Octopus Syng

Octopus Syng was formed in the summer of 1999 by the band’s guitarist and vocalist Jaire Pätäri. A four-piece band comprising Jaire: vocals and guitar, Joni: guitar and backing vocals, Antti: Bass and Jukka: drums, the band's debut album was issued by Berlin based record label Nasoni Records in 2004. The band’s new album, Reverberating Garden No. 7, released by Mega Dodo, is a vivid garden of earthly delights. It’s full of quirky, surreal songs that reverberate with love and harmony but it can also be a dark and sinister place. Yet there's always a loving, sweet cosmic feeling hiding somewhere in the flowerbed. So open the gate and enter the Reverberating Garden with Octopus Syng.

Victorian Wonders, the new album from Octopus Syng is available as limited LP/CD and download now.


Hollow Ghost/Rochelle Salt

If we say there's an old soul inhabiting the body of Jaire Patari, writing these songs and guiding the work of his fellow players in Finland's Octopus Syng, visualise in your mind's eye a well-aged relic of 60s psychedelia, with vivid kaftan, intricate tapestry on his smoking hat, and a waft of patchouli following on behind him, That's absolutely not who Patari actually is, of course.

But somewhere along the line since starting Octopus Syng as a solo project, back in 1999 - it's since become a full-band - a spirit born in the ambience of a mellower trippy time has gotten hold of him and infused his groove. Must have. It is as though Lennon pictured Syd Barrett "on a boat on a river," and that image got channelled down the years, His songs are gentle and pastoral, coloured with subtle hues, whimsical without being daft. They're a child's garden of verse but they're not childish. A bit weird or off-kilter, a touch melancholic, in a nice way. And they hark back to those late 60s, early 70s spirits, not just Barrett, but Bolan before glam, and a touch of Haight Ashbury.

A quiet album, but a charming one.

Ian Abrahams: Record Collector

In beautiful blue vinyl, the follow-up to the Octopus’s Reverberating Garden #7 is finally here – and, as with so many more of the last few years’ best albums, and most of their visionary performers, there are two ways of looking at it.

The first is to say it all sounds like Pink Floyd, and then narrow each successive track down to different frames of the Syd Barrett psyche, because we simply cannot get enough of those funky Piper vibes man. And the second is to flick a vague glance in the direction of a template that the band grew out of long ago, and then move on. Like they did.

Stick with the script! Hollow Ghost… is the Parachute to its predecessor’s SF Sorrow, With Woman in Mind to A Groovy Kind of Love, Then Play On to Mr Wonderful. Kesämaa to Magneettimiehen Kuolema. If the late sixties hadn’t existed, Octopus Syng would have invented them!

Except they did and they didn’t, and Hollow Ghost is an album that marches less to the roar of the recycling machine than to the melodic chaos of an avant-garde medieval orchestra, suddenly finding its traditional instrumentation has been subverted by electric guitars, and the viola and flute sing the vocal lines.

There is a baroque ghost or two here, dancing with the acoustic rhythms, and a vocal disconnection that takes a moment to resolve itself into beauty. But the mysterious “Lady Florette” teases around its refusal to follow the lines you expect it to, and “Echoes from the Past Centuries” moves on motifs that would be gothic if they didn’t feel so vivacious.

Later, “Melancholy of Delight” chases a deliberate absence of tune through a slowly building soundscape that captivates without your ears even knowing they’ve been caught, only to be dragged onto the dance floor by “Belle and Ville,” a slippery slice of sinister waltz on the edge of a military tattoo. It’s the most disconcerting track on the album, but that’s a relative compliment, because straight away you’re into “Unknown Actress,” which tells its story over a near cacophony, through which a lonely organ pipes mournfully alone.

With a more friendly production, it could be a lost Kinks song; with a less brittle sound, it could be late Jam. But similes mean nothing because Octopus Syng have as much do with classic rock as countrymen Wigwam had to do with classic prog… which is not a gratuitous reference to the only other Finnish band that the majority of Anglo-Americans have heard of (let’s leave Hanoi Rocks out of this), but a reminder that, even in a modern world awash with the most western musical influences, background and culture are still powerful deceivers.

The Finnish Hall of Rock’n’Roll fame is a very different place to that we have over here, because the country’s cultural reference points are different. They didn’t grow up around Wolfman Jack and Soul Train, Top of the Pops and John Peel – and even if they had, it was in tandem with a musical and creative world of their own making. And that is the key to this album – not to dwell on all the things that you’ve been told it sounds like, but to focus on all the things that it doesn’t, because there’s a lot of them. and they are far more exciting. Octopus Syng found their voice on Reverberating Garden #7. Now they are using it. Listen.

Dave Thompson: Goldmine

Just like their previous release Reverberating Garden Number 7, the title of their new release Hollow Ghost / Rochelle Salt is equally obscure, but not the music. The eleven songs continue the journey they began with their previous album, and to tie it back, Hollow Ghost / Rochelle Salt contains “Reverberating Garden Number 7” as the final track. This is a characteristic of the Legendary Pink Dots where a lyric from one song becomes the title of a song on a subsequent release. Overall the music on Hollow Ghost / Rochelle Salt did not move me as much as Reverberating Garden Number 7. But that is not meant as a negative. Most of the eleven tracks are dreamy melancholy psychedelic songs, some with a strong Syd Barrett / Pink Floyd or Soft Hearted Scientists vibe. The opening track, “Carbon Dust and Latin Romance 1927,” is the only instrumental and is different from the rest of the disc. For the first three minutes it is an experimental ambient soundscape with organ, guitar, and odd sounds where you keep expecting it to resolve into something, but it doesn’t. My guess this section is “Carbon Dust.” And then for the final minute Octopus Syng delivers beautiful Spanish guitar strumming, which I believe is “Latin Romance 1927.” The other ten dreamy, melancholy, introspective songs are quite enjoyable. Some songs grow on you the more you listen to the disc. So relax and enjoy the floating musical trip into an ethereal world.

Henry Schneider, Published 2016-07-13

Strange things are happening in Finland…………….two years in the making, Octopus Syng follow their 2014 release, Reverberating Garden No. 7, with a brand new album released by Mega Dodo that is an hallucionary blend of baroque Psychedelic Pop and Acid Folk. Hollow Ghost/Rochelle Salt takes many of the themes, sounds and textures that made their previous album so alluring and gives them a subtle twist. A rich, dark and sometimes mystical brew of modern Psychedelic sounds, this is a sensitive and melancholic record that, like its predecessor, draws on the spirits of Syd Barrett/early Pink Floyd along with the more contemporary vibes of modern day Psychedelicists such as Jacco Gardener.

Hollow Ghost/Rochelle Salt is, in parts, dissonant and eerie and in others intriguing and diaphanous. Mixing up the feel of Syd Barrett’s more whimsical flights of far out fancy with the Floyd (such as ‘Matilda Mother’, ‘Flaming’ and ‘Chapter 24’) with gentle, pastoral late 60s Psych Folk, Octopus Syng create a wash of blissed out, swirly, acid soaked Psychedelic Pop where beneath the surface there is just a nagging suggestion of darker forces. Full of quirky Floydian flourishes, the inspiration for this record comes from a parallel 60s universe where Pink Floyd and The Soft Machine were the more influential bands and not The Beatles and The Stones…….. Hollow Ghost/Rochelle Salt vibrates with a Psychedelic Summer of 67 shimmer which also evokes the less well known British 1960s Baroque Psych bands such as 23rd Turnoff, Kaleidoscope, Les Fleur de Lys amongst all the other groups that had invested in a Mellotron and dropped acid. There is certainly a strong Barratt influence on a large proportion of this album with ‘Surrealistic Room’, ‘Lady Florette’, ‘Unknown Actress’, ‘Reverberating Garden Number 7’ and the fabulously wonky ‘Belle and Ville’ all sounding like they could be from poor Syd’s fried egg mind, whereas the opening track ‘Carbon Dust and Latin Romances 1927’ is not dissimilar to the tripped out soundscaping of A Saucerfull Of Secrets where the Floyd started to pick up the pieces after his L.S.D. fuelled breakdown. There are also some great dark and twisted, atmospheric, folky Psych tunes here………. the more opaque ‘Echoes from The Past Centuries’, ‘Melancholy of Delight’ and ‘Walking in The Pale Light’ are all fantastic blends of old and new Psychedelia which add a little shadow to the kaleidoscopic hues of the rest of the album. Hollow Ghost/Rochelle Salt is luscious experience, a trippin’ musical creature, where each note is a short journey to unimaginable places in our minds. So relax and let yourself drift into an ethereal world of dark imaginings and prepare yourself for a very strange trip!

Strange Things Are Happening - theepsychedelicatessen.blogspot.co.uk

Octopus Syng venture further into psychedelia with their marvellous album ‘Hollow Ghost/Rochelle Salt’. Arguably a little more experimental and Floydian in places than some of their earlier releases, it’s all the better for it. That’s not to say their songwriting takes a backseat. Check out the twisted pop of ‘Woman’ and Syd Barrett-esque ‘Lady Florette’ and you’ll want to enter the Octopus Syng world.

Jason Barnard - Strange Brew

New album from Finnish psych outfit Octopus Syng, available as blue vinyl LP limited to 500 copies, CD, or download, as of 29th July 2016. Carbon Dust and Latin Romances 1927 begins as an eerie experimental piece with a film soundtrack feel, before giving way to a psychedelic interpretation of Spanish guitar music. Woman recalls 60s psych-pop, whilst adding a folky touch to the melody. Echoes from the Past Centuries is a superb track that sounds like authentic vintage psych, merged with a spooky, dramatic, horror film-ish atmosphere from the use of organ. Surrealistic Room is aptly titled, with whimsical lyrics and a choppy-changey song structure that bounces from theme to theme just like a series of dreams. Melancholy of Delight sets philosophical lyrics to a melody suitably suggestive of deep, sad thoughts, accompanied by dramatic, evocative orchestration. Belle and Ville is woozy and whimsical and partway between folk and theatre music. Today's Portrait is thoughtful and honest songwriting with a minimal and slightly eerie arrangement. Final track Reverberating Garden Number 7 combines retro-futuristic experimentation with dreamlike psych-pop. A fine mixture of whimsy, introspection, and dark-edged drama, from a band who put their own free-thinking twist on the classic 60s psychedelic sound. Available at www.mega-dodo.co.uk

Kim Harten: Bliss Aquamarine


"Hollow Ghost / Rochelle Salt" contains 11 songs and start with "Carbon Dust And Latin Romances 1927" a fantastic instrumental psychedelic number that changes slightly over half and I hear a quiet piece of classical guitar playing war, and "Woman" follows and in it the band I enjoy a beautiful, fairly quiet, melodic psychedelic pop song that contains an infectious rhythm. Then follows "Echoes From The Past Centuries", a delicious light psychedelic pop song, which contains some fine tempo changes and is followed by "Surrealistic Room", a great swinging psychedelic pop song with varied tempos and rhythms, played at an average rate to be followed by a delightful quiet psychedelic song in the style of Syd Barrett, entitled "Lady Florette". Then put the tire me "Melancholy Of Delight" before and I hear an excellent quiet melodic song with varying tempos, and Octopus Syng with "Belle And Ville" dishes out and I had a catchy psychedelic pop song though, where the rhythm me turn to dance. In "Unknown Actress" the band I enjoy a fabulous cheerful sounding psychedelic pop song that is played at a moderate pace and includes some great tempo changes and "Today's Portrait" sets the tire me a quiet sad sounding pop song for against slightly psychedelic background. Also, "Walking In The Pale Light" is a slow-played song in which the music slightly sounds ominous psychedelic and the last song, the single "Reverb Rating Garden Number 7" the band I enjoy a beautiful quiet psychedelic song, a catchy rhythm and contains some subtle tempo changes.

Carry Munter


'Hollow Ghost / Rochelle Salt' is the new album by Octopus Syng and currently in heavy rotation here. You can lose yourself in the haze of this slow burning, haunting psych - a perfect example of the legacy of solo Syd Barrett, but with a melancholic twist all of its own. From the murmur of the beginning of instro. 'Carbon Dust And Latin Romances', the album gradually fills the room with eeriness through 'Woman' and 'Echoes From The Past Centuries' until turning strange on 'Surrealistic Room' ('...my typewriter is singing...' oh yeah!) - this is one star turn of a song for sure.

The titles of the tracks alone are intriguing and sometimes that's all I need to lend an ear. 'Lady Florette', 'Melancholy Of Delight', 'Walking In The Pale Light', 'Reverberating Garden Number 7', what more can I say?

'Melancholy Of Delight' is a rare beauty, one of the best songs Procol Harum never wrote. Reflective to the point that I start to get very emotional when listening to it. I love songs like this to bits and back again - every time. 'Belle And Ville' is just plain weird, almost vaudeville. It sounds like it's speeding up as it plays and probably is, but who cares – I'm still along for this ride.

Another excellent album for 2016.

Nick Leese: Heyday Mail Order Blog

Reverberating Garden Number 7 2016 single release

Red vinyl for members of the Mega Dodo Singles Club, black for everyone else.

And no, it’s not the title track to the Octopus’s last album (although it is), cos it’s a sneak preview from their next (although it isn’t… it’s a different version, you see) – and what a glorious sound to behold, drifting in on what could have been the Velvet Underground’s“The Ocean”… but, once again, isn’t.

You realize that the moment that the opening surf and sinister murmurs are shunted aside by the wave of sheer ecstasy which not only establishes this among the finest closing cuts any album could ever call out for (because it is), but also as the prelude to one of the greatest covers that the early Floyd could demand. Just imagine a rendering of “Flaming” that teases through verses of deeply accented aplomb, before unleashing the hounds of psychedelic mayhem on what others might call the instrumental break. You’ll be halfway there.

Dave Thompson: Goldmine

Reverberating Garden Number 7

Jaire Patari has been frying our brain cells for 15 years, delivering two Octopus Syng solo albums during that time. This is his first with a full band, and it's another solid slab of '60s-influenced psychedelia, featuring the Fruits De Mer teaser from last year, 'Listen To The Moths', a syncopated slice of Floydian whimsy that floats rather unsettlingly between solo Syd and Roger Waters' Ummagumma side. 'Avant Garden' is a hypnotic dreamscape and the first of several that change musical direction mid-song from poppy effervescence to disorienting, sleepy introspection.

The toytown pop of 'Diamonds And Emeralds' updates vintage Bee Gees, 'Very Strange Trip' is 'Hey Bulldog' psych via Joseph Byrd, and the infectious 'Cuckoo Clock Mystery', with its sound effects, sitars, and disembodied voices evokes everything from Group 1850 to Soft-Hearted Scientists and Brian Jonestown Massacre. Stop and get a ticket for this trip!

Jeff Penczak, Shindig

Expose Online

Octopus Syng is an obscure Finnish band formed in 1999 that is now gaining international exposure through the efforts of Fruits de Mer (appearing on the Keep off the Grass compilation in 2011 and The Regal Crabomophone 2014 Annual released last December) and now Mega Dodo. The band’s new album, Reverberating Garden Number 7, is their third full-length album. Their other two Beyond the Karmadelic Coldness (2004) and Birds of Morning Are Never Late (2007) were released on the German label Nasoni Records. Not a very prolific band, but one that has carefully handcrafted their music, much like a fine beer. I have no earthly clue as to the meaning of the album title, but it contains a vivid collection of earthly delights full of quirky songs reverberating with sunshine and also a dark and sinister element. The eleven songs are like a warm and soothing blanket. Guitarist and vocalist Jaire Pätari and band mates Antti (bass), Joni (backing vocals and guitar), and Jukka (drums) have gone back 40 years to mine both US and UK psych music and glue the various elements of acoustic psych pop, acid-folk, and hypnotic Krautrock grooves into a unique blend of pop psych and gothic psych. It is hard to pinpoint specific musical references, but there is some sense of the Amboy Dukes on a couple of songs, and “Diamonds and Emeralds” has a strong connection to The Doors’ “Wintertime Love.” The tenth track, which is the only instrumental on the disc, is a dissonant eerie tune with eastern influences that could have worked as background music for the original Star Trek TV series. The final song “Listen to the Moths” is the longest track on the disc, nine minutes, and probably the most diverse. It begins as a twilight acid-folk tune that after about three minutes takes you on flight of phantasy to the realm of faerie, where they leave you in a dreamlike state with subliminal voices. The song ends with an ebb and flow of sounds and effects akin to slow breathing. Reverberating Garden Number 7 is one of 2014's best releases and I highly recommend that you check it out.

Henry Schneider, Published 2014-06-29


I have to confess to having been completely unaware of either this band or its founder, so for me this CD has been a bit of a revelation. Based in Finland, the band consists of the multi musician Jaire Pätäri - vocals, electric and acoustic guitar, sitar, organ, piano, percussion, bass, recorder, tape delay feedbacks and sound effects, along with Joni - electric guitar, Antti – bass and Jukka - drums and percussion. Available in both vinyl and CD form, this review is of the latter version in a slip case with tracklist on the back.

The music is full on psyche of the highest order, a real blast back to the more creative elements of the 60s clearly inspired by the likes of Syd Barrett, Traffic, Strawberry alarm clock, and early Jefferson airplane. Whilst there are huge similarities to these greats it would be wrong to view Octopus Syng as being a 60s style tribute, rather they have taken that genre as a starting point from which they have introduced their own approach and character. In fact I would go as far as to say have moved it forward beyond where the others left off.

So to the music: ‘Avant garden’ starts the CD with a deliciously reverb drenched intro and deeply atmospheric vocals, this is an excellent choice to start the album with; ‘It's Not A Coincidence’ has exceedingly clever lyrical timing that is very slightly disjointed giving a wonderfully trippy effect; ‘In The Middle Of Nowhere’ is 2 ½ minutes worth of gentle dreamy melody; ‘Diamonds and emeralds’ is a perfect, joyful flowers and incense styled piece of ear candy; the track ‘Very strange trip’ is pretty much summed up by the title and is an excellent psychedelic track; ‘Cuckoo clock mystery’ is unsurprisingly based around the sounds of the aforementioned timepiece and is an outstandingly clever composition; side two starts with ‘You are every poem’ which is simplistically beautiful with lyrics to match; ‘Thought collector’ is a delightfully unashamed psych pop song with a mildly rocky pace; ‘Mirror of our memories’ is a deeply atmospheric track with a sound vaguely reminiscent of the Doors; ‘Reflections of time’ is lusciously deep, dark and overtly ominous it would work well as a film soundtrack; ‘Listen to the moths’ at just over 9 minutes is the longest track on the album, this track is gentle and melodic whilst having, at times, a slightly unsettling edge accentuated by the pronounced sliding of fingertips along the guitar strings during chord changes and in parts muted vocals.

The album rewards repeated playing as each listen exposes new layers of tantalisingly intricate elements. For me it is one of the most interesting albums that I have encountered so far this year and I would highly recommend it to anyone who enjoys good psychedelic music with an unashamedly 60s feel to it.

Steve Judd: http://www.terrascope.co.uk/Reviews/Reviews_July_14.htm

Mark Barton: The Sunday Experience

Just a word of warning to say that there will be plenty of Mega Dodo groove action in the coming weeks with a brace of 7 inch releases from Strange Turn and a split head to head pairing label old guards Mordecai smyth and icarus peel. In addition two albums are due from Mark and the Clouds (pencilled in for June schedules) and a dandy label debut full length from Octopus Syng (in May). Long on our watch list and admired for their appearances on the recent Fruits de Mer annual as well as the labels legendary ‘keep off the grass‘ covers set. Headed up by Jaire Patari, these Finnish psychedelicists came to be in 1999 releasing their debuting full length platter for the crucially hip Nasoni imprint. Easy to see why they found safe haven on FdM given their sound shares a linking affinity with permanent clear light and those impish dudes Cranium Pie and the Earthling Society. Pressed up on a limited clear vinyl gatefold sleeved version in an edition of 250 along with the usual CD and download variants , ‘reverberating garden number 7’ is a tapestry of kaleidoscopic delights served up as an 11 course cocktail. A curiously crooked ramble through the gardens of surreal English eccentricity, this set comes sumptuously seasoned in all manner of Barrett Floyd, Tomorrow (as on the mind fried 60’s carousels that swirl hazily about ‘diamonds and emeralds’) and July seasonings that blend woozy psych, kooky prog and acid pop into a mind expanding sonic trip. A recent recall would suggest a kinship for the retro fashioning with the likes of the much missed Murmurs of Irma and Giant Paw (as especially witnessed on the kaleidoscopic powder puff pop that is ‘its not a coincidence’ which on repeats visits fractures like XTC space cadets the Dukes of the Stratosfear being made over by a particularly freakish pop orientated Wire – the Dukes incidentally hover about playing tag with a chemically enhanced Move on the warping cool of ‘thought collector‘) whilst admirers of the old school peculiar of the Soft Hearted Scientists (the pastoral madrigals within ’in the middle of nowhere’ freefall delightfully into SHS weird space) might well be adoring of their uncanny want for changing gear, vibe and direction oft in the same track to border upon something approaching a mini hallucinogenic rock opera. Prime examples of the latter are the inclusion of the set parting ’listen with moths’ – first aired courtesy of that aforementioned FdM Annual split with Mark McDowell at the tail end of last year – what first appears you standard soft folk dinked psych flutterby sortie soon blossoms and flowers into a cosmedelic head trip. The wiring trip wired mindset of Syd comes into full focus on the delightfully fraying magicalia of ’cuckoo clock mystery’ which aside running hand in hand with Barrettt’s own ’bike’ with its clock working cuckoo motifs then finds itself gloriously draped and dappled in a vivid array of fairy kissed pastorals (think Ozrics meet Circulus) which at one point go all spectral and mystic for a brief Polyphonic excursion before returning wrapped up in dream dipped rainbow flurries. Somewhere else there’s the soft ghostly 60’s shimmer of the Doors ’crystal ships’ ruminating seductively throughout the shadow lined grooves of ’you are every poem’. for us though the sets best moments come back to back with the appearance of both ’mirror of our memories’ and ‘reflections of time’ – the former a darkly woven slice of macabre 60’s pop that appears to peer into the creative though troubled psych of Brian Jones while the latter is a nightmarish Victoriana freak circus fairground peppered by sinister chill tones and starkly traced with an astute Radiophonic Workshop like glassiness given it the feel of a bad trip mirage. Fried stuff.


Sunrise Ocean Bender

Helsinki’s Octopus Syng deliver a wonderfully delightful psychedelic album with Reverberating Garden No. 7. Heavily influenced by ’60s psych pop and rock, Octopus Syng wind all the threads together effortlessly with no sense of posturing taking Reverberating Garden No. 7 far from the retro tag into essentially a realm where psychedelic music really belongs: traditional. ‘Neo-classical’ if you you’re going to split hairs, or try to unravel it. Reverberating Garden No. 7 exists in that transitional area straddling the pixieish and the full-blown. Once you take in that poppy in all its glory, turn and start strolling out of the field, there’s a point where you realize—again—that that little bloom belongs to a much larger and extensively lush system. That turn in the curve is where Reverberating Garden No. 7 has the strongest roots, in fertile soil made up of folk, the sweet and sunny to the sinister, the earthly to the cosmic, the whimsical to the dramatic. You can reach down and go down a white rabbit hole or Lather up with You Are Every Poem, scoop early Floyd or Moody Blues sweep, jangley looseness … Sparser cuts like In The Middle Of Nowhere to the more expansive Listen To The Moths both share an uncanny sense of scope no matter the level of detail or frosting. It’s usually the kiss of death to say something is moderate, but Octopus Syng use moderation to full effect; it’s not too hot, it’s not too cold, it’s just right. Opener Avant Garden has enough filigree and digression to satisfy denser psychedelic hungers while never jettisoning the approachability Octopus Syng exude here. Fans of that golden-age twinkling baroqueness that’s all the rage again but find much of it empty and overly twee should find just the right amount of sustenance here, the ethereal given a proper dose of the corporeal. Getting through the first two cuts, Avant Garden and It’s Not A Coincidence, can feel like you’ve just gone through a whole album’s worth of prime spectrum. Founder Jaire Pätäri (guitar, vocals) has a firm grasp on the eccentricities and finer points that initially lit the lava lamp without burning up the core of his songs making Reverberating Garden No. 7 certainly tied to the past, but not so tightly that their orbit is pre-determined. Octopus Syng tend a marvelous—and universal—garden of earthly delights that tunes in to the reverberations of past blooms and harvests, transmitting and cultivating them forward with their own spin and distinct blend.



This Finnish band had a really impressive track on Fruits de Mer sublabel Regal Crabomophone's 2014 Annual, that left me wanting to hear more. Now there is this full length album from Octopus Syng, which definitely doesn't disappoint. Overall, their sound falls into the category of quirky, eccentric psych-pop. Sitar, retro organ, synth, and a recorder that sounds like a cuckoo clock are introduced at various points across the album, giving each track its own distinctive flavour. They also venture into other corners of the psychedelic world with Avant Garden, which is surreal psychedelia with proggy twists and turns, changing its mood from a dark, gothic atmosphere to a lighter, whimsical sound that recalls fairground or circus music. They also demonstrate their expertise within the psych-folk genre, with the delicate and atmospheric In the Middle of Nowhere, the wistful yet off-kilter You Are Every Poem, which combines aspects of psych-folk and psych-pop, and the bizarre, lopsided, addictively repetitive Listen to the Moths, which again diverges from straightforward psych-folk territory by incorporating jazz drumming, wild and intense psych-rock guitar, and experimental sound manipulation. A top quality album, very highly recommended.



I remember the first songs I heard from Octopus Syng- who formed in 1999 by guitarist and singer Jaire Patari (Joni guitar and b. vocals, Antti bass and Jukka drums, playing on this album ) - was the first release the Rainbow Coloured Mandala, which was released in 2000, a gentle psychedelic acid folk/pop mini cd album, where among other things there were two little gems , the Im a bee and there comes your siren. Then came two lps yet, the Beyond The Karmadelic Coldness, There's The Lovedelic Warmth (2004) and Birds Of Morning Are Never Late (2007, where things became more electric and so we arrived in 2014 for English label Mega Dodo to release their new album . In Reverberating Garden no. 7 Octopus Syng record some extremely inspirational songs where in a masterly manner unfurled their talent to filter brilliantly any influences (Syd Barrett, Jefferson Airplane, Tom Rapp, The Doors, Velvet Underground ...) with their unique and extraordinary talent! Otherworldly vocals, wonderful psychedelic, acid folk mainly compositions, as the much loving you are every poem, the fantastic avant garden, very strange trip, cuckoo clock mystery, listen to the moths and finally the mirror of our memory, a masterpiece trippin' musical creature, where each note is a short journey in unimaginable places of our minds! I think this album is the best that they have been recorded!



Formed in 1999 by Jaire Pätäri, Finland’s Octopus Syng has been releasing psychedelicious songs of the trippiest sort since their Nasoni Records debut in 2004. On their latest album, Reverberating Garden Number 7, the band are the quartet of Jaire on guitar and vocals, Joni on guitar and backing vocals, Antti on bass, and Jukka on drums. The album consists of 11 songs and about 45 minutes.

The promo sheet references Velvet Underground, The Doors, Jefferson Airplane, early Pink Floyd, The Beatles and Marc Bolan. Of those I’d say Syd era Floyd is one of the more overt influences, and well-crafted 60s UK Psych in general, though there are strong Folk influences as well. There are several compact songs in the 2-3 minute range that feature dreamy trippy acoustic driven Psych with spot on retro 60s production. And we’ve got bouncy, orchestral 60s Psych songs. Some of the tracks that take a couple more minutes to develop are among my favorites. Avant Garden starts off with shimmering Psych guitars, pulsating atmospherics, freaky effects, lulling melodies, and haunting vocals. Then the mood changes with a jazzy guitar lead before launching into a whimsically orchestrated chorus. It’s Prog-like in the way the music transitions through multiple themes. Ditto for Cuckoo Clock Mystery, which dances from the Beatles at their most lysergic, to searing sitar laced drone, jangly tra-la-la Pop-Psych, and more. Very Strange Trip is a flower-power Pop-Psych tune with an Eastern steeped vibe from the sitar. Reflections Of Time is a little different, being a dark and ominous instrumental that could be the soundtrack to a Psychedelic horror film. The melody is pleasant but at the same time threatening, with additional muscle provided by the fuzz guitar blasts. Wrapping up the set is the 9 minute Listen To The Moths, which originally appeared on the Regal Crabomophone 2014 Annual 7″. While I didn’t do a side-by-side compare, I think the album version might be a wee bit longer. It starts off as a gentle but rhythmic folky brand of 60s Psych. But after a few minutes the music blasts off into a heavier rocking but trippily angelic Psych tune, before coming in for a spaced out landing. I love the vocal harmonies which are gorgeously retro 60s. Jaire really stretches out on this one and we get some scrumptious guitar leads.

In summary, strong compositions and excellent production makes Reverberating Garden Number 7 a luscious experience and a delight for fans of 60s inspired Psychedelia.


New Underground Music

Octopus Syng is a band from Helsinki, Finland, which has existed since 1999 and was founded by singer solo guitarist Jaire Patari.

Along with Joni - lead guitar and vocals, Annti - bass and Jukka - drums, he forms the band, acting under the name Octopus Syng Alive and influenced by the psychedelic music of the late sixties and early seventies.

In 2000 Jaire, applied as a mans tie his debut single "Gandhi-Train to Dawn" / "Mystic Side Questions" on the label of Novgorod, in that same year, followed by the EP "Rainbow Coloured Mandala", which by the Universal Vibes label was released on MCD.

Came the 7 "vinyl EP" All Beings Are Beautiful "(Novgorod)," Beyond the Karma Delic Coldness, There's the Love Delic Warmth ", in 2004 on CD from Sound Hawk and both black vinyl and limited edition colored vinyl on LP by Nasoni was released in 2007 and published the limited edition colored vinyl LP "Birds of Morning Are Never Late" by Nasoni, which was the first to hear the entire band and then also played keyboards player singer Laura along.

Also published the song "If You Were A Flower" on a compilation album ("Crab Stock On Ic '), by Fruits de Mer Records was released and this also released the limited edition marble-colored split single with the song" Listen To The Moths "Octopus Syng on one side and "Girls Of Belvoir" Mark McDowell on the other side of the market in 2014.

Their new LP was released on the Mega Dodo Records label and contains 11 songs, including "Avant Garden" is the first song and I get to hear therein, in which the guitar sound is distorted. Delicious quiet psychedelic song (listen to this song via youtube link under the review)

The next song, "It's Not A Coincidence" is played a lot faster and I hear it, which is a great change of pace and influences from the 60s are clearly audible. Swinging a nice psychedelic song

Then follows "In The Middle Of Nowhere", an excellent quiet pop song that played with minimal supervision is followed by "Diamonds And Emeralds", a very excited uptempo song that encourages me to move along.

Then the band serves up a wonderful song for me again, entitled "Very Strange Touch" and sit herein folk and eastern influences, and I get the brilliant "Cuckoo Clock Mystery" to hear, in which the influence of the Beatles is good to hear, but also those of Syd Barrett.

In "You Are Every Poem" the band let me enjoy fantastic love song that played at a leisurely pace and is in "Thought Collector" I get again a great upbeat pop to hear song where I can sit. Impossibly still

"Mirror Of Memories" I find quite mysterious and slightly melancholy sound, but nevertheless it's a great song, and "Reflections of Time" I get hypnotic instrumental hear. Slightly obscure song

The last song of the album called "Listen To The Moths" begins quietly and hypnotic, but turns into a fantastic psychedelic prog rock song, which are, after changed again further turns into a psychedelic mysterious obscure piece of music, in a fairly slow pace is played.

"Reverberating Garden Number 7", filled with delicious psychedelic songs, is a fantastic LP, which I enjoyed from beginning to end, so an outright winner for fans of psychedelic music.


Octopus Syng

Reverberating Garden Number 7

Wild Thing Editor's pick

The new album Finland Prog/Psych Rockers Octopus Syng is indeed a "Very Strange Trip", reveals a slightly orientalizing song with the same title contains. Shorter compositions are made as miniatures - masterpieces of unique art pieces are sequenced longer mysteries evolution and structure, dark atmospheres mixed with softly reports in colorful psychedelic lights, folky, ethnic, kraut, prog and psychedelic materials combined with originality and the whole edifice is an unexpected, highly addictive trip who can stun up to get the meaning, but if not get to leave ... As you enter the crazy world of Syd Barrett , only here the musicians seem to have Incredibly 'four hundred "and having gone through complex paths are settled in a secret spot nirvana, so to have heard the album by Gandalf (pp. Americans to avoid misunderstandings) about a hundred times and have laminated eglovistei voluntarily to the vibe. Magic! The Reverberating Garden # 7 is indeed a curious "garden" rather than containing fruit for mass consumption, but if you visit them, you can remember for many years. - Laertis


JJ Koczan: The Obelisk

Probably the most clearly Beatlesian moment on Octopus Syng’s Reverberating Garden Number 7 is a slight “Hey Bulldog”-style cadence on side A’s “Very Strange Trip,” and that in itself is an accomplishment (one I’m apparently not the first to observe). The Helsinki four-piece in their 15th year are led by guitarist/vocalist Jaire Pätäri and emit an oozing, serene psychedelia, peaceful and lysergic in late ‘60s exploratory fashion. Reverberating Garden Number 7 (on Mega Dodo Records) echoes out vibe to spare and is deceptively lush while keeping a humble vibe thanks in no small part to Pätäri’s restrained vocal approach and curios like “Cuckoo Clock Mystery,” which boasts an actual cuckoo clock to add bounce to its arrangement. Nine-minute closer “Listen to the Moths” is the single biggest surprise, and an album unto itself, but its unfolding is only the capstone on a collection of psychedelic wonder sincere in its stylistic intent and execution. It fills the ears like warm air in the lungs.


House Of Prog

Finnish band OCTOPUS SYNG have been around since the late 1990’s, with Jaire Pätäri the main creator of the music in the band from what I understand after googling the band a bit. So far they have released three full length studio productions to their name. “Reverberating Garden No. 7″ is the most recent of these, and was released through fledgling UK label Mega Dodo Records in the spring of 2014.

I’ll have to admit that psychedelic music probably isn’t among the types of music I have a natural inborn high interest in. The splendid releases from UK label Fruits de Mer Records have certainly opened my mind to the joys of this kind of music, receiving their promo releases for a few years now have given me number of delightful experiences with this specific style of music. But I’m not amongst those that have a natural disposition to like music merely because it is psychedelic in form, style or nature, and I’m probably a bit more critical about such productions than the main fan-base of such ventures.

In this case this leads to what I suspect is a much more critical view of this production than many others have given it or will give it in the future. Because the overall mood of this album is one that will satisfy those with a strong affection for vintage psychedelic music rather instantly I suspect. The production is a closed in one, verging on lo-fi, and comes across as true, natural and organic. My experience with psychedelic music enthusiasts is that those assets are appreciated on a general basis, albums that sounds like they were recorded sometime back in the 1960’s. Constant use of resonating instrument effects is a key element, this is an aptly named album in that context, and we have plenty of folk-tinged sequences bordering the pastoral to along with as well as moments that are almost bleeding pure psychedelia. A track like Very Strange Trip as good an example of that as anything. Sleepy, almost spoken like lead vocals with a naive touch and chorus sections that the hippie era written all over them other details that should please dedicated psychedelic music aficionados no end, especially those with a specific affection for the folkier oriented parts of it. That a few textured effects that gave me associations to post rock was thrown in on a couple of occasions a charming addition to this sound, but also one given a more subdued role that doesn’t break the mood or the mould of this album. Vintage organ displays and sitar are other elements that will be noted as positive by the core audience for this production I assume.

Personally I find the compositions themselves to be somewhat anonymous however. The sound, mood and atmosphere is just about perfect, apart from the overly sharp esse’s and some equally sharp cymbals that stabbed into my eardrum from time to time, but the songs themselves just never managed to grab my attention. Until the very end of this album. The darker, almost sickly sounding Mirror of Our Memories and the almost Gothic nature of the following Reflections of Our Time did catch and maintain my attention. They do stand out from the rest of the songs due to the darker, gloomier and almost menacing atmospheres, those fond of the more naive hippie sound may not appreciate these excursions, that might be more appropriate as soundtracks for walks in the Finnish forests at night time with thick sheets of fog covering the moon and the stars.

Still, the nine minute long creation that concludes this album is in a class of it’s own. Listen to the Moths is the name of this elegant, light toned and mystical affair, opening as a sparse folk-oriented affair with frail resonating acoustic guitars and a darker sleepy spoken like lead vocal, followed by a harder edged and more vibrant section and then concludes with soft repeated vocals, soaring psychedelic textures and sparse drum details. The opening two thirds brilliant and magical, the final third not as tantalizing for me personally but one I would guess that fans of acid folk in particular should appreciate highly.

At the end of the day my personal experience of this production is that it is rather uneven, with the final third of this album as my personal highlights. When that is said, I can easily understand if many others will be drawn to this album like the proverbial moth to the flame. Those with a strong affection for psychedelic rock from the late 1960’s, and in particular those who treasure and love the moods and atmospheres of that kind of music just as much as they love the music itself. I would guess that those people, presumably many of which would describe themselves as free spirits, will be captivated by this album from the get go. As far as specifying a key audience beyond that description, I’d suggest that fans of Syd Barrett might want to give this one a go.

My rating: 64/100