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Dipsomaniacs |
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 Øyvind at Braid Of Knees sessions |
Bandname |
Dipsomaniacs |
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Country |
NO / Tiller outside Trondheim |
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Founded |
1997 |
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Musicstyle |
Psych Folk • Psychedelic • 60's Psych |
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Homepage |
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Contact |
Oyvind Holm,
Holbekken 19F,
7092 Tiller,
Norway
Thomas Henriksen
Arve Bæstmorsjan
Robert Skjærvik |
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2 Links |
Bio from Camera Obscura
Fanpage
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Burn Brightly |
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Label |
Camera Obscura (Australia) |
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Released |
2000 |
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Tracks |
3 |
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Format |
No CD • 7'' |
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Musicstyle |
Psychedelic • Psych Pop • 60's Psych |
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Remark |
Ultra thick black vinyl |
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1 Link |
Promo page
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Braid of Knees |
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Label |
Progress Records(CD, Norway)/Stickman Records(CD, Europe)/Apartment(LP, Worldwide) |
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Released |
1999 |
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Tracks |
14 |
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Format |
CD • LP |
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Musicstyle |
60's Psych • Neo Psych • Pop Rock |
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Remark |
LP released on Apartment Records with bonus 7" containing the two songs windowshopping 2 am and queen underfed. The latter also on the cd. |
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3 Reviews |
Many nice melodies connected by different instruments from theremin to tablas. The vocals strech like a long psychedelic chewing gum through the tracks, sounds seem to run backwards, but the melody keeps them all together. Betti
On their second album, Braid of Knees, this Norwegian band delivers some of
the most authentic slices of pop-psyche you'll hear in this millennium, or
any other. All of the requisite pieces are in place: heavy, busy guitar
figures, a variety of keyboard instruments and strings, and lead singer
Oyvind Holm's reedy vocals, which are suitably multi-tracked. If someone
told you that "The Water Choir's Drowning," and "Sum Genius" came from one
of the Rubble or Strange Days collections, you'd believe it! Others like
"Hallelujah Feedback" are particularly freakbeat. "Queen Underfed" injects
a bit of Olde English jangle, "Dead Right" and "Nothing Is For Keeps" sound
like what might happen if The Rooks went psychedelic, and "Caught Me
Dreaming" has that ultra full review
karlmort
The Olivia Tremor Control know it, the Mooseheart Faith guys know it, and the
Lazily Spun knew it before they self-destructed. The Green Pajamas have
probably always known it. The four- or eight-track home studio is the
psychedelic canvas of the nineties, freeing musicians from the dead weight of
the commercial studio environment and providing them with the space and time
to encode their visions accurately. Home-brewed or not, these environments
probably give 90s underground musicians more sound-sculpting options than
George Martin ever had when he was creating some of the greatest recorded work
of the 20th Century, and so are formidable tools in the right hands. Øyvind
Holm, the creative force behind Norway's Dipsomaniacs, certainly has the right
hands, if the fiery arc from 1997's 'Bumble-Bee Eyes' through last
year's 'Reverb No Hollowness' to the present release is any indication. In
fact, if 'Reverb No Hollowness' was a Viking longboat full of memorable hooks
and Byrdsian guitar sorcery, you can liken 'Braid of Knees' to an improbably
ornate dirigible of sound eased through some humid latitude by giant, lazily-
circulating diamond propellers. Part of the reason is the expanded
instrumental palette. Guitars are just one part of an orchestra with piano,
strings, French horns, tablas, tamboura, theremin, samplers and much more
besides. It?s not just a one man show either - the contributions of Arve
Gulbrandsen and Thomas Henriksen on percussion, keyboards, tamboura and
electronics shouldn?t be underestimated. Extraordinary moments abound. ?
Prelude? let you know what you are in for with waves of backwards tamboura
introducing propulsive, looping bass and acoustic guitar rhythms and wildly
phased vocals urging the listener to ?grab a chair sit down and relax?. Not
much chance of that happening, though, as some free sax testifies over the top
of Øyvind?s pop sensibilities in the deep-fried ?Sum Genius?, and suddenly
Coltrane and The Beatles are sharing a stage. With its theremin, loops and
demented carousel cadences, ?The Water Choir?s Drowning? recall the Olivia
Tremor Control at their best, and it contributes the title of the record via
the refrain ?We drowsed beneath the trees/a braid made of our knees?. I should
mention here that the lyrics are brilliant throughout, with absolutely no
allowance necessary for the fact that English is obviously not Holm?s mother
tongue. The staggering ?Queen Underfed? is thankfully rescued from compilation
obscurity, and along with the similarly rescued ?Sandbox Feeling? illustrates
another reason why this record is such a knockout - Holm? sleathery,
Lennonesque voice seems to be tracing an exponential course into the
ionosphere, and on these two tracks it has a genuinely electric hairs-on-the-
back-of-the-neck potential. Incidentally, the E-bow solo on the latter is
particularly spiffing. Holm lays his DIY manifesto bare in the
expressionistic ?Looking for Tape Traders?: ?Kitchen sessions late at
night/Expeditions in dim light/A miner for delight/Stirrings behind basement
walls/Wires across the floor/Soul flutters for awhile?. But the track that
will probably cause you to overshoot your psychic runway and come to rest
wheels-up in an field of dandelions is the proto-progressive rocker ?Dead
Right?, which throws out disintegrating organ riffs like pissed-off volcano,
then changes gear effortlessly into a hushed chorus with only a lone
glockenspiel for company. With "Braid of Knees", Øyvind Holm and his fellow
travellers have made the emphatic statement that "Reverb No Hollowness"
suggested they were capable of. It?s a giant apostrophe in the sky and a
fitting a conclusion to a decade filled with great although sometimes
criminally-overlooked psychedelic music.
Tony Dale for Ptolemaic Terrascope (UK)
4 November 1999 karlmort
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Swamp Room Records change
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Whatever Misery For Miles |
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Label |
A joing release by Apartment Records / Stickman / Progress |
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Released |
1998 |
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Tracks |
3 |
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Format |
No CD • 7'' |
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Musicstyle |
60's Psych • Psych Folk • Psych Pop |
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Remark |
Doug Gillard of Guided By Voices plays bass, guitars and do some backing vocals on the song 2nd Honeymoon. |
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