Covid-19 update

Monorail Music is continuing to follow Scottish Government advice with regard to Covid-19. The shop is now open 11-6 Monday to Saturday and we will be reopening on Sundays from August 30th, 11-6. Admittance to the shop is via Osborne Street. Our online service is operating as normal.

Espers' 2004 self-titled LP and its follow-up, The Weed Tree, back in print

Espers’ self-titled first release appeared in 2004, heralding an era in which
there was a perception of back-to-the-roots in the underground; kids
making new music that spoke strongly of folk traditions and psychedelia, in
the process setting themselves apart from latter-day sounds and
approaches. Espers didn’t shy away from this image, projecting a collective
air, almost like a rural outpost, out of time and place in the urban environs
of Philadelphia. The staid harmonies of Meg Baird and Greg Weeks, the 6-
and 12-string guitars and percussion of Brooke Sietinsons, the full-bodied
arrangements rife with traditional and classical details and the regular
intervention of acid-toned guitar leads formed, along with the mystic and
melancholy cast to their songwriting, a galvanizing identity for them among
other like-minded music players of the day.

The second Espers album, ‘The Weed Tree’, was released in 2005. It was a
nearly inevitable endeavour for the group, made almost entirely of cover
material but the traditional folk songs - ‘Rosemary Lane’ and ‘Black Is the
Color’ - were paired with songs by Nico, Michael Hurley and even Blue
Oyster Cult, making for an oblique run through eclectic aspects of the past
that succeeded due to Espers’ thorough re-imagining of the material in their
own image. The addition of current members Helen Espvall on cello and
Otto Hauser on drums and percussion upped the alchemy of the band to its
most potent, making music that drew from tradition but making it new at
the same time.
Espers, existing in between places, were a part of a flow of ideation that has
as much to do with revelations from the 70s or 60s - with all the decades of
the last century, really - as it does with the current expressions in favour of
selfhood and safety that are struggled over today. Their music has retained
a mysterious, unknowable vitality that, in the name of their original
intention, continues to express Espers’ individualism, optimism and deeply
empathetic soul.
‘II’ and ‘III’ continued the journey through 2009, after which Espers quietly
dispersed. Since then, ‘Espers’ and ‘The Weed Tree’ went out of print and
have stayed away for some years now. New vinyl and CD editions will surely
be welcomed by the members of the burgeoning listening community that
continues to evolve in the spirit and image of the communities that
preceded them. And the circle remains unbroken.