#66: I Must Be a Tree

Edena Gardens | Acid Mothers | Jon Camp | Wonderful Aspiration of the Source

Welcome back to the Ambient Audiophile, where we never forget to boogie.

So happy to see a lot of folks taking advantage of the subscription sale. Thanks for those who have signed up. If you haven’t, you have just over a week to grab a yearly membership here for 50% off.

As Summer wanes, I’ve opted to take the month of from radio duties. But, of course, that doesn’t mean I’m not getting down to new jams.

I had a really psychedelic rock week, with two joints really scratching the itch.

First up is the new long-player from Danish trio Edena Gardens, featuring our friend Nicklas Sørensen on guitar.

The band has now released four studio albums and one live record since 2022, with this latest, Dispossessed, which comes closest to Nicklas’ main band, Papir in it’s airiness. Sørensen’s guitar is always the focus for me and on this one his lines are super clean and soulful, perfectly complementing drummer Jakob Skøtt and bassist Martin Rude’s rocky runs. The album never bores and ends on a spiritual note with a nearly 10-minute wonder/wander. Check it below and buy a CD from Forced Exposure.

Japanese legens Acid Mothers Temple likely need no introduction. If you do need one, it’s an easily searchable name on the internet.

I’ve seen guitarist Kawabata Makoto and his crew live a few times and always leave feeling like I don’t spend nearly enough time listening to them at home or on a commute. But then I look at the their Bandcamp and I’m just simply frozen by massive catalog they’ve put together over the last 30 years. And, if I’m being completely honest, the graphic design they use a lot of the time just really leaves a lot to be desired. I’m probably missing out on a lot of quality jammage but I really can’t get into an album represented by some kind of Rob Zombie wet dream.

All that said, I recently delved into this live bootleg the band reissued last year because it has classic TMOQ-style art and its from 2000—right around the time when I got on their bus.

A pristine soundboard recording Born To Be Wild In The U.S.A. 2000 is not. But what it is is a pretty accurate representation of what seeing the band is like—blown out, groovy, and fucking insane.

With every middle-aged Phish fan hopping on King Gizzard tour these days, it seems like the time is right for a proper AMT reappraisal by all who like their rock very acidic. This live record might not be the first one I would suggest to a n00b (that would be 2001’s New Geocentric World Of Acid Mothers Temple) but it’s worth any head’s time and mind.

A truly excellent hang was had last week at Raven Sings the Blues’ weekend of jams at Tubby’s in Kingston. I could only muster the free time to hit Friday night to catch a lineup of new and old friends in Sloppy Heads, Prairiewolf, and Wet Tuna.

I’m still reeling from the night (and searching for the tapes) but one non-musical highlight was finally getting to meet Centripetal Force head honcho Mike Mannix in person.Mike has been doing amazing work with the label and now is as good a time as any to mention two forthcoming albums right up our alley.

Just announced today is Washington DC-based guitarist Jon Camp’s first new music in a few years. Proceed is the name of the album and it sees Jon joined by a large cast of musical supporters, bringing exuberant life to Camp’s wonderfully rambling compositions for fingerstyle guitar. “Kerosene Goodbye” is the album’s first “single.” Clocking in at diminutive seven minutes, the track gently sways while maintaining a sure-footed forward momentum thanks spatial percussion, violin and pedal steel. Camp gives this Richard Thompson-esque curl at the end of his some of his runs that I really dig and he’s really ready, willing and able to hang back and let the group go.

Also from CF and a bit closer to the streets (or celestial walkways as it were) is the self-titled debut from Wonderful Aspiration of the Source. It may not be a project name that rolls off the tongue but it certainly goes a long way in preparing the listener for what guitarist Michael Hix is going for. Founding member of the sublime Nashville Ambient Ensemble, Hix left the synths unplugged for this new project and just lets his guitar do the talking and transcending.

What’s really interesting here is Hix’s use of the Fender “B-Bender” guitar—an instrument conceived and created by Byrds guitarist Clarence White and Byrds/Flying Burrito Bros multi-instrumentalist Gene PArsons (who’s 1973 LP Kindling is a country rock favorite around here). It creates a real cool sound and what a neat context to give to it.

That’s it for this week. I’ll be back next week with more treats and, again, thanks for reading and supporting this thing—it’s deeply appreciated.