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Spruce – Ubikvad Omniheita

Free Music | Darkpsy, Experimental, Forest | August 31, 2013 | Released by  | Posted by Søren Nordström

Spruce – Ubikvad Omniheita
01 - Wahdat Al-Wujud (157 BPM)
02 - Tzimtzum Samioza (148 BPM)
03 - Das Herz Dialektik (135 BPM)
04 - Fù Shāng De Fēi Dì (157 BPM)
05 - Sensory Mirage (179 BPM)
06 - Advaita Gita (156 BPM)
07 - Rgyud (147 BPM)
08 - Ya-O-Yorozu No Kami (154 BPM)
09 - Yggdrassil Ormurholur (148 BPM)
10 - Matryoshka Fraktali (180 BPM)
11 - M (155 BPM)
12 - La Nausée (158 BPM)
13 - Yarindin (145 BPM)
14 - Comhbhailigh Éigríoch (150 BPM)

The second installment, and a much more coherent story than Origin; Ubikvad Omniheita is an obscure journey through physical and mental cosmos and chaos. An intrinsically idiosyncratic attempt at an ubiquitous tribute to everything. Juggling inherently biased conceptualizations of a random self-sampling nervous system of potential existence inevitably manifested; imbedded somewhere in the veil of polarities; distinguishing holism and merging pluralities; between wu wei and specific ambition; extrapolating nuances in yet another interpolation of infinity; nihilizing pantheism and pantheizing nihilism, et cetera. JellyFish Frequency Recordings and Spruce come together again – this time to bring awareness and alleviation to the people of Tibet. Thanks to Free Tibet, every considerate donation will help aiding this ancient, peaceful culture; regardless of how insignificant each individual donation might seem. Mastered by Jonny Cakes (SooSpicey) of Anomalistic Studios with artwork by Spruce.

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Released under a Creative Commons licence for noncommercial usage.

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1 Star2 Stars3 Stars4 Stars5 Stars Rated 91.69% with 89 votes

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Spruce – Bel Vys Osma


  • FatKidWitAJetPak says:

    Through the distant fields of the universe, unknown spectrums of ever-increasing intensity and roaring chaos coexist with a single thought, an idea containing different perspectives across multiple dimensions. This vision contains a soundscape of strange, mystic terrors crashing into stars, engulfing matter, and erupting into something our world has never seen before. Some call it insanity. Others call it brilliance. Whatever the case, its unique, a legend beckoning everything and everyone to fall into its welcoming grasp. This is Ubikvad Omniheita.

    Ubikvad Omniheita is a very advanced, Psytrance album that takes any listener on an epic, three hour journey through unconventional and extremley original sounds and beat patterns. There is simply no way anyone can expect what comes next. Using over two hundred different electronically programmed instruments, psychedelic artist Spruce takes us on an absolutely engulfing experience through his mind. Distant melodies, chitter chatter of crowds, and in-your-face euphoric and heavy bass lines are scattered amongst the perfectly pieced together tracks, all put together into one brilliant masterpiece.

    In David Falao Gjølstad’s last album, “Origin,” we were introduced to a new, very strange style. People compared it to the works of Psychovsky, but noticed the music developed into something completely different. People loved it, earning the album a 95% rating on Ektoplazm, a critically announced psychedelic community offering hundreds of different albums spanning across 20+ psychedelic genres in the current eastern electronic music movement. Even though his previous release was awe-inspiring to producers everywhere, he somehow managed to create, yet again, something even better.

    Brain screwing layers of interesting percussion soundscape buildups, intense movements of growing and developing synths mixed with beautifully composed pads, voice samples of strange creatures chatting amongst each other in the distance, quirky lows and highs shooting off into every direction against a wicked drum evolution, and enveloping communities of highly mastered and thought out art are splattered onto a wonderfully done canvas, crafting together the very passions expressed by Spruce. Tribal, dark, vicious, strange, beautiful, harmonic, chaotic, progressive, unexpected, heavy, light, engulfing, relaxing, atmospheric, exotic, addictive, and epic are only a few words that come to mind when I take a listen to this incredible collection of professional done journeys.

    It is impossible for me to talk about every song in here. There are multiple intros in each song, building up different vibes and moods that can either collapse randomly and move onto something else or melodically adjust into an organized structure. Then, all of a sudden, sound without definition erupts from the darkness and obliterates your prediction on what you think is going to happen. You will be surprised and delighted at every turn. Even as a sound programmer, there are times when I have no idea what the hell is going on… and I fucking love it. If you want to start off with a sample, listen to the track “Rgyud” (11:34). It has a bunch of stuff in it. Orchestration, ambience, heavy dark bass, light and beautiful pads, exotic arps and oscillations, and much, much more is presented in there. I mean my God, I can not understand how anyone can come up with this. It is truly is ingenious. The next track, “Ya-O-Yorozu No Kame” has a more recognizable soundset, nesting in a steady danceable pace. It makes my body move and my head think. Even with a more conventional progression, this track still offers an undefined genre. Is it Trance? Is it Darkpsy? Is it Bluegrass? I don’t know. All I know is that this guy has made some really fantastic tunes. As a DJ, I am going to enjoy giving the crowd a surprise with this one. Oh yeah, and the outros and transitions your going to hear from each track will blow you away.

    It takes a lot of time and effort to really appreciate this album. There is so much to explore. So much to understand. So much to experience. I can not fully express just how incredible I feel this album is. I am taken on a roller coaster of emotions, feeling happy, scared, sad, and eager all at the same time. All in all, its feels amazing. There is no way I can really express everything in this album. You have to listen to it for your self. An ingenious composition awaits, go out there and download it. I recommend listening to one song a time, taking it all in and breathing a bit before moving on. This is not for the faint hearted. Listen responsibly, the frequencies in the FLAC format are everywhere, and you can hurt your ears if you listen to it all in one sitting. Get ready to hear things you have never heard before. Your brain may not know how to take it. Enjoy, and feel the music.

  • FatKidWitAJetPak says:


  • Eccentric and with great musicality! Thank you for providing this. This is a great learning experience.

  • OuterSpruce says:

    Thanks Ektoplazm for featuring this. :)
    And thanks for the warm feedback, especially your review, JetPack-kid :>

  • panopticonopolis says:

    This is a lovely release. I haven’t heard such careful sound design in a really, really long time. There are parts where I’m reminded of Posford’s work on the Kurzweil. Some of the passages are exemplary and it’s great to see a producer reach for a new concept and not just new crazy wigged-out sounds.

    That said, I’m a bit mystified as to how to make this stuff work on the dancefloor. “Origin” is much more accessible in that regard. In a sense, this is to psytrance what King Crimson is to 70s rock. So, I would love to hear any livesets done by Spruce or anyone else.

  • IkVomSticK says:

    So goddam nice…!
    Thank u so much for this brilliant release – what an amazing storytelling in music!

  • The best way to make this work on the dance floor is to pick out “pieces” of each song. Spruces style is largley diverse and it is easy to put any sound together and make it sound magical. I love mixing his works with CinderVOMIT and other Psycore.

  • Deejoker says:

    the first one killa, this one RULESSSS, VERY SINGULAR….AWESOME

  • Flux says:

    Are you for real ?
    You call this psychedelic ?
    To manny brakes , I think you crated new style this is Regress .
    Greetz to all that use music to stymulate their brain.
    You dont need one if you smoke this joint.

  • Evan says:

    Well, once again, I can’t top Nick’s excellently written review, so I’ll just say that I agree with it. Also, as one who owns four King Crimson CDs, I can testify that the analogy to them and 70s rock is an apt one. Just as Spruce was influenced by some great artists and went beyond them, I hope that he will in turn influence new artists and who knows what marvels we’ll hear in coming years!
    By the way, great use of Rite of Spring in track 3.

  • OuterSpruce says:

    Thanks again for all the warm words. :)

    Flux: I don’t call it anything, I have no idea what genre it is.. :P
    I would probably but it under the vague term “experimental” if I were Ektoplazm, but I really don’t think it matters.
    You could call it “psychedelic quasi-core shoegaze expierimental electronic ambient jazz sound amalgam” or whatever suits your formulation-preference :P

    And yeah, it’s not much of live material.. Atleast compared to the usual stompy awesomeness of contemporary darkpsy.. So it’s a bit different aesthetic for a bit different setting/experience.. It’s more of a private experiment for the psychonaut at home, or something..
    But, you can make a liveset work if you just extract the vaguely stompy parts :)

  • Bananiq says:

    Aliens’ dialogues. This album reminds me Kadasarva – Steamagination, so who enjoyed this, will enjoy Spruce. I did. What a trip! It is like Steve Roach on mushrooms. It is like extremely analog-sounding. Thank you

  • Nymphomania says:

    Hey Spruce, if you’re going to sample Opeth’s Morningrise so blatantly in the final track, you better credit it. As it is, we could have some kid saying “I love that ambient part in the Spruce track with the guitars” as if you played the guitars.

    I have to say I loved the album a lot until I heard that plagiarized moment (you copied a 1 min+ piece of music verbatim) and at that time you lost quite a bit of my respect. I thought to myself, how many of the rest of the tracks on this album had such long samples in them?

  • OuterSpruce says:

    I don’t care about property. Sound is sound. It can’t belong. Tell Opeth to sue me. It’s a great passage that fitted perfectly. All that matters to me is the end-experience, no matter how one gets there. I don’t seek any personal prestige, recognition or credibility.. Creating music should be about jamming with the universe; any existing sound can be considered available, or else you would potentially limit the final music.
    Of course most is synthesized, but if I hear that something which would complement any given part, then of course I crochet that in. I’m just a messenger telling some random story of available stories. If you don’t like it, that’s fine, I apologize for violating your juridical criteria.

  • OuterSpruce says:

    Music is a dance of invention and convention.. The new and the old.. The familiar and the unexplored. It’s a small part, that claims no autonomous presence of the album.. I have my own connotations and asociations with that particular sequence, so it felt fitting for what I was trying to do there. It’s an outro-track that’s extra-amalgamationish (?) by nature. Sometimes, one wants to create a nostalgic response; a play on memory. And then you need to install reference-points. Not everyone will get the reference of course, but some will, and there are many other memory-triggers like that around.. But, of course the most important aspect isn’t to simply rephrase old stories, (though that’s also a narrative instrument) but to create entirely new ones. New individual sounds, new rooms and atmospheres, new melodies and harmonies.. But also new combinations, new contexts.. Though the most important bit is composing the best possible story regardless of references, which is a narrative element that can be implemented later in the creative process. If something sounds better than how it would sound synthesized, I use that. Usually human sounds; speech, moans, grunts, screams etc have a much stronger effect if they are actual recordings of actual humans, than synthesized versions of said sounds. Although synthetic emulation of specific analog sounds has its place aswell.. Any sound must be considered. I can only rely on my ears to hear where it’s going.
    But for this specific sample, the idea was mostly referential. An idiosyncratic memory-nugget of nostalgia.
    I do however agree that crediting is probably a good idea, if someone would choose to feel offended. I’m just assuming people don’t really care that much about appearances and credit.

  • OuterSpruce says:

    I’m sorry, I should have phrased myself better in my first comment to Nymphomania..
    I mean, in an ideal world, there would be need for property.. But humans are still individualistic and territorial. So I should apologize for my seemingly callous dismissal of civilization and the necessity of intellectual property in this transition-phase from old-territorial to new-virtual eras we find ourselves in.

    I’m sorry for neglecting to acknowledge inferred homo sapiens’ Mikael Åkerfeldt, Peter Lindberg, Anders Nordin and Johan DeFarfalla of Opeth(®), Candlelight Records(®), Century Media Records(®), and Dan Swanö, for using PCM-encoded audio of their property, without their knowledge. Opeth(®), Candlelight Records(®), Century Media Records(®), Roadrunner Records(®) and Dan Swanö have of course legal basis for contacting Ektoplazm and/or JellyFish Recordings, and initiate deletion of this url, relates files, and any identical and/or similar versions of files and metadata of interest, should they decide it as intellectual trespassing.

    Any potential future releases by Spruce, and/or any potential pseudonyms of inferred Homo sapiens abies, will contain ample creditation of any performances, recordings, and/or otherwise any audio and/or audio-translatable code not recorded or synthesized by said conifer/mammal itself, if any of such audio is featured.

  • Nymphomania says:

    Hey man I don’t give a shit about copyright, I just care about people’s previous expressions being kept intact and correctly represented. That album was a huge part of my life and for someone to assume a part of it was your music would seem innately wrong to me, even though I also like your music.

    As for your calling the memory of “morningrise” to mind with your track, I think it was an inappropriate / heavy handed use of my nostalgia for said album that functioned to pull me OUT of the journey you created. Just my two cents.

    Your album as a whole is very nearly a masterpiece but perhaps this ‘collage’ approach to music in general forms too incoherent a narrative for me. Your tracks are very disjointed / meandering… though in a manner that is quite psychedelic at times.

  • OuterSpruce says:

    I appreciate your feedback. In, retrospect, I feel pretty embarassed for neglecting to credit them. Also Dark Hall in the first track.

    Hmm, yeah. It’s very, very subjective how nostalgia works, maybe a bit idiosyncratic to work with consistently. And I guess it could be breaking the fourth wall too abruptly, although that is sort of the intention. I’m just not entirely sure how to implement that narrative tool yet.. Still experimenting. :)

    There’s tons of idiosyncratic nuggets in my music, so it probably sounds a bit abstruse. But that is sort of the intention again. It is an attempt at mirroring the inherently subjective “psychedelic experience”, which, as McKenna once said:,”It’s the most idiosyncratic experience possible.”
    So I’m not entirely sure where I’m going.. Trying to balance between:
    the intrinsic idiosyncracy of being an autonomous entity,
    the collective, social/genetic reference points we, autonomous enities, share,
    and the universalness of existence overall. Though that just sounds incredibly pretentious. :P

    And I agree, my tracks are a bit arbitrarily arranged.. It’s been one of my main focuses for improvement for my current project; establishing more defined, coherent structure; although not completely dismissing various forms of surprise as a narrative tool.

    As for using audio collageing as a tool, I realize it can potentially worsen the arbitrariness, but I won’t completely abandon such an incredibly powerful tool either, and rather think it through alot more; really contemplating why a given sound would fit where, and what narrative function it has.

    To be honest: I’m pretty displeased with Ubikvad. It’s as mentioned, too arbitrary, and I rushed to release it way before I should. But I’m still testing and learning. :)

  • OuterSpruce says:

    And I agree; it’s wrong of me to assume I know how Opeth should sound, better than Opeth. But it wasn’t intended to improve upon Opeth, but to create something weird and new with old pieces. But yeah, the sample was too prominent for that part. It wasn’t just bad manners, it was also poorly implemented.

  • moondoggy says:

    this album is by far one of the most creative, mindcannon albums ever composed. amazing work!!

  • AXIAL AGE says:



  • Minnemooseus says:

    Nobody has commented on this, but I get very odd results when I download the MP3 version.

    The total download size is pushing 700 MB, which one would think means this is a huge album.

    But all the 320 MP3 files are almost twice the size that would expect for pieces of the given times. About the size you would expect for the FLAC versions.

    These oversized Mp3’s really cause my computer to struggle, and it does normally handle very large MP3 files just fine. Eventually I can get a file to play with Windows Media Player, and it then will play OK.

    I’ve taken the first tune, and reprocessed/reconverted it to another 320 MP3, which comes out to be the expected size.

    Anyone know what’s going on here?

    Or do I need to report this as a “broken” download?

    BTW – Absolutely love the other two Spruce efforts, and I don’t give out gratuitous compliments.

  • OuterSpruce says:

    Hey man, thanks for your kind words. :)

    I can sadly not provide any answers regarding the .mp3s, as Ektoplazm handles all the conversion. Although they’re quite busy, they will probably find your broken download report eventually. :)
    In the meantime, I would recommend .flac or wav. But, if size really is an issue, you can for instance download the .wav and then manually convert to .mp3.

  • Basilisk says:

    I went back and checked out the packages for this release and both the MP3 and FLAC versions had some problems with them. They have since been repackaged and should be good now. Sorry for any confusion :)

  • fly says:

    i love you david falao . moved me so bad.i,ve listened to all your tracks and i just wanna say how dont people asses the quality of your work …every one who knows just a little about music cant reject that MRU is singular and theres no similar album such like that . i call your work a “extreme electronic art” .hope that every one dl your work and relise the defrence between these tracks and the others…good for you

  • mehdi says:

    Vahdat al vujud

    What is your aim of naming track 11 ???

  • mehdi says:

    I love this track 12-LA nausee
    He changes the rhythm of music frequently first 14/4 then 16/4 and finally 2/4

  • Argai says:

    When I Heard The First Track I Just Said: OMG … Where Are You Thanking Us ???
    In The World Of Mystery And Lost People Far Away In The Desert ….

  • FatKidWitAJetPak says:

    This is still my favorite, psychedelic album ever released, right up there with Pink Floyd discography. What a masterpiece.

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