Europa

Brothers and sisters, time now for some new music and today we’re listening the new Kanaan album called «Double Sun», … for me as a lover of 60’s – 70’s rock music this is really a delight to my ears! I have a chance to listen it on full blast and daaaaamn really loved this work because I find so many elements of early classic rock, krautrock and space psychedelic together with a modern harmony compositions… and a total sinergy from all three musicians from Norway!. Let me tell you that Im that guy who love old stuff and says everyday that nothing can be compared to older music… but when I sit to listen music from our times, relaxed and respectful… I always find gems and something that the musicians want me to learn as a listener… So if you like long space psychedelic jams in a power trio classic format, this is for you my friend, as a plus read the interview that we made to Kanaan, from mexico to norway, come here to read and listen while you stay on home, stay safe and listen some music, listen to Kanaan. Miguel Krieg

Hermanos y hermanas, es tiempo ya de música nueva y hoy estaremos escuchando el nuevo disco de Kanaan llamado «Double Sun»… para mi como amante de la música de los 60’s y 70’s esto es realmente una delicia para mis orejas, tuve la oportunidad de escucharlo a alto volumen y jodeeeer realmente amé este trabajo por que contiene muchos elementos de rock clásico, krautrock, space rock junto con composiciones con armonía moderna, bien trabajadas. y una total sinergía de estos tres músicos de Noruega!. Dejenme decirles que soy el tipo que ama y alaba los viejos tiempos y dice que nada puede ser comparado a la música vieja… pero cuando escucho música de nuestros tiempos, relajadamente y respetuosamente siempre encuentro joyas y algo que los musicos me transmiten a mi como escucha.. Así que si te gustan los jams espaciales psicodelicos en formato power trio, esto es para ustedes amigos!, como plus viene la entrevista a Kanaan donde nos platican sobre este nuevo lanzamiento, de Noruega a México! no hay pretextos hermanos, bendita tecnología!. escuchen y lean mientras estan en casa, mientras estan seguros y escuchan música, escuchen a kanaan!. Miguel Krieg.

OFFICIAL FACEBOOK: https://www.facebook.com/kanaanband/

BUY MUSIC HERE: https://elparaisorecords.com/releases/kanaan-double-sun

READ FULL KANAAN INTERVIEW (ENGLISH) CLICK HERE

THE BEGGININGS

This project is played trought the deep minds of Ask Vatn Strøm (Electric and acoustic guitars), Ingvald André Vassbø (Drums, percussion and organ) and Eskild Myrvoll (Bass, synths, electric and acoustic guitars) in a power trio format and they began to play by early 2015 when they studied in the jazz conservatory on Noway. The reason why Kanaan was born is because the love for loud fuzzed guitars and jamming together and the love for music but in a deep way, love for early 70’s psychedelic rock/kosmische musik.

Este proyecto viene de las mentes profundas de Ask (guitarra), Ingvald (bateria, percusiones, organo) y Eskild (bajo, sintetizadores, guitarras acusticas) en un formato de trío poderoso y ellos comenzaron a tocar por ahi del 2015 cuando se encontraban estudiando en el conservatorio de Jazz en Noruega. La razón por la que Kanaan nació fue por el amor a las guitarras fuzz ruidosas, jammear juntos y el amor por la música de una manera muy profunda; el amor por la música psicodelica de los 70’s y el krautrock o kosmische musik.

Brothers and sisters, finally I have some time to sit in my wooden chair, leave all «little money making» activities and listen carefully and respectfull this work from my friends from Norway… when I first play trought my cheap samsung minicomponent I feelt lucky to have a handmade primordial RCA cable, computer – stereo to listen music all this 3 months home staying. I apreciate the things made by hand, craftmanship things… and not that stuff made by serie or massproduction (Except for computer and stereo), I felt lucky to have a little space for myself where to appreciate art and this is the time when I put Kanaan into my room it feels like a space organic trip.

Hemanos y hermanas, finalmente tengo algo de tiempo para aplastarme en mi silla de madera, dejando esas preocupaciones mundanas de «trabajar por sobrevivir» y para escuchar cuidadosamente y respetuosamente este trabajo de mis amigos de Noruega… la primera vez que escuché este álbum atraves de mi samsung barato me sentí con mucha suerte de tener un buen cable RCA hecho a mano para estos 3 meses de encierro para escuchar música!. Yo aprecio mucho las cosas hechas a mano, artesanías se le podría llamar… y no todo aquello fabricado en serie (a excepcion de mi computadora y stereo), me sentí con mucha suerte de tener ese pequeño espacio para mi en donde puedo apreciar el arte y llega el momento donde le doy play a Kanaan en mi cuarto y se siente como un viaje espacial orgánico!,

it sounds like a metallic wind like the saxofone from Mr. Coltrane, doing his thing when he left tonality!

There’s some music that when I hit the button play automatically cleans my mind from trash!, there is certain frequencies that play in the human brain and that was known by our ancestors but this knowledge was lost somwhere in time, when Worlds Together begin these waving arpeggios reminds me to some kind of ancient place, the same sensation when I heard by first time Breathe from Pink Floyd, the layers of sound when the lead guitars come is amazing, it not sound perfectly tuned, it sounds like a metallic wind like the saxofone from Mr. Coltrane, doing his thing when he left tonality!, so this lead me to another stuff to write:

Hay momentos en la música en donde cuando presiono el boton de play, automáticamente limpia mi mente de basura!, existen ciertas frecuencias que juegan y actúan en el cerebro humano y esto era conocido por nuestros antiguos ancestros pero este conocimiento se perdió en el tiempo, cuando Worlds Together comienza, esos arpeggios ondulantes me recuerdan a cierto tipo de lugar antiguo, la misma sensación de cuando Breathe de Pink Floyd comienza, las capas de sonido de la guitarra lider entrando son impresionantes, no suena perfectamente afinado, suena metalico, como metales de una sección de saxofones (como Mr. Coltrane cuando hacía sus cosas y dejó la tonalidad), así que esto me lleva a algo más que escribir:

INTUITION VS. THEORY

For me as a semi professional musician is so important to match/fuse the intuitive knowledge and the theoric knowledge talking about music!, you must ask, where I get intuition? My friends from Kannaan improvise a hell lot! but they have years and years from music lenguage obtained from listening to all kinds of music (is something that we speak on the written interview) so for you my dear friends is important to get a deep intuitive understanding on listening to records, music and his historic context the most you can, and listen all eras of the music, we don’t know where inspiration will came!. You don’t know if a melody idea or a riff could be from some of the well tempered Klavier from Mr. J.S. Bach or the orchestral works from Miles Davis Sketches From Spain!, or the early electronic music from Annea Lockwood, this is the intuitive part for you to improvise and create music, the second,

Para mi como músico semi profesional es muy importante fusionar el conocimiento intuitivo y el conocimiento teórico musicales, ustedes se preguntarán, de donde obtengo la intuición?. Mis amigos de Kanaan improvisan un chingo! pero ellos tienen años y años de conocimiento musical y lenguaje musical obtenido de escuchar todo tipo de música (es algo de lo que hablamos en la entrevista escrita en esta mismo review), asi que para ustedes mis queridos amigos es muy importante adquirir un profundo entendimiento intuitivo por medio de escuchar álbumes, música y su contexto histórico de la misma lo más que se pueda, y escuchar todas las eras de la música, no nunca sabe de donde vendrá la inspiración. No sabes si una idea melódica o riff pueda venir de los trabajos del piano bien temperado del señor J.S. Bach o los trabajos orquestales de Miles Davis con Sketches from Spain o los trabajos electronicos de Annea Lockwood, esta es la parte intuitiva para improvisar y crear música, lo segundo…

so go deep! be curious, be ambitious with your music never conform with anything and this is what jazz is about!

Theory. I’m well informed about that, if you dont know how to guide your harmony your music will sound the same all the time, the classic 3 chord song, well… it works but from time to time this get fuckin bored my friends,.. so go deep! be curious, be ambitious with your music never conform with anything and this is what jazz is about! or I would prefer say: modern harmony studies.

La teoría. Estoy bien informado sobre ello, si no sabes como guíar tu armonía, tu música sonará siempre a los mismos tres acordes, los mismos 3 clásicos acordes, pero bien… funciona pero de tiempo en tiempo esto se vuelve estúpidamente aburrido así que… exploren más, sean curiosos, sean ambiciosos con su música y nunca se conformen con nada y de esto se trata el jazz, o preferiría llamarlo los estudios de armonía moderna.

I get lost on Mountain and how many chord variations have on the end part? but filled my mind completly! It starts with a kind of rythm that I love and I have heard on some albums from 69-70, maybe on the blue cheer album I think but it has a kind of suspended rythm.. like the suspended chord on guitar that not solve but is expectant to and then give oportunity to guitarist Ask do some improvisation of one string on his guitar, some chords are painted on the back, like an orchestra… the main theme opens as a quiet lake, not from this earth maybe from some planet with double sun stars!. And then some kind of frank zappa soloing is born! all the influences and hours of listening to the guitar driven psych/prog/krautrock albums came to on both three musicians!, this is the importance of studying my frinds, just not take drugs and make the most evil power chords that anyone with a guitar and a big muff could make, study hard my dear readers to touch the gods hands with your notes, damn, listen what a beautiful closing on Mountain!, alternating chords like some musicians I’ve listened like Frank Zappa or the germans Xhol Caravan with their jazzrock fusion, This perhaps my favourite theme for now.

Me perdí en Mountain y saber cuantas variaciones de acordes tiene en la parte final? pero llenó mi mente completamente!. Comienza con un tipo de ritmo que me encanta y que he escuchado en algunos albumes de los 60s 70s, tal vez con blue cheer y es como un rítmo suspendido… como el acorde suspendido en la guitarra que no resuelve pero que se queda expectante a y este mismo le da la oportunidad al guitarrista Ask de hacer improvisaciones a una cuerda en su guitarra, algunos acordes son pintados por detrás en el background musical como si se tratase de una orquesta… y el tema principal se abre como un lago tranquilo, tal vez no de este planeta pero si de algun otro que tenga dos soles!. Y en eso algun tipo de solos de guitarra a la Frank Zappa!, todas las influencias y las horas de escuchar albumes de krautrock/prog o psicodelia se juntan y dan fruto en estos tres músicos!., esta es la importancia de estudiar amigos mios, no solo se es un drogo y se hacen los acordes de poder mas diabolicos que te imagines, eso lo puede hacer cualquiera con una guitarra con un big muff, estudien duro lectores de este blog y toquen las manos de los dioses con tus notas, malditasea, escuchen que hermoso cierre de tema en Mountain! alternando acordes como Frank Zappa lo hacía o los alemanes Xhol Caravan con su jazzrock fusión, Probablemente es mi tema favorito (por ahora)

Ask, Ingvald and Eskild as we speak on the writen interview here in the bottom of this words they studied on the jazz conservatory of Norway, and Im so happy to listen about this because it means that some studied musicians are taking amazing risks just not to conserve the music of past but for make new music, appliying the theory from old masters of harmony and using them on some rock music! The theme that divides full LP is Worlds Apart that maybe is the continuation from the opener Worlds Together, the same theme but as a free improvisation, just listen the rythmic base! damn I envy (in a good way) the rythmic base from my friend Ask!, a well studied Ingvald using all his capacities making the music more and more rich even in chaos!. and the bass lines from Eskild; a powerfully soloing in a walking bass form in the chaotic improvisation!… Oresund is the same musical structure always returning to the theme on the end of the full track from 8 minutes from travelling across different harmonic colors!, is like the old jazzman doing their job!, just listen to records like the A Love Supreme, or some of my favorites the «Kulu Se Mama» always the chaotic improvisations returning to the theme after chaotic soloing from the coltrane quartet…,

Ask, Ingvald y Eskild como lo mencionamos en la entrevista escrita aqui a continuación, ellos estudiaron en el conservatorio de jazz de noruega y me da gusto saber de ello por que esto significa que cada vez más músicos estudiados toman el riesgo impresionante de no solo consevar la música del pasado sino hacer música nueva, aplicando la teoría de los viejos maestros y usandola en música rock ruidosa!. El tema que divide este LP es Worlds Apart que es tal vez la continuación del que abre Worlds Together, lo mismo pero como una improvisación libre, solo escuchad la sección rítmica!, diablos que envidia de la buena me da, impresionante base rítmica que permite a Ask improvisar así como Ingvald haciendo uso de sus mejores capacidades nutriendo la música con detalles imperceptibles a opidos profanos. y las lineas de bajo de Eskild; un poderoso soleo en forma de walking bass dentro de la improvisación violenta y caótica!… Oresund es la misma estructura musical que siempre regresa al tema al final del mismo despues de 8 minutos de viajar atrave de diferentes colores armónicos!, es como los viejos jazzmen haciendo su trabajo, solo escuchen albumes como A Love Supreme o uno de mis favoritos «Kulu Se Mama» siempre sus improvisaciones regresan al tema despues del frenético improvisadero de Mr. Coltrane y su cuarteto…

The final theme, Double Sun is divided by two when the sun born and burns away on the mountain, the musical images are floating on my brain, any bad or god tought cames, music is magic and erases all vanal words. The echo effects and reverb and all witchery made by effect pedals by Ask adds extra magic to the mistery that await for us on this mega theme!. Preparing always the theme, taking care on the dynamics of music, from quiet to middle quiet to loud!. As a lovers from krautrock whole album has a kind of power like Ash Ra Tempel first, the guitar improvisations, the ambience and powerfull rythmic base leads to the second part of Double Sun, the tribute to the great motorik!, you know what this rythm is? Is a basic 4/4 that the great Kosmische musik makers put on a acetate by early 70’s!, just for name the most known, Neu!, their first have this amazing rythm pattern, the repetitive tribal that lead us to a fast sobconsious highway!, As additional mention, guitarist Bjørn Klakegg plays on this closing theme, what a axeman!.

El tema final, double sun está dividido en dos, tal vez cuando el sol nace y arde allá en la lejana montaña, las imágenes musicales flotan en mi cerebro, cualquier idea buena o mala se larga, la música es magia y borra cualquier palabra vanal. Los efectos de eco, reverb y cualquier truco de los pedales de Ask agrega extra magia al misterio que nos aguarda en este mega tema!. Preparandonos siempre para el tema, cuidando siempre de las dinámicas musicales, de silencio, a medio y alto. Como amantes del krautrock, todo el album tiene un tipo de poder que el primer album de Ash Ra Tempel tiene, las improvsaciones a la guitarra, el ambiente y la poderosa sección rítmica nos lleva a la segunda parte de Double Sun, el tributo al ritmo alemán Motorik!, saben de donde proviene este rítmo? Es un básico a 4/4 que los grandes maestros del krautrock pusieron en acetato en 1970, solo por nombrar a algunos, Neu!, su primer album tiene este patrón rítmico impresionante, el ritmo repetitivo tribalesco nos lleva inconcientemente a una carretera, como mencion especial, el guitarrista Bjorn Klakegg tocó en este tema, que guitarrista!.

Double Sun pt.2 is a fertile soil for seeding notes!, just listen the synths painted on the background! the ornaments while the rythm goes and goes and goes, damn

Double Sun pt.2 is a fertile soil for seeding notes!, just listen the synths painted on the background! the ornaments while the rythm goes and goes and goes, damn I want to cry for the emotion of hearing a power trio making true music, true musicianship and craftmanship!. I don’t know now what is my favorite theme, but for now the trip goes and goes (I dont do drugs anymore), just as my friends from kanaan says on the interview here at the bottom: be musicaly openminded! This could be one of my favorite records from new decade/century music, just listen to the music, read the interview and buy the album my friends, surely it will worth your time. Salud!.

Double Sun pt.2 es tierra fértil para sembrar notas!, solo escuchen los sintetizadores tocados en el background!, los ornamentos mientras el ritmo avanza siempre hacia adelante, malditasea quiero llorar de la emocion de escuchar a un power trio haciendo verdadera música, verdadera musicalidad y artesanía. No se ahora cual es mi tema favorito, pero por ahora el viaje sigue y sigue (ya no me drogo más), justo como mis amigos de Kanaan dijeron en la entrevista que a continuación les presentarpe: sean de mentes abiertas para la música!. Este puede ser uno de mis álbumes favoritos de toda la década de los 20’s del nuevo siglo,. escuchen su música, lean la entrevista y compren su album camaradas!, seguramente valdrá la pena el tiempo invertido. Salud!.

ENTREVISTA CON KANAAN desde México hasta Noruega! / Interview with Kanaan from Mexico to Norway!

I send some questions after hearing whole album from kanaan and they answer me very very fast! There’s no excuses from Mexico to Norway thanks to technology, so we speak with kanaan about their sound, their influences and even… they left us a spotify list for you to listen their biggest influences, so read,.. read and be happy my friends!

SP: ¿When and how Kanaan was born, could you tell us a short story about the band?

We’ve all studied jazz at conservatories in Norway, and we just happened to begin our studies at the same time, in the autumn of 2015. We were naturally drawn together as we all had a preference for fuzz guitars and loud rock music, haha. In the following year we recorded our first demos and went on two small DIY tours in our native country, so we had a quick start on our new band adventure.

SP: Why the name Kanaan, what is the meaning?

We actually took the name from a song by the krautrock band Amon Düül II, from their first album. A fun detail is that when we started the band we were heavily inspired by jazz rock, so taking a name from a krautrock band seemed a bit arbitrary, but during the next years krautrock and German experimental music became an important source of inspiration for us, so I guess you could say we grew into the name after a while!

SP: Could you tell to readers how is the sound of Kanaan with the new album Double Sun?

“Double Sun” is an eclectic psychedelic rock album, inspired by krautrock, stoner rock and jazz. We’ve been exploring so many styles over the past years, and we wanted to capture how that translates to our trio sound. But that being said, it feels like a very coherent album and I think we managed to capture the ‘Kanaan sound’ in a very nice way. Also, our two previous albums (“Windborne” and “Odense Sessions”, both also released on El Paraiso Records) were very much “live in the studio” with very minimal overdubs. For this album we wanted to explore a fuller and richer sound, and see what we could gain by using the studio more as an instrument.

SP: There is a concept album on this new release?

Not really, haha. But the record was very planned, even down to the track order on the vinyl, before we headed into the studio. So we had a very clear idea about what we wanted to do and what we wanted the album to feel like. Still admit that there’s some proggy “concept” album vibes here and there. As an example the opening track of both the A and B sides are the same melody played in two different versions  – hence the titles.

SP: What act is your best influence on 70s rock or the biggest influence on kanaan?

We all come from very different musical backgrounds, but some of our favourite ‘70s bands and artists are Hawkwind, Soft Machine, early Ash Ra Tempel, Neu!, Harmonia, Agitation Free, Guru Guru and Alice Coltrane.

SP: What do you think on the power of three musicians composing music (the power of a power trio)?

I think the power trio is wonderful format for playing the music that we do, and through the years we’ve found some ways to overcome the inherent limitations of only being three. Also, as I’m a bass player (Eskild), it gives me a lot of freedom and space to explore, which is something that can be a bit difficult for bass players in bigger bands. I suppose that’s the thing we enjoy the most about being a trio – everyone gets a lot of space for their instrument in the mix, and we’ve learned how to avoid stepping on each others toes while playing, haha.

And even though we have quite a lot of overdubs and additional instrumentation on the new album, we almost exclusively play as a trio live. So that requires us to rework the material in a way that suits just three instruments playing live.

SP: Do you like any kind of music? ¿Do you think that listening all kinds of music is a portal to full creativity on a musician? Is this the secret or a requirement to jam with Kanaan?

We listen to almost all kinds of music! While on tour we’ve been through everything from minimalist synth music and noise, to stoner rock, boy bands, punk and jazz. I definitely think that being open to a wide spectre of genres might have a positive influence on the music you make. Coincidentally I often find that the musicians I find most inspiring also have a very broad taste in music, and for me listening to stuff outside of our own genre is an important way to source fresh inspiration. But it’s definitely no requirement or secret, haha. It’s always super nice to meet people who have found their genre, and have delved super deep into a very specific field – that can be a great thing as well..

SP: Ohhh motorik!! I Love Double Sun pt1 and 2., are you krautrock freaks like us? hahaha!

For sure, we love krautrock! (maybe you could guess when I mentioned that our name was from an Amon Düül II song). Even several years after I started exploring krautrock and the German 70s scene I’m still continually amazed by the creativity and exploration that seems to run like a common thread with all those bands.

SP : Did you improvise? what is the creative work when composing for kanaan?

Yes, we improvise a lot. We usually start every rehearsal by improvising freely for about 30 minutes. That’s a good way to get into the zone and sometimes it even happens that small ideas such as riffs, grooves or soundscapes appear, and lay the groundwork for a new song. During our European tour last summer we started to implement those free improvisations on stage. So we made room for 30 minutes of free jam in the set.

When it comes to composing the way we’re working differently now compared to when we started playing together. When we started playing together, we usually brought almost finished compositions to the rest of the band. Now one of us usually bring one simple idea and we jam on it together until we create a whole song of it. It takes a lot more time of course, but we create it as a unit, so everyone can have their opinions heard. And it makes all of us more engaged in the process as well as you feel a bigger ownership to the material.   

SP: You three sounds like a professional craftsman of sound!, did you study or are you forged by the self taught and listening to records?

Yep, as mentioned earlier we all studied jazz at conservatories and have gotten instrument lessons since being kids. But there was never anyone mentioning kraut and psych in those lessons or at the conservatories, so that was something we had to find out ourselves. 

SP: Are you a equipment nerds like the readers of this blog? What equipment did you use to play on this album?

Ingvald uses a vintage 70’s Slingerland drum kit and a Ludwig Supraphonic snare drum for the album. He uses Istanbul Agop and Istanbul Mehmet cymbals and Vic Firth drumsticks.

On the album, Ask used a Telecaster, a 1976 Stratocaster and a 1957 Danelectro for guitars. Amplifiers are Fender Princeton Reverb, Magnatone Twilighter and Leslie 760. And a lot of pedals of course, but the most important ones are EQD Erupter Fuzz, Xotic AC Booster, MXR Carbon Copy, Catalinbread Belle Epoch, Strymon BigSky and Buddy Guy Wah. If you´re interested in strings and picks, they are Elixir 0.11 and Jazz III Ultex.

Eskild uses a Fender Precision Bass with LaBella flats, run through a vintage Musicman HD130 amp and a TKS 212 cab. For this recording I also played through a vintage Fender Deluxe Reverb. I guess my most important pedal is a Malekko Diabolik fuzz, which is an octave-fuzz circuit based on the Maestro Brassmaster. Also, I use an EHX Small Stone Phaser and a trashy Ibanez Soundtank Delay.

SP. What was the experience on recording this and publishing on el paraiso records?

The recording was overall a great experience. Our two previous albums were pretty much live in the studio, but on this one we wanted to explore a wider sound palette and some more orchestration, so we added lots of acoustic guitars, more synthesizers and more layers of guitar and percussion. On this session it was all about getting that big sound while keeping the raw, organic feel of a power trio rocking out in the same room, which is always difficult, but we are super happy with the results! We spent four days recording the album with Roar Nilsen as the producer and engineer, always starting with a live trio take of the songs, and then building off of that. We had a great time recording the album, and were really happy with how it turned out.

This is our third album on El Paraiso, so I feel like we’ve established a very good working relationship with Jakob and Jonas (of Causa Sui) who run the label. Jonas takes care of the mastering on the albums, and Jakob does all the graphic designs, and we feel like their style is a very natural fit for us. Also, they’re super nice guys and just really excited about releasing good music.

SP: How is the space rock/psychedelic scene on Norway? Sounds to us like a very very faraway country, we dont know what is happening right now overseas! Is there andy other friend psych/stoner jam bands of yours that you could recommend to us to listen?

The space rock/psychedelic scene isn’t as big as in many other European countries, and it’s definitely more spread out across different cities. But there’s some great stuff going on. Motorpsycho is maybe the most important band, but they’ve done everything from heavy rock to jazzy pop, country and psych. Black Moon Circle is a great space rock band whom we’ve jammed with, and they also perform pretty frequently with Dr. Space and Øresund Space Collective, if you know them! Also Electric Eye and Action & Tension & Space are great bands. There’s a couple cool underground bands as well, such as Dune Sea and Orsak:Oslo.

Also, Norway has a great jazz rock scene! There’s some properly established ones who inspired us early in, such as Elephant9 and Bushman’S Revenge, but some of our friends are in great up-and-coming bands such as Master Oogway, I Like To Sleep and Sex Magick Wizards.

SP: What do you recommend or what are you recomendations acording your experience to the newborn bands that are trying to make some music on the world?

I think the most important thing is to play live. It is a very valuable way of learning what works and what doesn’t. You can stay as long as you want in the rehearsal room, but the only way to become a good live band is to play live. Another tip is to never give up. In the beginning there might be three people coming to your shows and you might end up paying to play there. But is was like that in the beginning for all of the great bands.

I would also like to address the value of having everyone in the band feeling equally involved. If all of the members feel like it’s their band it will be much easier to get things done without feeling that you´re doing all the work alone. And be open minded 🙂

SP:. How thing are on Norway? I tired of hearing the word covid, but Is necesary to ask, how are things on your country, how are your living? Here in mexico things are for worse, but we live with hope!)

The whole country has been on lockdown for six weeks, but is now gradually reopening society, nervous to see how that will turn out. Luckily, we’re all healthy for now. All concerts and festivals have been cancelled until the end of the summer, but we have some studio time booked, so we’ll have something to keep us occupied this summer.

SP: what are the future plans for Kanaan?

We were supposed to go on a european tour this summer, but due to Covid-19 it’s cancelled. So when it comes to playing concerts it’s very uncertain when we´ll be able to that again. But some good news are that we’re going in the studio again in the end of May and hopefully we’ll have another record ready after that session.

SP:. where stoners junkies and freaks could buy your new LP? Are you sending worldwide?

For all the stoners, junkies and freaks: You can buy our records from the El Paraiso webshop, https://elparaisorecords.com/artists/kanaan or via Forced Exposure, which is our US distributor.

SP. Question for each member of the band, could you list your top 5 albums that influenced on your career?

Ingvald:

Elephant9 feat. Reine Fiske – Atlantis (2012)

Sleep – Dopesmoker (2003)

Guru Guru – U.F.O (1970)

Motorpsycho – Roadwork vol. 4: Intrepid Skronk (2011)

Ash Ra Tempel – Ash Ra Tempel (1971)

Eskild:

Hawkwind – Space Ritual (1973)

The Dukes of Stratosphear – Psonic Psunspot (1987)

Agitation Free – Live ‘74 [At The Cliffs of River Rhine] (1998)

This Heat – Health and Efficiency (1980)

Motorpsycho – Demon Box (1993)

Ask:

Eivind Aarset – Sonic Codex (2007)

Jimi Hendrix – Freedom, Live at Atlanta Pop Festival (1970)

Needlepoint – The Woods Are Not What They Seem (2010)

John Scofield & Pat Metheny – I Can See Your House From Here (1994)

NOFX – The War on Errorism ( 2003)

SP. Could you make for us a list of 12 songs that is best influence on kanaan,?

Guru Guru – Stone In (UFO, 1970)

Elephant9 feat. Reine Fiske – Black Hole (Atlantis, 2012)

Ash Ra Tempel – Amboss (Ash Ra Tempel, 1971)

Hawkwind – Born To Go (Space Ritual, 1973)

Agitation Free – First Communication (Live) (Live ‘74 [At The Cliffs of River Rhine], 1998)

Papir – IIII.I (IIII, 2014)

John Coltrane – Dearly Beloved (Sun Ship, 1965)

Pärson Sound – India (Slight Return) (Pärson Sound, 2001 [recorded 1967])

Cream – Spoonful (Live) (Wheels of Fire, 1968)

Needlepoint – Out of Wives (The Woods Are Not What They Seem, 2010)

Jimi Hendrix – Stone Free (Live) (Freedom: Atlanta Pop Festival, 2015 [recorded 1970])

Motorpsycho – The Bomb-Proof Roll & Beyond (I-V) (Roadwork vol. 4: Intrepid Skronk, 2014)

(Made it as a Spotify playlist as well, feel free to link to that)

SP Do you like to come to mexico to play, and drink some beers and jam with us?

For sure! That would be awesome!