Review of The Greek Theatre “Lost Out At Sea”


Taken from R2 Magazine.


My Brother The Wind

Mathias also plays guitar in the improvised psychedelic rock quartet MY BROTHER THE WIND.

Sweden’s instrumental cosmic rock quartet, MY BROTHER THE WIND, will release their third full-length album, Once There Was A Time When Time And Space Were One, this October, the opus harnessing forty-five minutes of the band’s entirely improvised, instrumental psychedelic bliss. Recorded live in the studio with no overdubs during a single day, the band used six and twelve string acoustic and electric guitars, mellotron, flute, bass, drums, congas and more to complete the task. The album was captured in full analog on 2″ tape courtesy of a 16 track Ampex from 1969 at Drop Out Analogue, in the snowy wilderness of Åmål, Sweden, with engineering duties handled by Love Tholin, who used vintage flangers, plate reverbs and tape echoes to achieve the LP’s unrestrained sound and exceptionally organic tones, after which it was mixed by Tholin and the band, and mastered by Hans Fredriksson.

MY BROTHER THE WIND is a fully improvisational cosmic rock collective consisting of members of widely known Swedish progressive rock acts Makajodama, Magnolia, Animal Daydream and Anekdoten, their output an inviting sound for fans of Popol Vuh, Amon Duul, Sun Ra, Ash Ra Temple, Gong and Pink Floyd. Free Electric Sound — the instrumental music division of The Laser’s Edge — will release Once There Was A Time When Time And Space Were One worldwide on October 14th, with a deluxe vinyl version to follow.

Here’s a video from the recording of the album;

Here are some words on the new release;

“All I can say is…wow. This is what space rock is all about folks. Music of this nature is supposed to take you on a journey, allowing the listener to close their eyes and let the sounds carry you off into another dimension, and Once There Was A Time When Time And Space Were One clearly does that, and then some. Utilizing acoustic & electric guitars, Mellotron, flute, bass, drums, congas, and other instruments, the band have put together a collection of ‘pieces’ that sort of flow into each other, the album insisting on being taken as a whole rather than broken down into separate songs. This is one that you really have to just put on and just let it sweep you away, and trust me, it will, over and over again.”

A gig reflection silent films with The Muffin ensemble by Mattias Olsson

A gig reflection Silent films with The Muffin ensemble, Larrys Corner 29th January 2014

Mathias Danielsson at his trusty pedal steel Tape echo combo.
Im calling this a gig reflection instead of a review quite simply because I was sick when I was there and I missed the two last films. It would be unfair to…everyone.
As some of you might know I have been playing to Silent movies for 13 or 14 years now on and off with the Matti Bye Ensemble. We have played pretty much all around the world and it has been an amazing experience. The venues has been everything from the majestic Castro theatre in San Francisco to a small communal theatre in russian barentsburg, Svalbard.
My dear friend Rickard P. Stumm
Therefor I was thrilled when Mathias invited to come and see them play at Larrys Corner. He warned me. Its small, really small. And usually people exaggerate about venue sizes but he was pretty much on the money. It IS really small. So I can also add that the place was packed. Not an empty seat in the house.
The two films I had the pleasure to catch were Lot in Sodom and Létoile de Mer by Man Ray.
At the different silent film festivals I have played I have seen a number of different ensembles take on the challenge and there seems to be two different lines of thought. One is the heavily scripted and arranged. The other is a more ambient approach. And the feeling I get is that people tend to start with Plan A and then drift into Plan B occasionally. Also there is the whole school of using instruments of the era. Pianos and theatre organs.
I have no real sharp opinion, if it works with the film….it works.
The Muffin Ensemble
The Muffin Ensemble are firmly routed in the second category. The lap steel becomes an orchestra creating washes of chords using tape echoes. The fretless bass has a more relaxed role often just giving pulse or accents using loop pedals and pitch shift effects but also playing freer melody lines. Also prerecorded voice were used to highlight sections.
With my raging fever and Man Rays avant garde approach to film (and focus) this approach created a sort of seemless ambient feel. I found it hard to grasp if there were any traditional themes as such but more a flowing arrangement line.
I thought it suited the films and the setting very very well.
Also I loved the idea of the small setting and D.I.Y feel of the event. Its great to take control of a small margin cultural phenomena and make it your own. It felt intimate and personal. I love the inititiative and the passion that goes into aranging stuff like this. Good stuff. I would have loved to have a bit more of a background about the films. Maybe just a little programme so that the viewer can have some background info and put things into a bigger historical context.
Read it at Mattias Olsson’s blog here;

Guitar Player magazine

Guitar Player’s Barry Cleveland;

“Swedish guitarist, bassist, keyboardist, and pedal-steel player Mathias Danielsson is flanked by violin, cello, drums, and guest brass, reed, and woodwind players on this magnificent disc of largely improvised instrumental avant-rock. Shades of Crimson, Floyd, Can, Art Bears, and Faust reflect within the facets of this unique and engaging gem.”