Exseind | Exseind
Orion Network (Floppy Disk/DL)

From Chile comes Exseind, the fusion of audio visual experiences between Lars Graugaard, Cristian Gallardo and Ce Pams. It’s a modernized psychedelic jazz engaging in the improvisation style they dub EXperiencia SEnsorial INterDisciplinaria. The five tracks here are a sneaky balance of so many things, and my attempt to break it all down may be futile, but let’s dive right in.

As Greynarl opens with a funky and ambiguous jam this feels like a floaty good time between rounded percussion and a reverby flute. The trio sounds warm, a bit space-age, with a contorting low-rim soul sensibility. If you married the hippy jams of Woodstock with the impractical futurism of progressive German electronics of the early 70’s you might be close, yet the cigar is well hidden. This most definitely has a throwback vibe, but because of the effects variables it’s lost in time, and all the better for it.

Is That A Gofford? takes off, a little wobbly, and with some resistance, in fleeting reverse harmony. If you would imagine, for a moment, taking a live melody and scraping it back with a hand-held squeegee, distorting its center, revealing its edges, and then watching the whole thing fold in on itself, your ears may only be partly deceiving you. The track has a nice build, as it rises and purrs the central beat keeps the meandering rhythm magnetic. It’s a pure electro-jazz fusion. Paloma reminds me of what could perhaps be the bastard child of Peaches and ESG. It’s got an attitude, and demanding personality, even as the breathing instruments rail about. The repetitive drumkit patch meters the middle as the others paint squiggly, elegant lines from end to end.


The future is not, the past has been
we are poetry, music, image, movement; the whole.
Come and dance, come and improvise and
close the eternal circular flow.
Let us be sound, poetry, movement, in freedom here and now leaving illusion behind.


EXOTIC EBB + FUNKY FLOW: The pulsating opening of So Flute is by far their most cosmic riff on this self-titled dazzler. The craft, however, seems to lay low until mediated percussive effects tap out an encoded message fueling the in-between of floating, altered woodwinds. Their path is unique here and their resolve is a bit of a revelation in terms of defining the age old trope of the “genre-defying” among us. This destroys all expectations, filling them with a new fluctuating groove. This dramatically unique synthesis of style harnesses the very earliest of Kraftwerk with Ummagumma-era Pink Floyd, and a side of Herbie Hancock’s Sextant – and though it sounds, on paper, like a collision of references, it somehow takes all this and twists it into a contemporary modality of controlled flux.

Lastly, Beyond The Yonder brings about a post-Jethro Tull (as through a Jerry Garcia filter) feel to a happy-go-lucky melody with droopy eyes and bright colors. Their mix and the vague voice treatments, may owe some to the backbone of zamacueca, but the influence of German and Dutch beer hall oom-pah is intersected nicely. The result is, in a word, intoxicating.

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