Having returned with their announcement of their new album previously, fans at long last can hear the first sample of what to expect on the up-coming Ozric Tentacles release ‘Lotus Unfolding’. 

Today the band have made available a beautiful visualiser that takes us inside the world of ‘Lotus Unfolding’. Created by Matthew Vickerstaff ( Facebook / Instagram ), the video brings the psychedelic album art to life as we’re transported into the wormhole of the magical realm of OzricTentacles sonic creations. 

Musically the track brings signature elements of the band’s sound to the forefront. Opening with the ethereal chimes and flutes as we’re slowly transported into the sonic oasis of Lotus Unfolding, we’re treated to beautiful acoustic passages before electronics open up for a cathartic guitar solo bringing the song to a musical crescendo before slowly returning back to the realms of consciousness as the song dissipates. Put simply, it’s a trip! 

The album was recorded, written and produced in their own Blue Bubble studio in Fife during 2022 – 2023 by Ed Wynne with a little sonic help from Silas. Mastered by Adam Goodlet and illustrated with some nicely detailed ethereal artwork by Steve McKeown and Sally Clark.

Ozric Tentacles’ aural synapses buzz throughout the album to channel the band’s limitless creativity, making Lotus Unfolding the perfect conduit of the spiritual and the physical. It’s an essential addition to the band’s catalogue.   

Lotus Unfolding is another sonically illustrated excursion through the musical realms the band have explored in their latest chapter. Album opener ‘Storm In A Teacup’ kicks the album off in spectacular style traversing the realms of time and space with flair and virtuosic poise. It’s followed by the groove driven ‘Deep Blue Shade’, whose melodies are vividly brought to life by trademark Ed Wynne exquisite guitar playing. This is swiftly accompanied by the serene title track – as close to a musical yoga session at the centre of the hippocampus you’ll ever experience. 

Lotus Unfolding line up consists of Ed Wynne (Guitars, Synth and Bass) and Silas Wynne (Modular Synth and Keyboards) . Alongside Ed and Silas is Brandi Wynne (bass), Saskia Maxwell (Flute), Tim Wallander (Drums) and Paul Hankin (Percussion). 

Lotus Unfolding will be available on CD Digipak, Limited Marble LP with limited die cut sleeve, Blue LP also with limited die cut sleeve, Black LP and available digitally.

Preorder HERE https://ozrictentacles.lnk.to/Lotus_Unfolding

Coming up shortly, Ozric Tentacles will be bringing their signature brand of tripped out instrumental Rock to the masses alongside label mates Gong in November for an extensive UK tour that will pick back up in March of 2024, suitably titled ‘The Last Blast Tour’. 

Pick up tickets here: https://ozrics.com/live-shows/


17th  November – Oxford, O2 Academy2

18th  November – London, O2 Forum with The Crazy World of Arthur Brown

19th  November – Manchester, O2 Ritz

20th  November – Sheffield, O2 Academy2

21st  November – Colchester, Arts Centre

23rd  November – Northampton, Roadmenders

24th  November – Bristol, O2 Academy

25th  November – Gloucester, Guildhall

26th  November – Birmingham, O2 Academy2

28th  November – Brighton, Chalk

29th  November – Norwich, Epic Studios

30th  November – Bournemouth, O2 Academy

1st  December – From, Cheese & Grain

2nd  December – Liverpool, O2 Academy


7th March – Exeter, The Phoenix

8th March – Falmouth, Princess Pavilion

9th March – Lyme Regis, Marine Theatre

10th March – Cardiff, The Globe

11th March – Swansea, Patti Pavilion

13th March – Southampton, The 1865

14th March – Margate, Dreamland

15th March – Hull, The Welly

16th March – Nottingham, Rescue Rooms

17th March – Stockton-on-Tees, Georgian Theatre

18th March – Lincoln, Engine Shed

20th March – Leeds, Brudenell Social Club

21st March – Newcastle, University

22nd March – Glasgow, St. Luke’s

23rd March – Edinburgh, Summerhall

About Ozric Tentacles

One of the most influential bands to emerge from the UK’s festival scene, Ozric Tentacles formed during the solstice at Stonehenge Free Fesetival 1983, going on to become psychedelic staples at Glastonbury and other festivals. The creative vision of multi-instrumentalist Ed Wynne, the Ozrics’ uniquely trippy soundscapes connect fans of progressive rock, psychedelia and dance music culture. 

Review – Agusa s/t by James R. Turner

Some of my favourite albums are ‘Full House’ by Fairport Convention, ‘Ten Man Mop, Or Mr. Reservoir Butler Rides Again’ by Steeleye Span, ‘Morris On’, ‘No Roses’ by Shirley Collins and the Albion Country Band and ‘The Bones of All Men’ by Richard Thompson, Phillip Pickett and The Fairport Rhythm Section.

See it’s most definitely not all about the prog, and why do these albums draw me in? It’s because they straddle a wonderfully eccentric line, they walk the tightrope between the traditional music of different era’s and the great big electric beastie that is rock music, taking tunes that would normally be played acoustically and amplifying them up, and let’s face it some of the music is pretty far out there before you start adding electric guitars and drums and bass.

This is where Agusa come in, another album Lord Martin of Progradar Towers reckoned would be right up my alley, over it came, and me, never having even heard of the band before, thought you know what, let’s have a listen and see what I reckon.

If you want a quintet of musically talented Swedes jamming together, mixing early Pink Floyd, traditional music and some highly complex and layered instrumental music, with the flute sound reminiscent of 70’s Tull filtering through it, then my friends you are in the right place.

Formed back in 2013 by Mikael Odesjo (guitar) and Tobias Petterson (bass) the band has grown organically to include Jonas Berge on keyboards, Tim Wallander on drums and percussion and Jenny Puertas on flute.

These five tracks here are a heady psychedelic musical brew as on tracks like Sorgenfri (at 5 minutes the shortest track on here) the duetting between Puertas flute, Berge’s amazing Hammond sound and the guitar of Odesjo sound like a collision between late 60’s Deep Purple and late 60’s Tull, with an absolute driving beat powered by Wallander and Petterson, the momentum builds and builds leaving you with a great big daft grin on your face, all built up round tunes and melodies that sound vaguely traditional in feel.

This is Agusa’s strength; all the tunes and melodies on this album are imminently hummable and are performed with the right balance of subtlety and power, and there is so much going here that you hear new bits every time you listen.

I am, and always will be, a sucker for mixing traditional sounds with electrical rock bands (hence my love of orchestral rock like ELO, Deep Purple’s Concerto for Group and Orchestra, Mike Oldfield amongst many others) and the way that the flute is the substitute for the voice here is sublime.

Den Förtrollade skogen (the enchanted forest – according to translate) is all Elizabethan in intent with the flute and sounds that push the flute to the fore, whilst Wallander and Petterson get to show their chops off with some incredibly funky breaks, and another amazing solo from Berge on keyboards.

This album is chock full of wonderful musical moments like this, and put an absolute smile on the face.

With two tracks here (Landet Längesen & Bortom hemom) clocking in at over 10 minutes long, these are where the band really stretch out and pull all their influences together, and it is a testament to their skill and power that this album is an absolute delight to listen to.

Jenny Puertas on the flute is a star throughout, the sound weaving and soaring throughout, pushing the tunes on where needed, pulling back when it’s time for Jonas Berge to play some of his lovely wonderfully jazzy blues riffs on his delightfully retro Hammond sound. There is no finer sound than a Hammond in full flow, and there is plenty to delight fans of that sound here, there’s a touch of the Jon Lords or Graham Bonds about the sound, and it’s that wonderful melting pot of blues, rock, jazz and everything else that adds so much to this album, and pushes it out of traditional genre boundaries.

The soaring riffs and singing melodies of Mikael Odesjo’s guitar beautifully compliments the keyboard and flute, and whilst he has his moments it’s interesting to hear how he pulls back to let the flute fly. Of course the back line of Wallander and Petterson are the rocks on which this mighty castle of sound can be built, and the intuition and skill all 5 bring to the table is a masterclass in musical collaboration.

This is an absolute must for anyone who likes the instrumental sound of early Pink Floyd, the playfulness and intricacy of 70’s folk rock and intelligent well-made instrumental music.

It appears that this is Agusa’s third album – looks like I’ve got a back catalogue to go visiting…

Released 13th October 2017

Buy ‘Agusa’ from bandcamp