Dead Man in SPace Reviews

http://www.progressia.net/index.php4?rub=chroniques&idchronik=2405

Øresund Space Collective
Dead Man in Space (2009)
(Kommun2 / Pariah Child) Enregistré par Øresund Space Collective

01 – High Pilots
02 – Space Jazz Jam 2.2
03 – Dead Man in Space

Voilà une question qui n’avait jamais été soulevée : la chronique peut-elle être efficace, ou utile, si la promo a été envoyée sous forme de CD gravé alors que la gentille chroniqueuse est censée dire tout le bien (ou le mal) qu’elle pense d’un disque… vinyle ? Admettons l’affirmative : certes, il manquera sans doute un petit « scritch » par ci-par là dont l’absence de mention dans ces colonnes pourrait heurter le fin mélomane, mais il est douteux que ces petites maniaqueries concernent la majorité du lectorat cultivé et spirituel de Progressia… En outre, on peut dire ce qu’on veut, mais au moins, un CD, ça ne se retourne pas, ce qui est utile quand on rend une chronique à la bourre… Cette anecdote en guise d’apostille pose tout de même des questions évidentes sur les supports envoyés aux rédacteurs. ll est ainsi légitime de se demander s’il est toujours utile de recevoir un CD, même quand l’objet à critiquer n’est pas un CD, mais un disque à deux faces ou, cela pourrait un jour arriver, un fichier à télécharger (message, message…). Fermons la parenthèse.

Le collectif de jazzmen originaires de Suède et de Copenhague ont improvisé pour cette année quarante minutes d'un jazz-rock qui tient la route et dont les effets sonores qui le parsèment aux claviers notamment sont souvent bienvenus. Le charme provient surtout de son atmosphère évolutive qui flirte à l’orée de la musique zeûhl, lors des sessions tourbillonnantes à la batterie et aux synthétiseurs (« High Pilot », soit l’intégralité de la face A). Ce space rock pourrait ainsi rappeler de vieilles barbes que plus personne n’écoute aujourd’hui, comme Steve Hillage par exemple, à cause de ces développements énergiques aux moods virevoltants… Gong, Ozric Tentacles, Ash Ra Tempel aussi : ita missa est. C’est du vieux, du bien ressassé, mais force est de constater que cette vieille marmite scandinave sait encore faire mijoter de fameuses soupes. Ce disque (précipitez-vous, seuls trois cents exemplaires ont été pressés) simple, efficace, hypnotique et compatible avec le LSD devrait faire passer de joyeux moments à ceux qui auront eu la chance de se le procurer…

Jérôme Walczak

Note : 7/10

Translation

This question was never raised: the chronic can it be effective or useful if the coupon has been sent as a CD burned while nice columnist is supposed to say all the good (or bad) that 'she thinks of a vinyl record ...? Let so: indeed, he probably missed a few "scritch" by following through with this lack of mention in these columns could hit the end music lover, but it is doubtful that these little obsessive concern the majority of educated audience and spiritual Progressia ... Moreover, one can say what you want, but at least one CD, it does not return, which is useful when you make a column to fill ... This anecdote as an apostille nonetheless raises obvious questions about the materials sent to editors. It is thus legitimate to ask whether it is always useful to receive a CD, even when the object is not to criticize a CD, but a two sided disc, or it may one day get a file download (message, message ...). Close the parenthesis.

The collective of jazz musicians from Sweden and Copenhagen have improvised this year forty minutes of jazz-rock that holds the road and with sound effects that dot the keyboards in particular are often welcome. The charm comes mainly from its progressive atmosphere that flirts with the edge of the music Zeuhl sessions with swirling drums and synthesizers (High Pilot "or the entire side A). This space rock may well remember old fogies that nobody is listening today, as Steve Hillage example, because of these developments for energetic moods twirling ... Gong, Ozric Tentacles, Ash Ra Tempel also: ita missa est. It's old, well hackneyed, but the fact remains that the old pot still known Scandinavian simmer famous soups. This disc (you rush, only three hundred copies were pressed) simple, efficient, and compatible with hypnotic LSD should spend nice moments with those who have had the chance to get it ...

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http://musicstreetjournal.com/index_cdreviews_display.cfm?id=102497

Øresund Space Collective- Dead Man In Space

Review by Gary Hill

I believe this is actually going to be available first and foremost as an LP. I’m not sure if there is to be a CD release or not, but the group sent me a CDr of it for review purposes. In any event, this is another fine release from the space rock outfit. It really combines Hawkwind-like elements with modern sounds in a great way. We get shades of jam-band music and even jazz on this – and some points earn comparisons to early Pink Floyd. All in all this is a consistent (and fully improvised) recording from one of the greats of modern space rock.

Track by Track Review

High Pilots
This rises gradually up with space keys and guitars weaving the sound and creating a definite Hawkwind like atmosphere. After a time it works out to a more full arrangement and there are jam band elements in the mix, making this feel a bit like the love child of The Grateful Dead and Hawkwind. It intensifies at times and also takes on some definite jazz-like qualities at points as they continue to make their way down this space roadway. Around the eight minute mark the guitar leads us out in a new journey that’s got some more modern rock elements but also feels a lot like very early Hawkwind. It shifts eventually back more towards the earlier sounds and space keys dominate at points. This is quite a tasty piece of music that really hearkens back to early Hawkwind while still maintaining a modern sound. Towards the end they wander into more pure psychedelia for a while.

Space Jazz Jam 2.2
It’s interesting that this actually leads off the second side of the LP because it really feels like it stretches out from the previous cut. It has a more open and purely spacey sound. The Hawkwind leanings are still here, but tempered with elements closer to early Pink Floyd. There is some Traffic in the midst here, too – bringing some hints of jazz –as the title suggests. A cool jazz meets space guitar solo emerges later and takes the cut into some tasty territory. It works through some changes and alterations, but all of them are incremental and organic and this piece glides through space at a modest pace. It also includes a section that feels like a modernization of very early Hawkwind.

Dead Man in Space
This is a sound effects and spoken word section that feels very much like something from Hawkwind.
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ORESUND SPACE COLLECTIVE DEAD MAN IN SPACE CD Kommun 2/Pariah Child

More cosmic jams from the heart of the galaxy from Denmark’s premiere psychedelic space lords. As always, the music is completely improvised for maximum immediacy, though the group plays as if they’ve been rehearsing for years. This is especially the case on the album’s two extended tracks “Jam 2” and “High Pilots,” where the OSC soar beyond astral planes on waves of fuzzed guitars and whooshing synths. Prepare yourself for a lengthy intergalactic voyage, as these two mind-numbing trips will take you far beyond the edge of the universe to realms where quasars pulse with cosmic light and stars collapse into supernovas of indescribable brilliance. The title track, an ominous spoken word space poem that recalls the halcyon days of The Space Ritual, appropriately closes the album with a metronomic synth bleat and shards of flying synth effects. Mechanical voices, disembodied and cold with the polar froth of the interstellar wastelands, suggest that while the trip itself has been awe-inspiring, its final destination is disintegration in the heart of a black hole. A reminder that we are all just flotsam and jetsam in the great eye of the master of the universe.

Charles Van de Kree
outworlder5@hotmail.com
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http://www.adequacy.net/2010/02/%C3%B8resund-space-collective-dead-man-in-space/

Øresund Space Collective – Dead Man in Space
February 2, 2010 by Jenn Patton O'Donnell
Category: Albums (and EPs)

Øresund Space Collective - Dead Man in Space
In 2009 a CD by Øresund Space Collective found its way to me and although I’m not often a fan of long jams or instrumentals, I was taken aback by this group’s purely improv approach to creating music. Not just completely improvised, their free-form space rock creations were really good! When the opportunity came to check out their latest release, the three song, vinyl-only Dead Man in Space I couldn’t say no to another heady joy ride.

Side one contains the nearly 22 minute opus “High Plains”, which definitely exhibits the space rock approach with plenty of flair. It’s laid back and somewhat meandering, but definitely beautiful. People spend years trying to structure and write this kind of music and these guys do it extemporaneously. “Space Jazz Jam 2.2? is exactly what its name implies and the saxophone gives the piece extra depth. The album ends with a short, spacey (no pun intended, despite words about spaceships) spoken piece with electronic sound effects.

I’ve said it before, but those who enjoy space rock and the mellow side of progressive rock will likely love Øresund Space Collective. With its revolving cast of participants there’s always something new coming out of their jam sessions. This album is a limited edition, vinyl release so copies won’t last long. Get your taste of some fine improvised space rock before the slab becomes a thing of legend.

Kommun2 / Pariah Child

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Oresund Space Collective: Dead Man In Space

Oresund Space Collective are a space rock jam band that employ a revolving door policy with regards to who actually participates in the group with at times up to twenty musicians being involved in the end product, it is also vital to mention that the band's music is entirely improvised. When the group first started to work together the two venues used for the improvised sessions were in Malmo and Copenhagen so the musicians, whose number includes members of Mantric Muse and Gas Giant from Denmark alongside Bland Bladen and Carpet Knights members from Sweden (amongst others), used to travel over the Oresund bridge, hence the Oresund Space Collective!

Dead Man In Space is the band's sixth release, which was actually recorded back in 2008 before finally being mixed in late 2009 and will only be available in a limited vinyl pressing of 300 units. Therefore my first listening experience to the two, well kind of three, tracks will be reasonably unique unless you have a very heavy stylus and a long extension cable, as Dead Man In Space accompanied me on a snow bound drive as the promo version I received is a CD-R copy for review purposes. So first off I can't actually comment on how the music shapes up on a big black slab of plastic, or how the atmospheric cover art transfers into a 12" sleeve.

So with that out of the way, what of the music? Well, as their name and album title suggests this is spacey rock with elements of jazz and restrained prog all tied in a neat bundle with a jam band mentality. "High Pilots" makes up side one of the record clocking in at nearly 22 minutes and its clever blend of Hawkwind swishes and Grateful Dead groove make for an interesting journey that is all grounded by a deceptively simple beat that contains some wonderful hi-hat flourishes and ghost notes aplenty on the snare. Never obtrusive, the groove is both driving and laid back in places however more importantly it allows ideas to gently spark off with synth effects and guitar licks blooming into view before quickly being left to float off into the distance. With no vocals on either of the two main tracks the bass is actually one of the more obvious focal points to latch into as the rhythm line climbs and descends throughout the more disparate inspirations.

On flipping the record over (unfortunately this didn't work with my CD version) a more jazzy outlook and an even more freestyle approach is in evidence. The synths are really fired up now and it's the spacey effects that dance round the steady back bone of bass and drums while the staccato guitar fades in and out of reach. It's a mesmerising, heady mix that in the right circumstances could induce a trip of epic proportions and whilst there are the odd moment where little else other than the bass really carries the song, the fact that this is all improvised is really quite impressive and never a stumbling block to the music's free flowing attitude. With "Space Jazz Jam 2.2" not quite reaching the 18 minute mark, the rest of the grooves are filled with a short improvised spoken word outro that loosely describes how there came to be a "Dead Man In Space" and while the spaceship noises and Dr. Space's words are good fun and feel like something Hawkwind would have attempted, in truth it is a bit of a throwaway manner with which to close a hypnotic and involving listening experience.

Supposedly there is much more music from these jam sessions that the band intend to put out on a small silver disc instead of a big black one, however if the record does sell well then more of Oresund Space Collective's music will see the light of day on vinyl and considering the retro approach and sound, that somehow feels like an apt format for it to be appreciated on.

Track Listing
1. High Pilots
2. Space Jazz Jam 2.2
3. Dead Man In Space
Added: March 1st 2010
Reviewer: Steven Reid
Score:
Related Link: Band's Web Site
Hits: 64

http://www.seaoftranquility.org/reviews.php?op=showcontent&id=8911

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Autore: ORESUND SPACE COLLECTIVE
Titolo album: Dead Man In Space
Nazionalità: Danimarca/Svezia/USA
Etichetta: Kommun2/Pariah Child
Anno di pubblicazione: 2010

Voto medio: (7)

Recensito da Donato Zoppo

Un nuovo tassello della sterminata space-discography targata OSC (Vers. stampabile )

Con tutta probabilità sono un caso unico al mondo, roba da far impallidire persino gli Hawkwind. Parliamo degli Oresund Space Collective: collettivo dedito al più visionario e lisergico space-rock, che di disco in disco anzichè evolversi radicalizza il proprio rock cosmico. Un sound che tuttavia ha la sua personalità, dovuta all'eclettismo della formazione e all'elemento cardine, ovvero la totale improvvisazione.

OSC punta anche ai numeri: otto musicisti danesi, svedesi e americani che militano o hanno militano con Mantric Muse, Gas Giant, Pseudo Sun e tanti altri. E questo nuovo "Dead man in space" non è che un piccolo tassello in un'alluvionale discografia, che annovera ben 12 volumi di "Picks in space" e che è già stato superato dai nuovissimi album "Glossolalia" e "Slip into the vortex". Questo cadavere che vaga nello spazio attraversa due sterminati brani e una coda: se è facile parlare di space sound visto l'ampio uso di synths che regalano quelle atmosfere sospese e vibranti, è anche vero che il free-rock degli OSC non ignora la lezione dei Grateful Dead e dei Phish, ovvero ampie jam a non finire, dove l'unico obiettivo è quello di lasciarsi andare.

"High pilots" ne è un eloquente esempio, anche se agli Oresund mancano quei guizzi di creatività e quelle vaste influenze che hanno collocato le jam bands americane un po' più avanti in termini di fantasia. Molto interessante il vago valzerino di "Space jazz jam 2.2", una gustosa improvvisazione che riporta alla mente le calde atmosfere californiane di fine anni '60.

Come sempre, ascoltare gli Oresund è un piacere se siete alla ricerca di album che fungano da sosta spazio-temporale, ma se cercate un rock improvvisato e al tempo stesso creativo, allora puntate su qualcosa di diverso.

http://www.movimentiprog.net/modules.php?op=modload&name=Recensioni&file=view&id=3174

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Oresund Space Collective - Dead Man In Space
Spring is in the air in Cornwall, and that means... spring cleaning. And succesful spring cleaning means... my home office looks just a little less like a tip than it does at any other point in the calendar. But it does also mean a chance to pop in a few things that I've either listened to and meant to come back to for the blog, or to listen to things that have arrived and I've not had a chance to get properly acquainted with so far, whilst I'm trying to create semblance of order from the chaos of CDs and papers that surround me. In the first category, since anything by them is always a treat to listen to, is a three-track limited edition vinyl of Oresund Space Collective's Dead Man In Space release from late 2009 that OSC's Scott Heller had very kindly sent me a CDR of for review.

In true OSC tradition, two tracks are long, improvisational and atmospheric numbers, very laid-back in a way and which the band suggests harkens back to their early material. "We enter the into the realm of jazz space rock with the track 'Space Jazz Jam 2.2' which features Anders on saxophone," they note, whilst the other, 'High Pilots' they describe as "taken from the last jam of the studio session and is a very dynamic and moody piece of music." The final track is a brief spoken word piece, but the two main tracks are both a taster for a future full CD release of this jam session - always OSC's favoured and it has to be said, highly successful, methodology of working - but the limited edition vinyl run is also a tester for future vinyl releases.

I'm sure regular followers of this blog are well acquainted with Oresund Space Collective, but for newcomers, these guys are very much at the forefront of extended improvisational and melodic spacerock sounds. Their music is trippy, blissful explorations of sequence and mood that really floats away on its own mind journey. If you haven't heard them before, you really (no, really) should be aware of these guys; they've got the extended introspection of In Search of Space Hawkwind with a totally contemporary vibe - they really are the business. I believe copies of this release are still available from Kommun2/Pariah Child at £12.50/€15.00 plus postage, details can be found here or here, please don't forget to mention the blog when ordering, whilst OSC's own website is located on this link.

http://spacerockreviews.blogspot.com/

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Øresund Space Collective - Dead Man In Space - 2010.

Questa band prende il nome dal megaponte, inaugurato qualche anno fa, che collega la Danimarca con la Svezia. Analogamente il collettivo che ne ha preso il nome, si offre come ensemble multietnico, in grado di scavalcare i concetti e i preconcetti musicali e aprirsi a collaborazioni e soluzioni ad ampio raggio. Il metodo di lavoro dell'ØSC è assolutamente personale: si piazzano in sala di registrazione e improvvisano per ore e ore, producendo jam session senza nessuna traccia prefissata, semplicemente con blandi canovacci tonali e lasciandosi andare in viaggi interminabili, variati solo da sguardi d'intesa che indicano i cambi, in un affiatamento certamente raro. Grazie a questo stile, la produzione, in termini quantitativi, è enorme e, a fronte di cinque dischi ufficiali, la band propone una dozzina di CD extra, acquistabili tramite il sito e che rappresentano il materiale relativo alle varie session, non pubblicato.

Il disco che vado a proporre è appena uscito e si chiama "Dead Man In Space". Forse non il migliore della loro produzione, ma sicuramente rappresentativo di quello che è la loro concetto musicale. É stampato, per ora, solo in vinile a tiratura limitata e si compone di sole tre tracce: una lunga suite hard psichedelico space sulla prima facciata e due brani (uno lungo e uno breve). La musica è fortemente psichedelica, space rock, con momenti più forti tendenzialmente hard e prevalenza di chitarre. I riferimenti, classici e scontati, per la proposta portano ai Pink Floyd, ma anche Hawkwind, Steve Hillage e Nektar sono ben rappresentati. Sopra a tutto una personalizzazione dettata dalla tipologia del collettivo con tre chitarre e tre sintetizzatori che un po' in alternanza, un po' in ensemble creano una ricchezza e una varietà particolare, portando spesso l'effetto complessivo ad un vero e proprio muro sonoro.

Le tracce esplodono scorribande dal forte carattere space rock (Hawkwind e Ozric Tentacles soprattutto), con un ritorno alla psichedelia di fine anni '60 anche di stampo americano (Grateful Dead, Doors). Alcune inserzioni più tipicamente jazz nelle lunghe "High Pilots" e "Space Jazz Jam 2.2" danno il senso di nuovo che si richiede ad una band che è in continua e positiva evoluzione. Elementi molto vicini allo stile floydiano saltano fuori, affiancandosi ad altri dove la predominanza jazz porta ad uno stile non distante da certi Traffic dei primi anni '70, in una forma molto coinvolgente a dalla quale emergono guitar solos lunghi, psichedelici ed effettati. Chiude il disco una breve spoken track su forti suoni sperimentali ed elettronici dal risultato vagamente kraut-space- cosmic couriers.

Il disco, per ora, è reperibile solo tramite il sito della band, in base alle vendite potrebbero avere una migliore tiratura in CD, ma è da vedersi. Per chi volesse approcciarsi alla band e gettarsi in questi lunghi trip trasognati, potrebbe essere un inizio, personalmente credo che il loro miglior lavoro sia "Black Tomato" del 2007, la scelta ai lettori.

sioulette

http://www.debaser.it/recensionidb/ID_30682/Oresund_Space_Collective_Dead_Man_In_Space.htm

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Oresund Space Collective

Dead Man in Space
Live at Roadburn
Sleeping with the Sunworm
Space Rock Productions

“We are Oresund Space Collective and we play totally improvised space rock”.

Oresund Space Collective is a pure space-rock band with members from Denmark and Sweden. Their first album was released back in 2006! Dead Man in Space was released in January of 2010, in 300 vinyl copies. The cd release I hold has a new remix of the album plus the unreleased who tripped on the c(h)ord? High pilots is the opener song of the cd, 32:30 long (11 min longer than vinyl release), a total trippy song that brings in mind Spacious Mind. It is an incredible track that gonna make you run to buy a pair of headphones and melt all your brain cells! Additionally who tripped on the c(h)ord? flashes psychedelic slides inside us!! GREAT! Also space jazz jam mixes perfectly psych with space and jazz. Plus, dead man in space is a space freak out song full of synth and vocals. Very good!!!

http://www.gew-gaw-fanzine.gr/index_english.htm

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Oresund Space Collective - Dead Man In Space
(Space Rock Productions 002, March 2011, EAN: 5706274003222)

First issued as a limited-edition (300 copies) vinyl release in 2010, "Dead Man In Space" is now available on CD in an extended form, and with different cover art (although the rather chilling artwork from the original LP is included in the CD booklet). "High Pilots" is the opening track on the album (although actually the last jam from the 2008 session which produced such a wealth of material), and is eleven minutes longer than the twenty minute side on the original vinyl edit. It would be fair to say that, this far down the line, you know what you are going to get when you put on an OSC album, but the results are none less enjoyable for all that, consisting of tripped-out interstellar excursions, crystal-clear guitars, with occasional echo and wah-wah laid on, and swirling, pulsating synths. Track two is the slower-moving "Who Tripped On The C(h)ord?" (left off the vinyl edition due to time constraints) that drifts sedately through the cosmos for ten minutes. "Space Jazz Jam 2.2" features guest member Anders weaving his sax through the mix of guitars and synths, over a rhythm that is about as close to danceable as OSC are every going to get. The final track, which also gives the album its title, is a spoken word piece (an OSC first) improvised by Dr Space, which calls to mind "Space Station Announcement" from Nik Turner's "Prophets Of Time" album.

Pat Albertsen http://www.aural-innovations.com

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"Dead Man In Space" wurde bereits Anfang 2009 als LP (Auflage 300 Stück) veröffentlicht. Die Vinyl-Ausgabe enthält allerdings nur die drei Songs "High Pilots", "Space Jazz Jam 2.2" und "Dead Man In Space". Mit der CD (Auflage 1.000 Stück) bekommt man nun das zehneinhalbminütige "Who Tripped On The C(h)ord" mitgeliefert. Die Silberling-Version hat auch ein anderes Coverbild bekommen (s. oberer Kasten). Die LP hat die neben diesem Absatz abgebildete Frontansicht.
Die extrem aktive Kapelle Øresund Space Collective (ØSC) schafft die Quadratur des Kreises und macht die Relativitätstheorie des Space- beziehungsweise Jam-Rocks auf verständliche Weise hörbar und ja, fast fühlbar. Die Klangcollagen berühren über die Maßen und wenn sich eine Band den Luxus eines zweiunddreißigeinhalbminütigen Openers leistet, dann sind danach die Treibstofftanks immer noch leer gespielt.
ØSC schiebt die Regler der Gravitation auf null zurück und lässt den Hörer quasi als Passagier an musikalischen Naturphänomenen teilhaben. Somit bekommen Zeit und Raum definitiv andere Koordinaten als bei anderen Gruppen. Was die Combo mit Synthesizern, Gitarren, Bass und Rhythmusinstrumenten veranstalten, ist gigantisch. So muss Jam Rock in der galaktischen Ausrichtung klingen. Sounds, die sich verändern, wie die Bewegungen von Einzellern sind an der Tagesordnung und das Verständnis von diesem Genre wird durch ØSC definiert.
An und für sich könnte man den zweiten Titel ohne Probleme zum ersten Track dazuzählen. Ein Großteil wird durch die Synthesizer vorangetrieben und erst am Schluss rocken die Gitarren mit unterschiedlichem Druck und bei den fein erzeugten Melodiebögen kommt Wohlgefühl auf.
"Space Jazz Jam 2.2" ist dann doch anders, denn ØSC räumt seiner Liebe zum Jazz auf "Dead Man In Space" ordentlich Platz ein. Der Saxofonist Anders ist mit von der Partie und als Warming-up machen die Gitarren und das Holzblasinstrument etwas sehr Geschicktes. Da werden nur ganz wenige Töne mit einer "Take Five"-Affinität gespielt und schon setzt das Hirn unbewusst die folgenden, nicht gespielten Töne fort. Diese Nummer macht nur zu deutlich, wie Genre-übergreifend die Space-Musik auch mit einer anderen Metrik sein kann. Wenn Anders schon dabei ist, dann kann man ausnahmsweise auch von einem Saxofon-Solo sprechen.
Dass sich die ØSC-Traumfabrik auch unter Kopfhörern sehr gut macht, muss nun nicht weiter ausgeführt werden. Die Spielzeit des Songs "Dead Man In Space" könnte glatt für einen Druckfehler gehalten werden. Drei Minuten! Überspitzt könnte das lächerlich genannt werden. Beim Titeltrack der gegenüber der LP erweiterten CD handelt es sich um ein Solostück (in einer neuen Remix-Version) von Dr. Space. Zu zum Teil ziemlich nach Industry klingenden Synthesizern mit sägenden Klängen erklingt die Stimme von Dr. Space wie aus einer Raumkapsel oder –station. Alle gesprochenen Nachrichten vom 'Doc aus dem Weltraum' muss man wohl nicht verstehen und zum Teil geht das auch gar nicht, weil Verfremdungseffekte dazu kommen.
Wer auf richtig gut gemachten Space Rock steht, sollte sich Øresund Space Collective mit "Dead Man In Space" nicht entgehen lassen. Diese Combo zählt zu den besten Bands aus dieser Stilrichtung und rundum bekommt man auch in die Psychedelic driftende klasse Sounds geboten.

http://www.rocktimes.de/gesamt/opq/oresund_space_collective/dead_man_in_space.html

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Øresund Space Collective: Dead Man in Space CD
Space Rock Productions (SRP 002)

The Danish-Swedish psychedelic and instrumental improvisation collective OSC has now their own record label Space Rock Productions to help putting out their albums. I wish good luck and lots of success for the label! Within a few months they have released there albums one of which is a double vinyl.

First they released a CD version of the first OSC vinyl album Dead Man in Space. Equipped with new cover art the CD also includes one bonus track ”Who Tripped on the C(h)ord?” as well as a new mix of Dr. Space’s solo track “Dead Man in Space”. ”High Pilots” that is over ten minutes longer here then the vinyl version is very pleasant and atmospheric space gliding. As I already said in my vinyl review, this is one of the best jams the band has ever recorded. The 10:35 long ”Who Tripped on the C(h)ord?” begins with cosmic synth sounds and soon the slow, floating rhythm joins in. Also this one has an excellent, spacey vibe and if you close your eyes you can get really high with it. ”Space Jazz Jam 2.2” also has some saxophone which is a nice addition. Towards the end the jazzy moods get heavier. The new mix of ”Dead Man in Space” is perhaps an even more deranged description than before of the chaos inside the head of a lonely astronaut in trouble… It’s great to have this album available again since this is great stuff.

15.07.11 by Dj Astro

http://www.unimeri.com/PsychotropicZone/reviews.en.php?subaction=showfull&id=1310718877&archive=&start_from=&ucat=3&

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ØRESUND SPACE COLLECTIVE: Dead Man In Space / Sleeping With The Sunworm
CD-Review vom 07.07.2011 drucken senden

Da sind sie also wieder, die Schwedisch-Dänischen Spacecakes, die halt statt der Milchstraße lieber die Öresundbrücke benutzen, um gemeinsam mit dezent variierenden Besatzungen in neue Galaxien vorzudringen. Nun also stehen Aufnahmen bereits vom Oktober 2008 aus dem Kopenhagener Black Tornado-Studio an, die dann von den Kollegen aus Malmö abgemischt wurden. Und hier beweist das Team wieder einmal: da können all die Frickelbands noch so abgefahren musizieren, noch so viele 7/17tel in umgedrehten Paradiddleghostbeats packen und sich akrobatisch auf Griffbrett und Tastatur die Finger verbiegen - die größte Kunst im Musizieren ist immer noch das freie Spiel, die Jam mit anderen Musikern. Wenn dabei nicht nur wirres Geeiere raus kommt, sondern homogene, lebende Klanglandschaften, dann ist das die wahre Kunst. Und eben hier liegt das ØRESUND SPACE COLLECTIVE seit Jahren ganz weit vorne. Aktuell stehen gleich drei Releases bereit, der Space/Psychedelic/Progressive-Rock-Gemeinde soll es Recht sein. Schade, die Promo zu "Live At Roadburn" funktioniert nicht. Der Mitschnitt der Show beim ROADBURN-Festival 2010 im kuscheligen Bat Cave erscheint als Doppel-LP, limitiert auf 500 Stück.

"Dead Man In Space" ist Weihnachten 2009 bereits auf Vinyl erschienen, sodass ich bequem dorthin verweisen kann. Erstaunlich: wo ich damals in der Winteratmosphäre die Stimmung als eher kühlen Trip ins All empfunden hatte, wirkt "Dead Man In Space" heute bei strahlendem Sonnenschein ganz anders, viel weicher, hippiesker, schöner. Keine Ahnung, woran der Titelheld auf seiner Weltraumreise gestorben ist, aber wahrscheinlich hatte er einen dicken Joint in der Hand und ein breites, verzücktes Grinsen im Gesicht. Sollte er den Joint genossen haben bei einem Ausflug in den Orbit, dann erklärt sich wohl auch sein Abgang, da sollte man den Helm besser zulassen. Ungeachtet meiner Fantasien gehört dieses Album spätestens jetzt in die Sammlung der Genre-Freaks. Zudem gibt es mit "Who Tripped On The C(h)ord?" eine weitere intensive Portion aus der Session, die uns auf der LP aus Platzgründen vorenthalten wurde.

Als bereits zehnten Release folgt "Sleeping With The Sunworm". Keine Ahnung, welchen Fantasien die Musiker hier freien Lauf gelassen haben. Eine unruhige, ermüdende Nacht neben einem schnarchenden, pupsenden Sonnenwurm? Eher nicht, so wie sich das Klangwerk stetig aufbaut und an Intensität immer mehr zunimmt, denkt man doch eher an einen feurigen, sich aufbäumenden Sonnenwurm im orgiastischen Liebesrausch. Wenn dies das letzte war, was der von uns gegangene Astronaut erlebt hat, na dann herzlichen Glückwunsch. Auch hier leben sich die Musiker wieder voll aus, wie gut sie sich musikalisch mittlerweile kennen und wie sehr man zusammengewachsen ist, das klingt schnell durch. Mit dem zweiten Teil wird man auch mal etwas fordernder, energischer. Hier kann sich auch mal die Gitarre richtig ausleben, die im spacigen Gesamtbild sonst oft etwas zurückhaltender agiert. Unvermeidbar bei so einer ausufernden Jam ist, dass man sich mal in den Klangwelten verliert und rausfliegt, gern auch mal die Gitarre. Aber das ØRESUND SPACE COLLECTIVE beherrscht die Kunst, über elegante Umwege wieder zueinander zu finden. So beruhigen sich zum Ende hin Gemüt und Hormone und man kommt langsam zur Ruhe. Hat man die Nacht mit dem Sonnenwurm unter dem Kopfhörer genossen, dann fühlt man sich ob der musikalischen Eindrücke, als wäre man selber bei diesem Akt dabei gewesen, großartig! Auch "Sleeping With The Sunworm" ist auf 500 CDs limitiert, die "Dead Man In Space"-CD auf 1000 Stück.

Wer auf fesselnden, anspruchsvollen, aber nie kopflastigen instrumentalen Psychedelic, Kraut - und Space-Rock steht, der weiß, was zu tun ist. Besonders natürlich, wenn er/sie sich bei Bands wie CAUSA SUI, FIRST BAND FROM OUTAER SPACE oder auch THE CARPET KNIGHTS zuhause fühlt.

Da es sich beim Mitschnitt "Live At Roadburn" selbstredend ebenfalls um eine Jamsession handelt, die durch die Livesituation, geprägt durch die in dieser Show aktuellen Eindrücke durch die Folgen der Aschewolke des Eyjafjallajökull sicher noch einen eigenen Reiz hat, kann man die wohl gleich mit auf die Einkaufsliste schreiben. Mit "Entering into the Space Country" steht auch schon bald über das Label Kommun2:16 das nächste Vinyl bereit, uns in die Oresund-Galaxie mitzunehmen, diesmal mit einer Session vom September 2010. Fleißig ist es definitiv, das ØRESUND SPACE COLLECTIVE! Bestellen kann man unter anderem bei Record Heaven.

Veröffentlichungstermin: April 2011(Dead Man) / August 2011(Sunworm) / Mai 2011(Roadburn)

http://vampster.com/artikel/show/39160_ØRESUND-SPACE-COLLECTIVE:-Dead-Man-In-Space-/-Sleeping-With-The-Sunworm_CD-Review_.html

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Oresund Space Collective: Dead Man In Space

Track Listing
1. High Pilots
2. Space Jazz Jam 2.2
3. Dead Man In Space
Added: June 1st 2011
Reviewer: Steven Reid
Score: 3.5 out of 5

http://www.seaoftranquility.org/reviews.php?op=showcontent&id=8911

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Øresund Space Collective- Dead Man in Space CD

Review by Gary Hill

This is the CD release of the LP only disc I reviewed last year. That said, some changes have been made here. The opening cut, “High Pilots” has been extended by ten minutes from the version on the vinyl. A new cut, “Who Tripped on the Chord?” is added. And the title track has an all new mix. Still, this is similar enough that my track reviews from the previous set have been used or modified for inclusion here for the sake of consistency. While the original vinyl version was great, this CD is better, in my opinion. Whatever format or album, though, you really can’t go wrong with OSC.

Track by Track Review

High Pilots

This number is extended by ten minutes from the version on the LP, but overall this review still holds true. This rises gradually up with space keys and guitars weaving the sound and creating a definite Hawkwind like atmosphere. After a time it works out to a more full arrangement and there are jam band elements in the mix, making this feel a bit like the love child of The Grateful Dead and Hawkwind. It intensifies at times and also takes on some definite jazz-like qualities at points as they continue to make their way down this space roadway. Around the eight minute mark the guitar leads us out in a new journey that’s got some more modern rock elements but also feels a lot like very early Hawkwind. It shifts eventually back more towards the earlier sounds and space keys dominate at points. This is quite a tasty piece of music that really hearkens back to early Hawkwind while still maintaining a modern sound. Around the seventeen minute mark they wander into more pure psychedelia for a while. The extra material at the end is decidedly Hawkwind like and includes some killer guitar work.

Who Tripped on the Chord?
Pure space leads out here. It grows gradually upwards from there. Lines of sound swirl around in an almost dream-like fashion, but each wave of sound rises above the previous one as this keeps ascending. By the five and a half minute mark it’s really rocking, yet the changes were so gradual. Around the ten minute mark it powers down to eventually end.

Space Jazz Jam 2.2
This has a more open and purely spacey sound. The Hawkwind leanings are still here, but tempered with elements closer to early Pink Floyd. There is some Traffic in the midst here, too – bringing some hints of jazz –as the title suggests. A cool jazz meets space guitar solo emerges later and takes the cut into some tasty territory. It works through some changes and alterations, but all of them are incremental and organic and this piece glides through space at a modest pace. It also includes a section that feels like a modernization of very early Hawkwind.

Dead Man In Space
This is a sound effects and spoken word section that feels very much like something from Hawkwind. While the mix is different on this version than the LP release, this description still holds true.

http://www.musicstreetjournal.com/cdreviews_display.cfm?id=103060

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