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BARDO POND

Curanderos (Bardo Pond)

Curanderos

    With Bardo Pond’s RSD trilogy coming to an end, last year’s acclaimed Acid Guru Pond brought Bardo, Acid Mother’s Temple and Guru Guru together. The Philadelphia groups output for Record Store Day have been some of the most exciting and rewarding releases in recent years. Now for 2017’s RSD they return with yet another special release, this time side project ‘Curanderos’. Formed by the improvised journeys of the formidable Bardo Pond and experimental ensemble Kohoutek, these compositions take you on a cosmic voyage through kosmiche, drone, noise, prog and free jazz. Purveyors of psychedelic rock, Bardo Pond have the outward specifications of a rock band but the rivers that converge into the band’s oneiric flow have their headwaters in the outlands of ecstatic jazz, free noise and the avant-garde. 

    The self titled album Bardo Pond is the first new release from Philadelphia's psychedelic rock unit to be released on Fire.

    'The first time I saw Bardo Pond, I was, as probably most people are when they first encounter this batch of beatific weirdos, horribly unprepared. To describe the experience as "psychedelic" is an understatement on the order of saying that whacking oneself in the nuts with a ball-peen hammer is "mildly irritating." Needless to say, priorities were rearranged, etc.

    Fast-forward 15 yrs, and Bardo Pond have put out many LPs, most of them named after hallucinogens that make you throw up all night and see things - which was kind of them, I always thought. Let ya know what you were in for. All of this recorded output is pretty staggering to me, because, without exception, they seemed able to toss a lasso around some sort of ineffable hoodoo that felt like it was a million yrs old. If Carl Sagan would have 1.) smoked a little more weed and 2.) not croaked, I'm hoping he would have cut a BP track onto that gold LP that they put on the Voyager units. Would've been a way better representation of the best parts of the human spirit than Chuck Berry, I say.

    Anyhoo. One night not long ago in the Bardo Compound in Philly, Michael says in a kinda offhanded way, "Hey man, you wanna hear this? ..." And there I was, being bathed in the songs you've got in yr grubby little mitts right now.

    I was, once again, unprepared.

    This cauldron is a bit of a different brew. It made total sense to me (as it will to you) when he later told me the name of the LP is just "Bardo Pond." Why? It's a distillation. Two decades of playing together have sandblasted away everything unessential and left us with what we have here. It was like no one else before them had ever gotten near the plagal cadence, not Lou Reed or the Stooges or 2,000 yrs of church music. They invented it all over again, independent of any of that, after gawd knows how many yrs of flailing away and burning themselves up.

    I fucking love these songs. And while I hate writing almost as much as I hate third-degree burns, I have to say it is a joy to be able to tell you about this record. I feel like Neil Fucking Armstrong.

    It took years for them to get here, but this record is the most goddamned beautiful thing they've ever done. Sorry for the superlatives. But really, the only thing left for them to do at this point is explode'. - Fire Records.

    John Gibbons: Guitars
    Michael Gibbons: Guitars
    Isobel Sollenberger: Voice, flute
    Clint Takeda: Bass, next-level comedy
    Aaron Igler: Electronics
    Jason Kourkounis: Drums

    with
    Jeremiah Misfeldt: Farfisa
    Dan Baltzer: Harp


    FORMAT INFORMATION

    Coloured LP Info: Limited edition silver vinyl.

    Bardo Pond

    Volume 8

      Brand new album from Philadelphia’s much loved neo-space rock stoner drone outfit. A euphoric transcendental journey to a mountain top nirvana, a psychedelic tapestry that slowly unwinds as they travel onwards into the inner mind. A 40-minute opus delivered from a hail of reverb soulfully caressed by a ceremonial flute, that makes way for a shroud of ‘Weld’—era Neil Young fog. Bardo Pond is your rather ruffled tour guide to this far off place, this distant sense of wonderment at the crossroads with bewilderment.

      Loved and lauded by the late Lou Reed and his wife Laurie Anderson, Jesus & Mary Chain, Mogwai and many more and acclaimed in the music press as such: “Dinosaur Jr guitar power with the glacial grandiosity of Black Mountain, as if Isobel Sollenberger is conjuring a thunderstorm with the sound of her voice and riding it across the heavens.” Stereogum // “One of underground rock’s most extraordinary enigmas” The Quietus // “They alter brain chemistry by the alchemical effect of distressed sound alone, aspiring to become engineers of the soul’s passage to alternate states of consciousness.” Tony Dale (RIP), Ptolemaic Terrascope, 2001 // “Fugazi on acid.” Noisey “Playing fuzzed out stuff of stoner dreams since the mid ‘90s.” Pitchfork // 

      FORMAT INFORMATION

      LP includes MP3 Download Code.

      Bardo Pond

      Looking For Another Place

        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        180 gram LP (part of a trilogy – complete on RSD 2015). Bardo Pond follow up last year’s RSD release ‘Rise Above It All’ with the second of a trilogy of RSD exclusive releases. Continuing their exploration and interpretation of existing tracks, this time they turn their attention to ‘Ride Into The Sun’ by the Velvet Underground and ‘Here Come The Warm Jets’ by Brian Eno. The results are astounding and in the case of ‘Here Come The Warm Jets’ wonderfully surprising, with Isobel’s voice embellishing a rendition of startling Bardo pop. Loosely formed in 1989 by guitar wielding art student siblings, Michael and John Gibbons, Bardo Pond became a reality in 1991 with the addition of vocalist and flautist, Isobel Sollenberger, bassist, Clint Takeda and drummer, Joe Culver (replaced in 1999 by trainee librarian, Ed Farnsworth). Bardo Pond are the flagship band of Philly's "Psychedelphia" space rock movement, which also included the likes of Aspera, Asteroid No. 4, the Azusa Plane, and tangentially the Lilys. They favour lengthy, deliberate sound explorations filled with all the hallmarks of modern-day space rock: droning guitars, thick distortion, feedback, reverb, and washes of white noise.


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