Papir "7" (2022)

7

release date: Jan. 14, 2022

format: digital (4 x file, FLAC)

[album rate: 3,5 / 5] [3,55]

producer: Lars Lundholm (rec.]; Troels Bech [mast.]; Papir [mix.]

label: Stickman Records - nationality: Denmark

Track highlights: 1. "7.1 (part I-III)" - 2. "7.2" - 4. "7.4"

7th studio album by Papir following close to three years after VI (May 2019) is the band's third album on Stickman. This new album comes with four compositions and with a total running time at nearly 41 mins. The first track - consisting of three parts - is by far the longest with a running time at almost 20 mins, whereas the three remainders are all well under 10 mins each. Also being released on vinyl, the first track takes up all of the A-side, with the three shorter tracks filling the B-side, it seems natural if all three would have been labelled '7.II (part I-III)' - but they're not. Perhaps the band just think of them as too different, or they want to have you ponder in the dark?

7 is yet another instrumental journey within a post-rock universe but it's also something new to this trio as dreampop-founded AND without the space rock characteristics. Track "7.3" is literally ambient, and that's taking it a bit too far for my taste, but they have successfully tuned down on the fabulating instrumental excess and instead found a calm and slow evolving progress, which to me, sounds as an improvement.

In my ears, this is bliss and it's also the band's so far best album.

[ bandcamp ]

[ 👉SputnikMusic 4 / 5 stars ]

Papir "VI" (2019)

VI

release date: May 10, 2019

format: digital (4 x File, FLAC)

[album rate: 3,5 / 5] [3,52]

producer: Lars Lundholm [rec.]; Troels Bech [mast.]; Papir [mix.]

label: Stickman Records - nationality: Denmark

Tracklist: 1. "VI.I" - 2. "VI.II" - 3. "VI.III" - 4. "VI.IV"

6th studio album by Papir following two years after V is like that recorded by Lars Lundholm and released on Stickman. The trio remains unchanged with guitarist Niklas Sørensen, bassist Christian Clausen, and drummer Christoffer Christensen.

VI are four untitled tracks with a total running time at just under 40 mins. and stylewise, Papir explores their new-found original blend of post-rock, space rock and prog rock with hints of this and that but still held together on their own musical path.

VI also continue a new fine level demonstrating individual qualities as well as insight in musical realisation. My only 'complaint' is the end-track, which to me sounds like something they composed earlier with too much improvisation and too much unorganised space rock, whereas the first three all appear more contemporary and better arranged. That said, this new distillation is still more than a worthwhile listen.

Small recommendation.

[ bandcamp ]

[ Musikreviews.de 13 / 15, SputnikMusik 3,7 / 5 stars ]

Papir "V" (2015)

V

release date: Aug. 18, 2017

format: digital (7 x File, FLAC)

[album rate: 3,5 / 5] [3,46]

producer: Lars Lundholm [rec.]; Carl Saff [mast.]; John McEntire [mix.]

label: Stickman Records - nationality: Denmark

Track highlights: 1. "V.I" - 2 "V.II" - 3. "V.III" - 4. "V.IV" - 5. "V.V" - 7. "V.VII"

5th studio album by Papir following almost 3½ years after IIII (Feb. 2014) is the band's first on German label Stickman. They hold on to the formula of keeping compositions without other titles than a succession of numbers, but apart from that this new album actually reveal a progression in the band's soundscape, as opposed to what you may experience on their most recent three studio albums. The album consists of seven compositions - in physical form it has only been issued as double vinyl (with tracks #1-6) and a 2-cd release with a total running time exceeding 94 mins.

Musically, the band still embark the space rock and krautrock starship, but on this they have now established room for more diversity without loss of direction. It appears the change to a larger label has crystalised in narrowing in how to come through as a band on a mission. Some tracks would easily go as obvious post-rock beginnings, middles, or endings, but Papir just include various stylistic elements in a broad combo. Here, you'll notice bits of shoegaze and dreampop but everything is cleverly incorporated with their talent for colouring and in that way V is easily the band's so far most successful album, and in my mind, an album of international value.

Worth more than a listen.

[ bandcamp ]

[ SputnikMusic 4,2 / 5 stars ]

Papir "IIII" (2014)

IIII

release date: Feb. 11, 2014

format: digital (4 x File, FLAC - Impetus Series 09)

[album rate: 3 / 5] [3,22]

producer: Jonas Munk [recorded by]

label: El Paraiso Records - nationality: Denmark

Tracklist: 1. "IIII.I" - 2. "IIII.II" - 3. "IIII.III" - 4. "IIII.IIII"

4th studio album by Papir following one year after III seems like the continued series of instrumental space rock, prog rock, and post-rock releases on El Paraiso, again with recording engineer Jonas Munk and with artwork by Jakob Skjøtt.

Even the album title and the track titles differ little from the 2013 album giving a minimalist variation, and you could argue that also the soundscape remains intact with little progression from the two previous albums. In fact, the Papir has played more or less the same instrumental and experimental prog rock founded on 70s krautrock and progressive psychedelic rock and then to some extent: more contemporary post-rock influences. "IIII.I" appear as a strong post-rock compositions, whereas the following tracks repeat the pattern from the 2013 album by being more like jam session-oriented. The final track "IIII.IIII" does, however, again point to a more original melodic universe. The album is in every detail a close new chapter in an ongoing journey that could use some more variation. That said, I still find this band of skilled instrumentalists a rather fascinating acquaintance.

[ bandcamp ]

Papir "III" (2013)

III

release date: Feb. 11, 2013

format: digital (5 x File, FLAC - Impetus Series 07)

[album rate: 3 / 5] [3,18]

producer: Jonas Munk

label: El Paraiso Records - nationality: Denmark

Tracklist: 1. "III.I" - 2. "III.II" - 3. "III.III" - 4. "III.IIII" - 5. "III.IIIII"

3rd studio album from Danish space rock instrumentalists Papir is like the predecessor Stundum (Nov. 2011) released on El Paraiso and produced by Jonas Munk and comes with artwork by Jakob Skjøtt.

III is much like a new chapter in a predictable sequel of instrumental space rock with prog rock and krautrock elements as well as more modern post-rock traits. The album feature five compositions of varied length running from 4:55 mins. (track #3) to 15:21 (track #5) with a total of just under 44 mins.

The first two tracks both have a stronger post-rock touch, appearing as the most interesting music, whereas the three following compositions tend to feel like studio improvs of more unfocused space rock.

The band still still evolves, at times you hear an unmistable influence from Hendrix but mostly it's out-of-space prog rock. I rate this one a little better than their previous effort, and what I fundamentally find is better here is the instrumentation. Guitarist Niklas Sørensen has grown and simply demonstrates a Hendrix-fascination that never goes too close to the original, and also bassist Christian Clausen and drummer Christoffer Brøchmann goes nicely hand in hand with their flawless rhythm-section.

[ bandcamp ]

Anadol "Hatıralar" (2017)

Hatıralar

release date: Mar. 24, 2017

format: digital (16 x File, FLAC)

[album rate: 2,5 / 5] [2,58]

producer: Anadol, Işık Sarıhan

label: Inverted Spectrum / Pingipung - nationality: Germany

Second album by Anadol (aka Turkish-born Gözen Atila Kaya) originally recorded in 2011-12 in Turkey and Berlin and released on Inverted Spectrum Records, Turkey. The debut comes in various versions - apparently, the original was a memory-stick release, which was reissued by Pingipung as a 12-track vinyl lp and as downloadable album via Anadol's bandcamp profile. 'Hatıralar' is Turkish for 'memories.

Anadol is a musical project primarily playing instrumental psychedelic synth folk - a unique combo where the sound artist combines musical influence from Turkish folklore, Western music and various types of world music to produce simple melodic patterns using synthesizers with sporadic added instrumenation.

EDIT 2023:

The album has been reissued in a remastered and remixed version counting 12 compositions.

Papir "Stundom" (2011)

Stundom

release date: Nov. 28, 2011

format: digital (6 x File, FLAC - Impetus Series 03)

[album rate: 3 / 5] [3,12]

producer: Jonas Munk

label: El Paraiso Records - nationality: Denmark

Tracklist: 1. "Sunday #1" - 2. "Saturday" - 3. "Monday" - 4. "Sunday #2" - 5. "Tuesday #1" - 6. "Tuesday #2"

2nd studio album by Danish instrumental rock-trio Papir is produced by Jonas Munk from the (Danish) band Causa Sui (the artwork is by Jakob Skøtt, drummer of Causa Sui), and the album is released by the label founded by Munk and Skøtt: El Paraiso. Stundum is the follow-up to the one year old debut, and 'stundum' is arcaic Danish corresponding 'occasionally', and all tracks have titles after weekdays. Where the 2010 album contained four tracks and had a total running time just above 30 mins, this one comes with six tracks and a total running time almost touching 80 mins.

Where the debut basically was experimental krautrock, I would argue that this second attempt has a much more apparrent experimental post-rock feel on top of the prog rock foundation, which in my mind makes it a bit more interesting. At times it becomes too jam-oriented - the style takes a fusion rock turn, probably due to studio improvs, but nevertheless, some parts tend to sound like free-associations, and then a new theme is picked up and a forward movement is taking place. It's difficult to sum up, but it's like a fascinating trip, and all you have to do, is to go along, let it unfold and see if it takes you somewhere. Overall, I think it's bettering the debut - only, I wish they would be more focused.

[ bandcamp ]

Papir "Papir" (2010)

Papir [debut]

release date: Dec. 1, 2010

format: digital (5 x File, FLAC)

[album rate: 3 / 5] [2,92]

producer: Troels Bech [masterered by]

label: self-released - nationality: Denmark

Tracklist: 1. "Kurl Te Pow Ralise" - 2. "Lykk Trep-R Hi-Losé" - 3. "Une Frensal N-Erit" - 4. "Rogter Sot Oe Koft"

Studio album debut by Danish space rock and prog rock trio Papir consisting of guitarist Nicklas Sørensen, bassist Christian Becher Clausen, and drummer Christoffer Brøchmann Christensen. The band was founded in Gladsaxe, Copenhagen around 2008. The album consists of four instrumental pieces, and it was originally released on vinyl by independent label Red Tape, and later made available as downloadable via the band's bandcamp profile. The album mentions no producer credits, but Troels Bech is credited mastering and the band is credited mixing.

Stylewise and musically, the band explores experimental progressive rock with bonds to 1970s krautrock and German prog rock band Can in particular.

The album is not an immediate favourite but it definitely isn't without talent. There's both something disturbing, something fascinating, and a great deal of originality to these four compositions.

Sigur Rós "Route One" (2017)

Route One

release date: Dec. 2017 (re-released Apr. 27, 2018)

format: digital (8 x File, FLAC)

[album rate: 3 / 5] [3,12]

producer: Sigur Rós

label: self-released - nationality: Iceland

Remix album by Sigur Rós, or at least a special type of remix album. The band broadcast their more than 1300K road trip around Iceland's ring road in the Summer of 2016 live on YouTube, while using software to make continous remixes of one original composition - "Óveður". Eight of these were then selected for this remix album.

I find the project fascinating, especially as a full audio-visual experience but as is often the case with soundtracks, the audio part alone may suffer from the missing dimension, and that's what I find is at stake with Route One. The compositions are not only instrumentals but they're also held in a mostly ambient style, which makes the end result quite coherent but also challenging as a full listen from start to finish.

One of the band's lesser releases.
In May 2018, Route One was followed by the project Liminal, which was an attempt to make an 'endless mixtape' they would add new pieces to over time, and in Sep. 2018 the band made an announcement that drummer Orri Dýrason had left the band - practically leaving the band reduced to a duo of Jónsi and Georg Hólm.

Queen Elizabeth "Queen Elizabeth" (1994)

Queen Elizabeth [debut]

release date: Nov. 1994

format: cd

[album rate: 3,5 / 5] [3,28]

producer: Julian Cope

label: Echo - nationality: England, UK

Track highlights: 1. "Superstar" - 2. "Avebury: The Arranged Marriage of Heaven and Earth"

Studio album debut from duo Queen Elizabeth consisting of Julian Cope and multi-instrumentalist Thighpaulsandra (aka Tim Lewis) - the latter features on Cope's most recent Autogeddon (Aug. '94). The album (only) consists of two compositions running just under 35 and just over 31 minutes, respectively.

The music is characterised by experimentation and is mainly kept in a simple electronic universe, where synths, mellotron, and programming are main components, and although traditional instruments such as guitar, bass, piano, and drums are part of the compositions, the final product is a work of electronic model completely without any apparent influence from styles that one might be inclined to associate with Cope, such as funk, space rock, or neo-psychedelia. As the experimental collaboration album Rite - made by Cope and the long-time musical associate Donald Ross Skinner (who, by the way, also features here) from '93 - it's easy to think of Queen Elizabeth as music made for a film, but where Rite was influenced by many well-known styles and genres from the past three decades, the album here appears far more minimalistic, more stylish experimental - without being downright masterful for that matter.

Steve & Russell P. Kilbey "Gilt Trip" (1997)

Gilt Trip [debut]

release date: May 9, 1997

format: digital (2005 reissue)

[album rate: 3 / 5] [3,18]

producer: Russell P. Kilbey

label: Karmic Hit - nationality: Australia

Track highlights: 1. "Gilt Trip" - 2. "The Onset" - 3. "Tragic Mandarin Love Story" - 4. "Eyes Smeared With the Ointment of Love" - 9. "Happy Endings"

1st studio album collaboration by brothers Steve & Russell P. Kilbey, originally released on Vicious Sloth Collectables, in 2005 reissued on Kilbey's own label Karmic Hit. The album consists exclusively of instrumental compositions composed by the brothers - composed together or alone. The two Kilbeys play all instruments, except on "Tragic Mandarin Love Story", which is the only uptempo composition to feature both violinist Linda Neil and drummer Tim Powles (of The Church).

Musically, it is a type of 'soundtrack' to a non-existent film. It's ambient and atmospheric with an almost organic tone, and some tracks are progressive minimalism, and in some ways the album ties to Steve Kilbey's second solo album Earthed (1987), which also reflects some of the same soundtrack quality.

The two brothers subsequently issued several releases and later founded the project Gilt Trip, but here they have released their first collaboration under their own names, which has its qualities.

Julian Cope & Donald Ross Skinner "Rite" (1993)

Rite

release date: Feb. 1993

format: digital

[album rate: 3 / 5] [3,08]

producer: Donald Ross Skinner

label: Ma-Gog Records - nationality: England, UK

1st album by Julian Cope in an official collaboration with musical friend Donald Ross Skinner, who has featured on Cope's solo releases since Fried (1984). The album is the first on Cope's own label Ma-Gog, which later became Head Heritage.

Musically, there is not much that ties this to previous albums from Julian Cope. The only common feature is Cope's experimentation with styles, and he has previously found inspiration from krautrock and elements from electronic styles, but the album here consists only of long instrumental ambient compositions with the shortest track running 9 minutes whereas the longest clocks in just below 25 minutes. With a release on their own label, Cope and Skinner have ultimate freedom to do whatever they feel like, regardless of fans and others. And well, here they have thrown themselves into something completely different, like a playground of theirs.

The result may not quite live up to expectations for an album by Julian Cope, who has guaranteed quality music of original content since the early 80s. Most of all, Rite sounds like a soundtrack to a non-existent film, or like a mix of music from funk of the 70s and electronic forays of the early nineties, but apparently, also without great renewal. Still, don't expect to find tracks here that resemble anything Cope has released before. Some of the music may be found on the BBC documentary "The Modern Antiquarian (A Megalithic Road Trip)" from 2000 [better version here] based on Julian Cope's book of the same name. The documentary demonstrates Cope's interest in Neolithic finds and is an extensive field trip with Cope as tour guide to various interesting prehistoric finds in Southern England, Scotland, and Orkney. With images of the magnificent nature and ancient stones, the music comes into its own right - which again shows us that this music is suitable as an accompaniment to a visual side that the album itself lacks.

If nothing else, Rite shows some of Cope's sources of inspiration with ties to a more experimental side, which at the same time points in the direction of the perhaps more exciting collaboration with Thighpaulsandra (aka Tim Lewis, who later should become an essential part of the space rock band Spiritualized), and together they form the duo Queen Elizabeth, who released the homonymous debut album in '94.

Not recommended.

Madvillain "Madvillainy" (2004)

Madvillainy [debut]
release date: Mar. 23, 2004
format: cd
[album rate: 3,5 / 5] [3,48]
producer: Madlib [aka Otis Jackson Jr.]
label: Stones Throw Records - nationality: USA

Track highlights: 3. "Meat Grinder" - 4. "Bistro" -  5. "Raid" (feat. M.E.D. aka Medaphoar) - 6. "America's Most Blunted" (feat. Quas) - 8. "Rainbows" - 9. "Curls" - 12. "Shadows of Tomorrow" (feat. Lord Quas) - 18. "Eye" (feat. Stacy Epps) - 21. "Great Day" - 22. "Rhinestone Cowboy"
[ full album playlist ]

Studio album debut by US duo Madvillain consisting of MF Doom [aka Daniel Dumile], English-born / American-residing hip hop recording artist, and producer and Madlib [aka Otis Jackson Jr.] American DJ, producer, multi-instrumentalist, and rapper.
Now, although, hip hop isn't my favourite genre, I came across this album after hearing about it in various contexts over the years. I do recall the album cover from around the time of its release simply because of its direct and confronting style tho' I had absolutely no idea of its content.
Stylistically, it represents a huge blend of styles and influences [perhaps most prominent: Wu-Tang Clan, Outkast and Nas], which has brought about the terms abstract hip hop, experimental hip hop and instrumental hip hop, and later on most likely helped in shaping the style of conscious hip hop. There are obvious elements of jazz and rock traits, but what seems more apparent is of course the resulting original loose sonic style formed by a significant use of samples and a more laid-back rapping style. There are no obvious hits on the album, which consists of 22 tracks, and of these only three are longer than 3 mins. Actually, its made up of many primarily short compositions that bring about themes and hooks one will recognise in others, so the overall sensation is that you listen to one thematic structure - not unlike the experience you have listening to traditional classical albums. As being an abstract hip hop album the lyrical side is a strange mixture of reasoning and babbling mysticism, but the vocal side, imho, serves more as another instrumental part to facilitate its musical force. I like it, it's gooood, and it does win over time.
[ allmusic.com 4,5 / 5, The Observer, Mojo 4 / 5, Rolling Stone 3,5 / 5 stars ]