Cerca:träd gräs och stenar

Inkl. Bonus-LP mit rarem Livematerial aus Dänemark und Göteborg. "Rock för kropp och själ" markiert das letzte und endgültige Statement von Träd, Gräs och Stenar während ihrer ersten Zeit beim legendären Label Silence. Im Jahr 1972 hatte die Band einen Wendepunkt erreicht. Nach fünf Jahren unablässigen Tourens - geprägt von drei- bis vierstündigen Marathon-Konzerten an vier oder fünf Abenden pro Woche - war das Kollektiv körperlich wie kreativ erschöpft. Was einst befreiende Intensität gewesen war, wurde zunehmend zur Belastung. Die Band spürte einen stetigen Druck, bei jedem Auftritt ,maximale Ekstase" und vollständige psychische Immersion zu liefern. Diese Phase hochintensiver, völlig ,abgehobener" Live-Performances fand ihren Abschluss im Auftritt im Gefängnis von Falun im Juli 1972. Kurz darauf gingen die Mitglieder getrennte Wege, um Abstand zu gewinnen, sich neu zu orientieren und ihre individuellen künstlerischen Wege neu zu gestalten.

Portland-based krautrock band Motrik formed in 2013, its four members united by a pledge to modernize their beloved genre. Sharing a passion for pioneers like Can, Kraftwerk, and Trad Gras Och Stenar, the group has demonstrated its ability to deliver over a series of EPs and albums, most recently 2020's acclaimed Artificial Head. As they continue to experiment by incorporating additional influences ranging from funk and jazz to psych and prog Motrik's third full-length, a double LP titled MOON: The Cosmic Electrics of MOTRIK, is a further continuation in the story of an historic genre befitting of the album's cosmic artwork.

Motrik boldly takes full advantage of the space that four sides of vinyl allow on this latest offering. The middle of the album features two long suites that feel typical of the groups dynamic live performances, which frequently feature fog cannons, lasers, and other prop homages to Kraftwerk and company. The 13-minute "Stabilize" emerges from a haze of synth pulses and guitar tones, settling into a steady NEU!-like chug that swells and recedes like an ecstatic wave. On "Space Elevator", the motorik drive from which the band take their name evolves into an insinuating and sensual disco-like throb before the perfect proggy comedown in the final minute.

Legendary and pioneering Träd, Gräs och Stenar is considered Sweden's oldest rock band to introduce psychedelic underground music. The group originally formed in 1967 as International Harvester, later became Harvester, and eventually evolved into Träd, Gräs och Stenar. Their unique blend of psychedelic rock and traditional Swedish folk music was groundbreaking at the time-and still resonates with new generations of listeners today. This long-awaited "Green Album" from 1970 marks their very first release under the name Träd, Gräs och Stenar. Now, for the first time since its original release, it's being reissued on vinyl-complete with rare photos, an in-depth story, and a 30x60 cm poster. Decades later, the band continues to perform under the name TRÄDEN, now with only one original member. He is joined by a new generation of acclaimed musicians, who are keeping the spirit alive and carrying the sounds and legacy of Träd, Gräs och Stenar into the future.

Silence present a reissue of legendary live album from Sweden's own Woodstock, Gärdesfesterna, the start of the Swedish alternative music movement. It's hard to imagine an album with a greater symbolic significance than the 2LP set "Festen på Gärdet", recorded at the second of the two festivals held at the Gärdet field in Stockholm in 1970, with Träd Gräs Och Stenar and especially Bo Anders Persson as the driving force behind them both. Those festivals are often regarded as the starting point of the music movement. It's convenient having a fixed date of course, but as with any historical event, it was the product of a process, with one thing evolving into something else. So while the date isn't historically valid, the Gärdet festivals' importance to the music movement is unquestionable. This was the first time that several of the soon to be most important bands presented themselves to a larger audience. Most bands didn't have a record contact at the time, and some of them would never get one, such as Det Europeiska Missnöjets Grunder and Låt Tredje Örat Lyssna In & Tredje Benet Stampa Takten.

The highly praised and long sold-out 2LP album of transcendental psychedelic rock from the eternal Träden, formerly known as Träd, Gräs och Stenar, is finally available again. New limited edition pressing on multi-colored vinyl. Recorded live to tape in the band’s countryside music workshop, these mind-melting improvisations travel beyond time and space through the magical unknown, a manifestation of timeless organic music and free creation.

Swedish outsider anti-folk: Embedded in the ever exciting Swedish underground scene Enhet För Fri Musik continues the quest for innovation numerous legendary Swedish bands started during the 70s, Pärson Sound, Trad Gras Och Stenar, Arbete Och Fritid. Taking the ideas of communal music craft and experimentation, on this album the group comes to a unique combination of Jandek-like atonal guitar, organ, tape effects, field recordings, saxophone and Sofie Herner's amazing loner voice running over it.

Back on vinyl for the first time in 5 years on translucent orange with green splatter. Download code included. Beyond the 4th Door, delivered an album not unlike Eternal Tapestry's epic live shows. Containing stretches of melodic guitar improvisations, dark brooding songs slowly build and expand to allow in layers of light. The album was created by recording more that two hours of material in their home studio, mostly live, and hand picking the elements that became these 5 tracks. There is a free and open nature to their structure creating a spacious environment for the listener to explore. Harkening back to the early 70's experimental rock that inspired them, such as Popol Vuh, Cluster and Träd Gräs och Stenar, Beyond the 4th Door is an album meant to be listened to in its entirety. Available on limited edition vinyl again, after the original 2011 release and 2016 re-press sold out within months of their respective releases. Eternal Tapestry are in every way musicians of the now. Extremely active in the new underground of cassettes and CD-Rs, releasing limited edition carefully designed albums on the premier purveyors of the counterculture.

As has often been noted, psychedelic music can involve causal links between getting out of it and getting into it. Conversely, expansion of consciousness can be found by heading deep into the roots that a band explores, and journeying to the centre of their inspiration. Thus, a curious paradox is attained, whereby the traditional elements of an outfit’s sound are superseded by them blasting their core vibrations into unchartered territory. Such is the case with the new opus from third-eye visionaries Hills, a dizzying journey that traverses through the band’s origins and beyond to new dimensions.The Gothenburg-based Hills are entering their ninth year of existence, in which they’ve released two full-length albums, the second of which, ‘Master Sleeps’ saw a vinyl outing on Rocket last year. Part of a rich scene in their homestead also including friends and Rocket Recordings label mates Goat, they form the new chapter in a tradition of Swedish psychedelia that found its origins in late-’60s and early ‘70s freakouts and mind-melts by the likes of Baby Grandmothers and Älgarnas Trädgård - not to mention the unholy trinity of Pärson Sound, International Harvester and Träd Gräs och Stenar - before being developed by the likes of The Spacious Mind and Dungen in the last two decades. These inspirations make their mark on ‘Frid’ by journeying inward, via mantric repetition and hip-shaking pulsations as on the ten-minute monolith, ‘ Och Solen Sänkte Sig Röd’, yet they can also lurch into the unknown via the fuzz/wah odysseys of the aptly monikered ‘National Drone’ and the ceremonial exhortations of the closing ‘Death Will Find A Way.’As they also showed recently at a rare and spellbinding appearance at Liverpool International Festival Of Psychedelia, Hills have landed on a rich and intoxicating sound that sidesteps the cliches and humdrum stylistic foibles that often plague modern-day psych, in the process breathing new life into an approach that can sometimes seem in danger of appearing redundant through lack of imagination. ‘Frid’, their most out-of-mind and out-of-sight effort to date, crystallises everything that makes these Scandinavian satyrs stand out from the global herd; adventurous experimentation and fearless hallucinatory intensity, rendered with brass-knuckle fortitude. The end result is 38 minutes that translate into a feast for seasoned crate-diggers and fresh-faced converts alike. There is, indeed, gold in these here Hills.

Rooted in Swedish psychedelic folk music, Hanna Ostergren (Hills, Trad Gras och Stenar) takes a creative new grip on the genre. Under the name of Laughing Eye, Ostergren creates spiritual Nordic raga, or nature music that stems back to prehistoric ages. Hoga Nord Rekords now releases her debut album.

Laughing Eye is more than just music, this is a distillate of ancient superstition, fear, euphoria and nature romanticism. The sound edges on the upper tree line and in the closing track, 'Agnetero / Huset' Ostergren takes a step off the mountain top, into space where the flute melodies float weightless to the outer rim of our solar system.

Laughing Eye is deep, warm and embracing sounds for cold urbanized souls, a buzz or a murmur from the far past, translated to music we can interpret.

B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo's fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line.

Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany's emerging Krautrock scene or the more localised stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognised by Columbia Records as their lowest selling record in the company's history). Imagine guitarist Sandy Bull jamming with Munich's Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil's Angels, Thunder Alley, and Born Losers (often released on Curb's own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it's from an entirely different generation...

"Pre-certified biker psych from the hillbilly Haxan. Amazing!" - SEAN CANTY (DEMDIKE STARE)