came on board in the summer of 2014 we started working on new material and by that December we were in the studio working on the first batch of songs. The album was recording in 3 big chunks with that first session in December 2014, then 2 more sessions in the spring/summer of 2015. Typically, I bring a riff or some fragments of an idea to practice and the group builds the songs up from there. Brandon also does the same and a few times songs grew out of the noodling we all tend to do while we tune up for practice.

EA Poorman: Last time out Heaven’s Gateway Drugs recorded at Tempel Recording Studio, with mixing help from Jason Davis. This time though you guys holed up at Jason’s Off The Cuff Sound recording studio and laid tracks down there. I imagine Jason Davis is a perfect fit for you guys. How was the experience working with him?

Derek Mauger: The first songs we ever recorded as Heaven’s Gateway Drugs were with Jason Davis at Off The Cuff so returning to his studio for this album just felt right. By this point, Jason is basically a member of the band – he even sat in for a handful of shows last fall when James was on the injured list – so working with him is incredibly easy.  Jason is also someone that we all have an immense amount of respect for, so when he gives us a suggestion we don’t hesitate to try it out. Off The Cuff is our happy place. There’s just a vibe there that is almost impossible to explain. It is a living museum of vintage equipment full of tube amps, tape machines, wonky old keyboards, there’s even an echo chamber. Plus there’s a hot tub.

EA Poorman: An echo chamber and a hot tub? Hot damn. Okay, so back to the album. So you’ve spent the last couple of years patiently writing and recording the new record. ‘Rubber Nun’ is done and now it’s time to share the work. When is the album officially released? Where will the album be available to buy?

Derek Mauger: The album is available for pre-order right now through dizzybird records. When you pre-order the record, you also get access to the album digitally so you can load/stream it onto all your things. The records will ship out early September and our official release show is 9/9 at the Brass Rail. You will be able to get physical copies from us then and starting the next day you will be able to find copies at Neat Neat Neat Records in town.

EA Poorman: This time around HGD gets the vinyl treatment. That’s gotta be a pretty great feeling to know you can spin your own tunes on the turntable. If any band needs to be enjoyed on vinyl, it’s Heaven’s Gateway Drugs.

Derek Mauger: Thanks! It was surreal when we finally got to sit down and listen to the test pressings. This is the first time any of us have ever had our music on a full length vinyl record.

EA Poorman: I can only imagine. So what’s planned for the release show? You mentioned the Brass Rail?

Derek Mauger: Our release show is happening on September 9th at the Brass Rail. So far the plan for the evening is Streetlamps for Spotlights opening, then we will play the record start to finish followed by Joshua Elias who is going to DJ some 60’s/70’s soul/funk/psych jams. Jason Davis is the ringleader of Streetlamps so it seemed natural to ask him to join us and Josh was our former bass player and all around good time fun guy who happens to be an amazing DJ. Getting this album made was a huge undertaking so our goal for the night is to celebrate and party with all the people who helped make the record happen in one way or another. Not going to lie, really really really looking forward to dancing our asses off after our set. There will be a lot of surprises too.

EA Poorman: I know HGD have become road warriors over the last couple years, playing quite a few out of town gigs and converting folks everywhere you go. Will there be any extensive touring to promote this “rebirth” of an album? 

Derek Mauger:  So far the plan is to keep up our schedule of doing as many out of town weekends as possible through the end of the year. We definitely want to try to hit some new cities but really excited to go back to some venues where people have asked us for vinyl in the past and finally deliver them the goods.

EA Poorman: What’s the rest of 2016 looking like for Heaven’s Gateway Drugs? Converting as many souls as possible? Mass freakouts? World domination?

Derek Mauger: Always always always looking for converts. Always always always down for freakouts. The rest of 2016 is going to be a whirlwind of shows, including some festivals like Middle Waves here in Fort Wayne and playing with some of our favorite groups like the Flaming Lips (at the aforementioned Middle Waves), Morgan Delt up in Chicago, and some shows we have to keep hush-hush about until their secrets can be revealed. We will most likely hibernate at Off The Cuff during the winter months and record some new material. Then it’s back on the road in 2017…

EA Poorman: Yes, Middle Waves. How did that come about. Sharing the bill with the Fearless Freaks themselves?

Derek Mauger: Wow for sure. We were approached by the guys in the booking committee in the weeks leading up to the big announcement party and thought it was some kind of practical joke. The Flaming Lips are easily one of our favorite bands and them here in Fort Wayne? And we get to play that weekend? Insane. But they assured us this was the real deal, then the hardest part was not immediately telling everyone we knew. Unreal and totally lucky that we get to be a part of the start of something really amazing happening in Fort Wayne.


Go see Heaven’s Gateway Drugs September 9th at the Brass Rail and hear their amazing new album Rubber Nun live. Then grab a vinyl copy from HGD and tell them how much you dig their music. Don’t forget you can grab a vinyl copy at NNN Records the next day for that friend that couldn’t get off work. And if you haven’t yet, buy your ticket for Middle Waves Festival so you can see the HGD dudes tear it up, along with some other amazing Fort Wayne bands. Oh, and the Flaming Lips, too.

Preorder Rubber Nun right here, if you like.

 

Landing : Third Sight

Landing seems to inhabit a musical space that resides in dreams. They createlanding these musical patchworks that form a beautiful and surreal world where natural light and free thought connect and open doorways to ethereal universes. Of course, you have to be ready and primed to allow the music on Landing’s newest album Third Sight to do such magical things to your brain. If you’re not, well you may just hear nothing more than noise fading in and out. Electrical disturbances between your ears. Connecticut’s Landing don’t dabble in fluff. They’re cooking up the good stuff.

Since the mid-nineties Aaron Snow and Adrienne Snow have been making and performing music together. Their mix of ambient dream pop and pulsating, hazy space/psych rock has been the East coast’s best kept secret for 20 years. They’ve amassed a solid and loyal fan base, with one of those fans being Causa Sui guitarist and El Paraiso Records co-owner Jonas Munk. Third Sight, Landing’s newest musical adventure, is an improvisational three-song journey filled with hypnotic loops, wavering synth, and ethereal vocals in the tradition of Tangerine Dream, Kurt Stenzel’s Jodorowsky’s Dune S/T, and Rich Millman’s Night Flights. It’s a heady musical journey to say the least.

“Delusion Sound/Third Site” slowly makes its way into the light with what sounds like ancient loops hissing and ticking their way back to life before drums and guitar make their presence known. Once the vocals arrive the song morphs into a cross between Wooden Shjips and a peaceful, swirling vortex. Landing have a knack for allowing their songs to dissipate into the atmosphere as the song sees fit, which makes for a peaceful and quite beautiful fade out. “Delusion Sound” withers majestically into the sunset, “Third Site” bounces with jaunty synths, not unlike something Terry Riley might have offered up 40 years ago. The song feels like a through point to some other realm. If you’re not familiar with Rich Millman’s Night Flights you should make yourself familiar. “Third Site” taps into that ambient beauty Night Flights captures as well. “Facing South” reminds me of all those amazing song intros that Robert Smith would give his tunes in the mid to late eighties. Those pieces you wish were songs themselves. “Morning Sun” closes the album out. With its 14 minute time frame you could say the song is an epic closer, and you wouldn’t be wrong. There’s no hurry on this album, and “Morning Sun” feels like a stroll through a snow-covered forest. It’s deep thoughts overlooking a frozen lake; or waiting for the sun to disappear from the horizon. Time is of no concern here. Nearly eight minutes in and Adrienne Snow’s ethereal vocals come in, but only for a moment. She seems to be carried off on a cloud of synth and guitar haze.

Third Sight is a beautiful escape from reality. It envelopes you into a cloud of repeating motifs and escalating white noise. Landing make these kaleidoscopes of sound that feel impressionistic and avante garde at the same time. Saying it’s ambient music takes some of the heaviness and headiness this great band creates away, so I’ll call what they make dream psych. Third Sight feels and sounds like an epiphany. Simple, yet all encompassing.

8. 3 out of 10