Hashish ’‘A Product Of’’ 2016 Swedish Psych,Electronic Minimal Synth

Hashish  ’‘A Product Of’’ 2016 Swedish Psych,Electronic Minimal Synth

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https://open.spotify.com/album/1vxXinR8FdJHYUiZ3E5Qzd

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https://hashishmusic.bandcamp.com/album/a-product-of-hashish

watch review by psychedelic baby

http://www.psychedelicbabymag.com/2016/07/hashish-product-of-2016-review.html

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Swedish psych outfit Hashish, headed by Subliminal Sounds honcho Stefan Kéry, bring us their debut full-length A Product Of. If the clever combination of album title and band name doesn’t imply a kaleidoscopic experience, then fear-not; from start to finish the record provides, or perhaps provokes, a dream-funk out-of-body journey. 
Opener ‘Bliss’ begins with the calming pulsing of ocean waves, feeding slowly into modulating synths and doing so sounds like the beginning of some New Age meditative retreat. Indeed, this effect remains throughout but thankfully is explored through less ambient avenues. Repetition is one of the key trance-inducing effects employed by the band, as with the looping of funk-infused bassline and yodelling flutes that hark back to late-Sixties experimental jazz on ‘Fly Away’. This track continues the therapeutic energy of the opener, with a soft vocal lead assuring us to ‘Touch the sky, you’re beautiful’. 
Things aren’t angelic for long however, and take a dark and abstract turn as the muddy, Kraut synths of tracks like ‘The Light’, ‘Revel’ and ‘Outer Spaced’ come into play. 
But interestingly, whilst the up-beat drive of funk has been often been used as an energetic counterpart to the stupefying chaos of psychedelia, Hashish layer elements of lounge-jazz to weird effect. Indeed the biggest but welcomed surprise of the record is its closer ‘The Light pt. 2’, which is reminiscent of Bonobo with its jazzy snare rolls and soundtrack-esque emotive chord progressions. 
A Product Of treads the line between music and musak very finely, and perhaps borders too close to the latter at times, but this is of course done consciously given that the record seems to have a dissociative agenda….By JOHN BELL…~

The label says: “The long awaited debut album from Hashish This is top notch psychedelia that both challenges the genre and takes it to a whole new level. Inspired by the 60s and 70s psychedelic scene and by creating the perfect combination of retro baselines and kraut drums layered with an all over crisp electronic lounge sound, Hashish has managed to create a record that is both genre crossing, experimental and top modern. Hashish is the finest kind of occult Scandinavian psychfunk, a project that by some has been said to pick up what GOAT started. “A Product Of Hashish” could go hand in hand with Salvador Dalís dream sequence in Spellbound. It could be a sibling to Bulgakows The Master And Margarita or Stanley Kubricks 2001 Space Odyssey. The album is a dream inspired way of expressing and expanding the mind. Call it psychedelic, call it conceptual or arty. When everyone is throwing todays reality back in it’s face, or stripping off social problems and injustice in our society, Hashish is a dream to escape into. Hashish is the answer. 

”Hashish sound like the lovechild between a 70s soft porn soundtrack composer and a wide-eyed teen experiencing hallucinogens for the first time” ”Get ready to feel like dropping some acid and going bowling” – Noisey/Vice/UK
”. Welcome to tomorrow. The sounds transport you into a forgotten world where the future looked different from what it became. On his soft subtle island capped with clouds of cool fire, Pan weaves his teachings with the wind and the sun. Raining sacred melodies on the hearts and minds of man, driving him with desperate loves and yearnings by songs of Sainthood and madness. Transient temples of the flesh, laughing at death, clothes our lives in fire. On rippling altars of skin we sensual magicians worship bright burning desire…..Subliminal Sounds …..~

After last years 7" the Swedish Prog-Rock-Band HASHISH are finally releasing their debutalbum now. “A Product Of” is a thrilling trip into the depth of the 60/70s. It comes on CD (COLLINE NOIRE) and LP (WOAH DAD!). Psychedelia and Progressice, mixed with a fairly touch of Afrofunk and a lot of Groove. This ingrediants form the base for this awesome release from sweden. Supported by full synthsizer soundscapes and vocoder effects the band manages to create a sureal appearing album with a great retro-charm. HASHISH mastermind Stefan Kery, who is known as the labelowner of the swedish psych label SUBLIMINAL SOUNDS, held his hands firmly over this project. Altogehter (lyrics, sounds, videos) an experimental, krautrock-like, occult album emerged. This one is definetely “outer space”. HASHISH easily combined all this so genuine that they can hardly be distinguished from the originals 40 years ago…..~

The long awaited debut album from Hashish. Top class psychedelia that definitely takes the genre to a new level with a sophisticated approach to an afro-funk groove accompanied by dreamy and playful melodies that goes by a spectrum from Scandinavian Occult Psychedelia to Minimal Synth and Surreal Electronic Soul Disco with rare groove. Hashish is a project that has been described by some to pick up what Goat started, this is not the time to sleep kiddies! Welcome to tomorrow. The sounds transport you into a forgotten world where the future looked different from what it became. On his soft subtle island capped with clouds of cool fire, Pan weaves his teachings with the wind and the sun. Raining sacred melodies on the hearts and minds of man, driving him with desperate loves and yearnings by songs of Sainthood and madness. Transient temples of the flesh, laughing at death, clothes our lives in fire. On rippling altars of skin we sensual magicians worship bright burning desire….~

Credits 

Stefan Kery - guitar, vocals, vocoder, keyboard 
Moussa Fadera - Drums, Percussion 
Lisa Maria Isaksson - Lead Vocals, Harp 
Erik Lundin - Flute 
Anna Emilia Nilsson - Vocals 
Fredrik Swahn - Bass, Keyboards 
Mattias Uneback - Vibraphone 
Jason Urick - Voice

Tracklist 
A1 Bliss
A2 Fly Away
A3 The Light
B1 Revel
B2 Outer Spaced
B3 Make It
B4 Miracles
B5 The Light Pt. II 

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Expo ‘70 "Mother Universe Has Birthed Her Last Cosmos" 2018 -2 × CD,Compilation Poland Psych Space Rock

Expo ‘70  "Mother Universe Has Birthed Her Last Cosmos" 2018  
2 × CD, Album, Compilation Poland Psych Space Rock

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https://zoharum.bandcamp.com/album/mother-universe-has-birthed-her-last-cosmos

Collects the Universal Tongue and Small Doses Ostara 3"CDr tracks that have never been re-released. Newly mastered, the LP/CS downloads include 2 out-of-print cassette-only releases from Gold Soundz, Woolgather Visions and Mechanical Elements. Mother Universe features Matt Hill from Umberto on analog drum machine, synth and bass alongside Justin Wright’s tripped-out guitar ambiance. The session was hugely inspired by Manuel Göttsching’s legendary recording E2E4….~

Originally released as mini CDrs on different labels in 2009, Expo 70‘s Justin Wright was joined for these two lengthy sessions by Matt Hill from Umberto on both bass guitar and at the drum machine controls. And what flights of psychedelic fantasy they are, drifting and floating on ever-flowing waves of looped guitar and recursive effect pedal washes that uncurl, largely in homage to Manuel Göttsching‘s E2E4.

The bass leads the way into the title track while the cascading echo FX tumble and ripple in seemingly every direction, Wright layering loops and real-time playing into an all-encompassing pot-pourri of guitar ambience. Dubwise delay trails flicker off the subtly applied rhythms, Hill’s bassline keeping steady with all the onward plodding surety of a four-legged steed setting out on a long journey. With the melodies wrapped up in feedback and recursing cyclically, it’s good to have something solid to keep the track on course as hypnosis awaits and the synaesthetic light show doubtless begins.
For a piece that starts all head-nodding and scintillatingly ambient, Hill ramps the dissonance up a few notches as the percussion takes the foreground, rhythm box kicks spattering and chuntering into chaotic patterns of multifaceted dimensions. The dynamic shifts that the duo undertake proceed to dissect, reflect and regurgitate the elements of the track further until it is possible to imagine some form of heat death of the universe is being explored in a micro / macrocosmic fashion.
Which is exactly the sort of thing that space rock is meant to do, and “Mother Universe Has Birthed Her Last Cosmos” demonstrates perfectly why Wright deserves the reputation as an astral navigator he has developed over the last fifteen years, and fifty and more albums. “Ostara” is even further out on the trip, buzzing and gliding at the same time, coming up from the sparest of beginnings before peaking on the crest of the drone waves and taking the long, slow descent through gently prickling forests of delay. The reverb trails soon scoop up reality and drop it in tabulated shards of sound that seem to bounce into ever-increasing, then entropically dissolving, recurrent waves and a satisfyingly final bass guitar coda.
The four tracks that made up Woolgather Visions and Mechanical Elements are brought together on the second disc of the CD edition and as bonus downloads for the vinyl and tape re-releases, having appeared on Gold Soundz as limited cassettes in 2009 and 2010 (as well as a CDr compilation of both sets in 2013).
“Tropical Trip Through Acid Clouds” has yet more of the Ashra influence to the fore, brightly chirruping notes sparking brightly at first, and there’s a mechanistic klang here too, one which underpins the rising drones. When the guitar scalds its way back to the top of the skyscraping treble infusions, Wright briefly lets his inner plank-spanker loose among the flickering delay, and it’s easy for a moment or ten to imagine him both crouched cross-legged over his instrument and standing astride a monumental speaker stack with a view over the contracting universe that the overall album title alludes to. But a sense of entropic decay sets in, the soaring plangentries are cut short and faded into meanders and byways of the background electronic hum.There’s more of this sort of thing on the charmingly un-hippyish “You And Your Dream Catcher Should Take A Hike”, the electrical vibrations rising strongly into an all-pervading cosmic whirl that bursts with swarming overtones and emergent helicoptering pulsations. The mood of harmonic-shifting stasis continues on “Neither Here Nor There (A Study)”, Wright constructing those proverbial cathedrals of sound from a familiar architectural palette that nevertheless allows him to build a glittering palatial confection. Everything glides sedately in dimensions that manifest both Göttsching and Popol Vuh‘s ways of approaching a new age of psychedelic music, while remaining resolutely Expo 70 to the core….-Linus Tossio….~

What more can we say about these guys that we haven’t already. Masters of divine sci-fi spacekraut dronemusic, sprawling epics that drift heavenward, guitars swirl and pulse, bass throbs and rumbles, rhythms don’t pound or shuffle as much as pulse, a gloriously cosmic ur-rock that is not about rocking at all, but instead about sitting back and drifting off, letting the music lull you into a state of suspended animation, moving inward before moving outward, expanding like a new universe being born. All of the above imagery is especially apt to describe Mother Universe Has Birthed Her Last Cosmos, a one track, 20 minute space drone kraut jam from our beloved Expo 70. The main guitar part is surprisingly active, as is the bass, there’s a definite groove here, the song has propulsion, and moves with purpose, the sound of a timelapse camera capturing the stars blinking out one at a time, viewed through a capsule full of bong smoke. Dreamy druggy and divine….Aquarius Records….~

Before you, another archival material Expo 70, designed by Justin Wright. 'Mother Universe Has Birthed Her Last Cosmos’ is a collection of rare recordings from 2008-2010, released on two mini CDRs and two cassettes. They have been inaccessible for a long time and included some of the best in Expo 70 history, above all a title recording, strongly related to the achievements of Ashra and the early Amon Düül II. This composition and 'Ostara’, which make up the program of the first CD, are the beginnings of a three-person version of the project, known as Expo Seventy (in contrast to the solo recordings marked with the Expo 70 spelling). Both recordings were attended by Matt Hill on bass.
The second CD of this compilation is filled with four few-minute songs from Justin Wright’s solo sessions. In addition to traditional guitar sounds, he explores the possibilities of the Moog synthesizer. These compositions perfectly complement the material from the first disc.
The album released in the cardboard fold-out packaging for Japanese vinyl replicas is strictly limited to 500 pieces. The cover design was made by Justin Wright. Michał Porwet watched over the entire publishing process……~


Credits
Bass, Drum Programming [Analog] – Matt Hill (6)
Guitar – Justin Wright
Mixed By – Justin Wright

Tracklist
1-1 Mother Universe Has Birthed Her Last Cosmos 22:35
1-2 Ostara 21:51
2-1 Tropical Trip Through Acid Clouds 15:08
2-2 Hexed by a Devil in the Cemetery 14:59
2-3 You and Your Dream Catcher Should Take a Hike 15:02
2-4 Neither Here Nor There (A Study) 14:58 

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