Oresund Space Collective, Denmark-Sweden

Space rock

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Latest: Orgone Unicorn (2024). To be released July 26.

OSC releases about 3 to 4 albums a year. The last album I own (and have heard) is Phaze Your Fears (2012). I hope to check some more out online at some point. 

Dead Man in Space (2009)

Dead Man in Space is Oresund Space Collective's 6th proper album. It is also their very first LP vinyl release. It's a significant trend, as the medium demands an editor to distill the very best parts. And while Oresund Space Collective certainly does do that anyway, this forces them to think a bit harder on what goes in and what stays out. OSC is a band that is a natural fit for vinyl, and it's not surprising to see they have continued this trend since (though they may release the album as a 3 LP set somewhat defeating this purpose anyway).

On the music front, Dead Man in Space is one of OSC's more coherent and focused releases - no surprise given the context provided above. Improvisational space rock jamming is still the name of the game, though here there's a bit of a jazzy bent in the rhythms and sounds. And I felt there were more poignant psychedelic guitar bursts than normal, giving the album just the bite it needs to be successful. If looking to start somewhere with OSC, Dead Man in Space is a good one to consider.

---10/8/17

Good Planets are Hard to Find (2009)

Fifth album from the Oresund Space Collective. Improvisational space rock jamming is their stock in trade. Here they add a few more set-piece ideas to the mix making for a pleasurable listen. One of their better albums. While I enjoy them all, those that have more composition acumen are the ones that stick around.

---1/27/24

The Black Tomato (2007)

The Black Tomato is Oresund Space Collective's third album and my personal favorite of the ones I've heard by the band. This title sounds more like a vintage Kosmische release rather than the more modern Ozric Tentacles school of space rock. Long tracks (two of the three clock over 30 minutes each in fact) that shimmer with that early 70's German vibe, but also keeps the motor running throughout, so there's no room for boredom to sit in. And high energy guitar-driven Krautrock always wins here around the UMR household.

Looking for a place to start with the vast OSC catalog? Start with this one.

---9/8/11

Oresund Space Collective (2006)

Oresund Space Collective are yet another Scandinavian space rock crew, who revel in the art of the groove and the jam, and eschew any kind of arty pretension. Large ensembles are the way to go when performing this kind of exploratory music, and OSC deliver all kinds of personnel and instrumentation (including multiple guitars and an array of vintage and modern keyboards). A true international bunch, in that their very name is the bridge between Denmark and Sweden - and lead by the American scientist Dr. Space (Scott Heller). A fine beginning for the band, who were to improve greatly from here - not to mention become far more prolific.

---9/12/11

Other albums heard: It's All About Delay (2006); Inside Your Head (2008); Slip Into the Vortex (2010); Entering Into the Space Country (2011); Phaze Your Fears (2012) 

9/8/11 (new entry)

['ramp], Germany

Doombient; Berlin School Electronic

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Latest: Havoc (2024)

Frozen Radios (2000)

Frozen Radios begins to demonstrate that ['ramp] have a penchant for the dark ambient sounds of Klaus Schulze's Cyborg or Tangerine Dream's Zeit. On the back cover, they inform us to "File Under: Electronic Industrial Ambient". And that's quite accurate, except the sequencers are still going full bore here, so you're never too far from the friendly confines of the Berlin School. Another highly recommended album for fans of the genre.

---9/20/13

Nodular (1998)

Regular readers of my reviews know that I'm quite fond of the Berlin School of electronic music as founded by Tangerine Dream and Klaus Schulze. Atmospheric keyboards that give way to blazing sequencers, choral mellotron tapes (likely sampled in Ramp's case), and melodic synthesizer lines (and even better if there's guitar which Ramp unfortunately doesn't employ) will blow me away every time. Instant mental movie soundtrack music. Ramp were part of the original renaissance of the movement that gained quite a bit of traction in the late 1990s (especially in the UK and The Netherlands) with Radio Massacre International, AirSculpture, and Redshift leading the charge. Ramp were rare in that they were from the namesake country. Certainly Germany had support of the style within, but mainly from various individual synthesists like Bernd Kistenmacher and Mario Schonwalder (and owner of the influential Manikin label). So Ramp were indeed unique given they were a group effort.

Ramp originally started as a trio, and the synchronicity of ideas is apparent. There were (and are) a ton of solo electronic musicians, but many of those sound monolithic to these ears. The best acts, like the ones I mentioned above, feature at least 3 performers if not more. Later, the band changed their sound to what they call "doombient" which I hope to hear one day as well, though I'm not entirely convinced it's a style I'll embrace. Hardcore EM followers no doubt are already very familiar with Ramp.

The lineup on Nodular is:
Frank Makowski: sampling, sequencing, electronics, loops
Stephen Parsick: electronics, sequencing, rhythm programming
Lambert Ringlage: electronics, micro composers, tapes
Martina Fantar: voice on "before the storm"

Martina's atmospheric voice is positively enchanting in this setting.

All the tracks are good, but the 19 minute 'Phasenverzerrung' is absolutely brilliant. If it doesn't lay you out on the first try, then there's a better than average chance this style isn't for you.

---4/9/11

4/9/11 (new entry)

Sezione Frenante, Italy

Neo Italian prog

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Latest: Pace e Guerra (2024) single

Metafora di un Viaggio (2014) 

Sezione Frenante are one of a handful of groups who performed live in the 70s before disbanding without any recorded output, only to reform in modern times and release one album or more. The returns are mixed on these bands, some having adapted better than others. Sezione Frenante sits in the middle of these type of groups. On the one hand they do have those impressive breaks that makes the genre so special. And it's prog rock all the way, no silly attempts at pop stardom. On the other, there's this nagging feeling they relied too heavily on modern instrumentation and production techniques. One starts to wonder "what could have been?" in their initial incarnation. As I immerse myself deeper into the contents, I hear a strain of neo prog that I hadn't noticed before. Which isn't necessarily a bad thing in my world. Fortunately they maintain the Italian language (and sung very well by newcomer Francesco Nardo) keeping it out of the Genesis clone discussion. Gosh, if I already didn't own shelves full of this kind of prog from Italy already, I'd keep this. But downsizing is in full force, and this one never resonated with me at any level except academically.

---12/15/24

10/12/23 (new entry)

Agusa, Sweden

Retro prog

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Latest release: Noir (2024). To be released May 10

There's talk of releasing a new live album. They've also signed with Karisma Records of Norway and will be reissuing all of their studio albums.

Prima Materia (2023)

I find it fascinating on how we sometimes as listeners connect with albums. I currently have almost 200 albums in my collection that I rate 5 stars on RYM or 13 or above on Gnosis. They - appropriately enough - reflect a very small percentage of my overall listening experience. But those that make this list are very special to me for obvious reasons. Almost all of these go back to my formative years of deep diving into the vast world of underground music, with an occasional nod to a more well known album. It is very unusual for a newer album to transcend into this rarified territory. There are many reasons for this, mostly associative emotion - that which represents a time and place in one's life. When you're almost 60, the emotional aspect of the individual has (usually) stabilized. Those zenith moments are much fewer and far between. Much of this is familiarity and experience. In life it's the "been there, done that" factor. In music, we tend to recognize familiar patterns. Some are as comfortable as putting on your favorite pair of jeans. Others become tedious after close to 50 years of the same ol', same ol'.

I bring all of this up here on this review, as Prima Materia is (as I'm sure you've guessed by now) one of those rare albums. Even though Agusa have been around since 2014, and I own all of their studio albums plus one live outing, the group continues to evolve in the same manner as I have. And every single trigger and button got pushed for me, for a magical first time listen (and immediate subsequent listens). Perhaps this wouldn't have been such a great revelation for me 20 or even 10 years ago. But where my mental state is today, Prima Materia represents my personal soundtrack.

If you already know Agusa, then Prima Materia isn't really that much different than anything else they've released to date. Their stock and trade is that of the Swedish folk melody contrasted with the beautiful melodicism and instrumental progressive rock of a Camel (as but one example), or more close to home, Flasket Brinner. Flute is front and center to their sound, along with vintage keyboards and a delicious fuzz guitar tone. In addition to their normal approach, I picked up a distinct Brazilian bossa nova sound for this outing. It's the perfect complement to their recipe. This may come as a surprise if you weren't already aware of Sweden's long time fascination with Latin jazz.

As with any album that transcends the highest tier, words alone cannot express my adulation for such a beautiful piece of music. It's another kind of emotional language - one that if we all mastered, there would be world peace.

---3/31/24

En Annan Värld (2021)

En Annan Värld is Agusa's 4th studio album made up of two long tracks totaling 46 minutes. The first opus presented here is largely a continuation of what Agusa had established on their self titled 3rd album. On that review I stated that Agusa seems to be the next generation of Flasket Brinner, with organ, psychedelic guitar, and flute leading the instrumental parade. Their overall sound is very organic, and while complex, it doesn't seem overtly so. Melody and warm analog tones are their key drivers. The second track is a bit of a departure and introduces a Krautrock element. Oh darn, not that. lol. Elements of late 60s Pink Floyd trickle in, as Agusa flows into a deep space. The instrumentation remains the same as everything else they've done, so this is not a cold clinical exercise in modern post rock, which I usually find to be boring. Rather, Agusa are pure analog bliss, with a trippy 60s mindset. Doesn't get better than that. This is the second album in a row that Agusa transcends the competition to the highest level. And now I'm reading about a new 5th album. Might break down and get that one upon release. I don't do that much anymore.

---7/1/23

Agusa (2017)

Agusa is back with their 3rd instrumental studio release, and continue on with their unique take on the 1973 Swedish landscape. No change in style, but the execution continues to accelerate in a  positive way. The songwriting is memorable, and the instrumentals more kinetic than even before. It's as if the Silence label just released the next Flasket Brinner album. The usual instrumentation of organ, psychedelic guitar, and flute continue to drive Agusa's sound. To my ears, this is Agusa's best album to date. It's a much welcome style, and one that isn't over copied. I can listen to this kind of music all day. Brilliant really.

---1/5/18

Katarsis (2016)

Agusa's first live album, and third album overall, sees the band do what they do best: Jam. Recorded in Greece, and released on CD in the same country, this was obviously a planned event and Agusa clearly prepared heavily for it - meaning the band is sharp on all fronts. The material is culled from two tracks taken from their debut. Both are stretched considerably here, especially 'Kärlek Från Agusa' which was only a short bonus track on the original. Musically, the band hasn't changed one iota. This is 1972 Sweden brought forth and distilled for the modern age. Folk based melodies, progressive rock structures and changes, with psychedelic sounds (Organ, flute, acid guitar, pulsating bass, and pounding drums). It's a recipe that has patrons lined out the door for more. No point in tweaking that now. Given the improvisational nature of the concert, this album is entirely unique to the studio offerings, and as such, is a worthy investment on its own.

---2/18/17

Tva (2015)

Agusa quickly follows their highly regarded debut Högtid, with the old school moniker of "2", in Swedish of course. If you were hoping for some modern development, you've come to the wrong place. Agusa's mindset defiantly remains in 1971, and that's exactly what their audience wants to hear. In addition to Hammond organ, psychedelic electric guitar, and a pulsating rhythm section, Agusa have added the always welcome ingredient of flute. Well, that just about covers the landscape of 45 years ago. As with "Högtid", Swedish folkloric melodies are the centerpiece, particularly on the first side long track (ah, it warms the cockles of my heart to say "side long track") 'Gånglåt från Vintergatan'. It's Kenny Håkansson fronting Flasket Brinner with a dollop of International Harvester on the side. Even better is the darker and less familiar 'Kung Bores dans' - yet another side long opus. Agusa's music is organic and free flowing. There are no jaw dropping breaks or flights of fancy. I never tire of music such as this. This is the kind of album where you lay down, close your eyes, and let the music take you to new and unknown places. Soothing, comfortable, and entirely psychedelic.

---9/2/15

Hogtid (2014)

Agusa are a new band from Sweden that has ties to two other UTR favorites: Sveriges Kommuner och Landsting and Kama Loka. Seeing the album is on Kommun2, and the description read that the music is in a similar 70s retro vein, it seemed a guarantee I would like it. And indeed it came to pass - I love it. Once again we are presented with a heavy - yet subdued - primarily instrumental psychedelic rock album, with Hammond organ, acoustic and fuzz guitar, wordless voices, pounding percussion - all with that distinct Nordic touch (while occasionally looking east towards Asia), that shows up in the melodies and overall atmosphere. There are no pyrotechnics here - this is an album for reflection and careful study. For fans of Flasket Brinner, early Trettioariga Kriget, Kebnekaise, Saga, and other classics from the Swedish 70s underground.

---5/10/14

5/10/14 (new entry)