Tor-Peders — Brev Från Ederstorp
(Fruits de Mer Regal Crabomophone Winkle 16, 2011/2014, LP + 7 inch)
by Henry Schneider, Published 2014-07-29On spinning this new FdM LP, you would swear that you were listening to a West Coast 60s garage-psych band. How wrong you would be. Tor-Peders was a Swedish band formed in 2007 by guitarist Jonas Redmo. Jonas gathered his friends Kg West (organ), Johan Efraimsson (drums), and Tobia Resch (bass) for their first rehearsal and recording session in a Stockholm basement in the Spring of 2008. A year later they had their debut gig and released a very limited 7 inch. Johan Efraimsson left the band and was replaced by Johan Svedmyr, which led to more rehearsals and song writing, enough to fill an album. Jonas had made an initial contact with FdM and then tragedy struck. Jonas was run over by a car in August 2011 and Tor-Peders ceased to be, causing their debut album to be put on ice. Then last year as Keith Jones/FdM was working on the Me and My Kites release, he recognized the name David Svedmyr, Johan’s brother, and reconnected with the other band members to finally release this album of excellent organ-propelled trippy electric guitar instrumentals. The first song “Aye Makami” opens with surging white noise and a cheesy organ riff leading into some great surf guitar work. Think of a mellower Dick Dale and you will have an idea of what this sounds like. And in the immortal words of American Bandstand, “it has a great beat, you can dance to it.” The second track is a cover of George Martin’s “Theme One.” Van der Graaf Generator’s iconic version is hard to beat, but Tor-Peders took it one step further. They mixed their garage band psych surf sound with a bit of jazz and wah-wah guitar to create one of many high points on this disc. Track three is an interesting Krautrock psych piece that starts with drums and organ. Half way in Jonas’ trippy guitar takes charge. Then with about a minute to go, it sounds like the song is ending. The remainder is ambient celestial chords like early Pink Floyd. The fourth track has some very heavy organ and lyrical guitar work that brought to mind Shocking Blue’s “Venus.” Each track is different, exhibiting many other influences from Krautrock to Spaghetti Westerns. Then there are the final two tracks on the 7 inch. “Signed tp” is a dark folk psych guitar track that evokes Ash Ra Temple’s “Day Dream” from Starring Rosi. And the final track “L’esprit d’escaliere” is as close to “The House of the Rising Son” as you can get without being a cover. All in all, one of the best releases on FdM this year.
Related artist(s): Tor-Peders
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From the press release:
To Wake a Dream in Moving Water takes from Echo Us' past and spins it into a whole new direction, one closer to traditional acoustic Celtic music than ever before.
To Wake a Dream in Moving Water was composed and recorded during the first few months of 2017. Although Celtic influenced and comprised of a number of re-workings of Irish folk tunes and Breton aires, the album is still in large part new and original Echo Us music that fits right in the Echo Us ‘canon’. “Wake” is a natural progression from “A Priori Memoriae”, which was released to critical acclaim in Europe in 2014.
To Wake a Dream in Moving Water is Echo Us’ ‘Celtic’ album that was planned for a long time but never executed because of the work on the trilogy that came before it. The album title is a typical ‘Echo Us’ play on words which one can find their own meaning.
“It is also both evocative of the Oregon rain, which I am told is not too unlike the rain in Ireland.”(Matthews)
To Wake a Dream in Moving Water is also a comment on conception- which was unintentional when the lyric was written. Matthews surprised himself a few months after writing it, realizing that the song was actually about the nitty gritty, biological workings of what happens when a child is conceived. The folk song it derives from musically describes a courting ritual, one that even today we can all relate to in our own way.
“Come With Me Over the Mountain" in acapella was the musical inspiration for the song, and came into my consciousness after the lyrics were written a few months prior. “ (Matthews)
As with all Echo Us recordings, a number of seeming coincidences resulted in connections being drawn where prior there were none. Another experience of similar capacity was found in oboe samples from A Priori Memoriae that echoed the traditional “May Morning Dew’, also reworked for guitar on the new album.