Lamber Vision – Lamber Vision

On January 20, psych-rock quartet Lamber Vision released their first self-named full-lenght: a collection of nine instrumental tracks, exploring a wide range of vibes and atmospheres.

Hailing from São Paulo, they combine a huge love for the 70s psychedelic sonorities with a remarkable fascination for some typical oriental sounds. Probably because of the long stay in Berlin, they make a strong use of Turkish melodies in their compositions, blending spacerock soundscapes with mantra-likely guitar lines.

The pleasant stream of cosmic sounds, hazy tones and hypnotic drum patterns constantly flows for almost 40 minutes, giving the listener tons of good reasons to enjoy these vibes.

It’s easy to find out both the influence krautrock played on the band (German legends Can and Amon Düül II as an example) and the South American roots they obviously reveal throughout the track list (the use of some chords, so typical in Bossanova and Jazz music, should be counted as an evidence).

To discover more about this project and the music background of the members, here a short interview I had with the band:

According to what you wrote on the record description, you started the band after a stay in Berlin. How did it influenced your life as musicians?

Berlin has a completely different atmosphere then sao paulo, our home town in Brazil. Not only music, but colors, food and lifestyle was an acomplishmant for our first record sessions in a studio settle in a old bunker. There was the place where we started recording only in two (Samuel and Pedro) till we get about 9 songs done. After that, we started to looking for another musicians to make possible to play our music live in clubs in Berlin. A post on a local website brought to us two great musicians. Liad, guitar player from israel, living in Berlin for more them 5 years, and Ignatz, from Argentina, who were playing keyboards and guitar. They understood our music and ideas and we all could share our music skills from different backgrounds. Definitely was good to be in Berlin.

The soundscapes you created on your album have a lot of oriental influences. How did you come to that kind of sound? There are records or musicians that inspired you?

(Samuel) Yes, few years ago I began to dig Selda Balcan music and the incredible musicians from her band. This sort of music made me start to compose more and more influenced by this oriental music. But after all, it was different when we were playing live. Even if we had in mind to make that sort of music, in the end we had a completely different thing, mixed with our previous influences.
(Pedro) For me, it was amazing to understand the political view crossed with the music made in Turkey during the 70’s. After invited by the germans to rebuild the country, turkish musicians could get in contact with instruments and german technology in general and at some point bringing this knowledge back to Instanbul to help them to get a better sounds for their music.

Your way of composing strongly reminds me of the krautrock golden age. Which band of that music scenario would you pick up for a comparison?

The Germans form CAN, without a doubt. The whole discography is great.

Creating instrumental tracks is sometimes way harder than creating arrangements for lyrics. How do your way of composing works? Do you have a particular method or you go along with jamming until you find a good starter?

(Samuel) In general, I start from the guitar and then, adding more ideas till I understand what is intro, chorus, a part, b part and so on. Sometimes, we have only one melody and all the rest comes after. And the other way around can happens too. Drums always comes in the end. The best way still when we are all playing together, sharing ideas.

After releasing this record you should be quite busy with gigging. What’s the plan afterwards?

Well, we just released the album. Last year we had couple of concerts to play in Sao Paulo. Now, we have one gig on 27th of march and ready to play in new places.


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