III

Description

After what seemed like an interminable hiatus born from a profoundly changed world, in 2009 Espers finally returned with 'III', a new album of great finesse. It's not as if Espers had completely disappeared after their tours. They made a few appearances here and there, but with the time and attention devoted to Dear Companion, Meg Baird's solo album, to 'The Valerie Project' project and to Helena Espvall's collaborations with Masaki Batoh and others, not to mention the launch and rise of Greg Weeks' Language of Stone label; three years passed like a day or two in the life of Espers. 'III' was intended as a sonic inversion of the layered sound of 'II'. The goal was to record fewer tracks to achieve a stronger, more oxygenated sonic presence. Where 'II' was almost claustrophobic in its density and darkness, 'III' was envisioned as being somehow lighter, effervescent; perhaps even joyful in spirit at times. As the recordings progressed, an increasingly strong madness manifested itself in the songs and lyrics, making even the most ethereal songs of 'III' strangely unsettling for all involved. As with previous releases, 'III' was recorded with the vinyl format in mind. The songs were recorded on analog tape and mixed back onto analog tape at the end, another important factor in the realization of 'III'. Spatialization is a fundamental concept here - each of these songs accesses a new space in some way, whether envisioning it, locating it, or claiming and colonizing it. That said, the classic Espers sound is intact; they are still in love with folk chords and motifs, carefully calibrated synth lines, and acid guitar leads that support the varied vocal effects of Greg Weeks and Meg Baird. 'III' also features Greg taking up bass and laying down the foundation with drummer Otto Hauser. Finally, 'III' is the last recording made in Greg's studio at Hexham Head.