= October 2016 =  
Glenn Phillips
Green Pajamas
Amy Hollinrake
Plankton - V/A
Michael Tanner & Alison Cotton
Broken DC
Taman Shud
Annelies Monsere
Flowers Must Die
Stone Breath
Icarus Peel
Baby Woodrose


(LP from Shagrat records)

Well, this is a treat! Recorded live at the Finsbury Rainbow in November 1977, Glenn Phillips (who hopefully will need no introduction to regular readers, given how I’ve been singing his praises as one of the finest guitarists on the planet if not beyond pretty much continually since 1992) runs through a triptych of familiar numbers from ‘Lost at Sea’ (including the utterly brilliant ‘Dogs’) plus instrumentals from the then newly released ‘Swim in the Wind’, which the band were over here to promote via a fifteen date tour in support of fellow Virgin Records recording act and hippie icon sans pareil Steve Hillage. The Rainbow show was the culmination of that tour and the band here are as tight as a printers’ chase, all the more surprising given that bassist Bill Rea, drummer Doug Landsberg and keyboard player Dave Wilson had barely met one another prior to the gigs.

The second side is a real joy, especially for long-time fans, featuring as it does an otherwise unrecorded song entitled ‘Drive On’, in addition to the excellent ‘Phoebe’. Another outstanding feature of the album is Andy Childs’ splendid sleeve notes, which as all the best sleeve notes do tend to not only accompany but embellish the fine, fine music that lives within. As Andy so eloquently puts it, “There is joy, sadness, pathos, frustration, rage and a range of emotions in these grooves that only exceptional music can evoke…”

I’d give an awful lot to see Glenn Phillips over on these shores again. Hopefully the interest generated in this fabulous collection will make it financially worthwhile, since it goes without saying that artistically and creatively it’s a must! (Phil McMullen)



(CD from Green Monkey Records)

As fate would have it, I’m sat here on Jeff Kelly’s birthday, celebrating with a cold, sudsy concoction and the latest from his band of merry minstrels. The cheat sheet from Green Monkey Records, off-and-on home to Kelly & Co. throughout their 30+ years tabulates this as their 32nd album. You’ll be forgiven (just barely) if you missed a dozen or so, as I count nearly 20 different labels, including Kelly’s own St Brigid imprint that have issued their music. Green Pajamas albums are always an adventure, and despite hints from the title of their previous release from four years ago (Death By Misadventure), the band have not retired to cuddly cotton slippers and fuzzy nighties. The personnel is the rub, with occasional in-name-only albums predominantly showcasing the work of guitarist/songwriter Jeff Kelly. This one’s a little harder to get a handle on, as there appear to be more non-Pajamas than actual PJs on this album, with keyboardist Eric Lichter apparently taking a rest and bassist Joe Ross consigned to a tip of his beret in the “band” photo (unless someone made a big “Oops!” and omitted him from the credits).

The content suggests a loose concept album about a lighthouse keeper and a woman he finds on the beach after a violent storm. Sounds like perfect fodder for Kelly’s fertile mind to whip up some type of Gothic sci-fi romance, the full effect of which is scattered across 18 tracks, presented in two Abbey Road-esque medleys. ‘Will The Ships Go Down’ is as ominous an opening track as its title implies, with eerie, fuzzy guitar lines wah-wahing around gurgling synths and Kelly’s heavily-treated vocals (perhaps overly so) setting the tables for the “mystery” to follow. I’d say there’s a touch of the playfully creative Soft-Hearted Scientists at work here, the numerous sound effects and backwards guitars adding intriguing expectations.

Laura Weller adds the two-part ‘Sea of Secrets’, a dreamscape of harmonies and proggy embellishments that would work equally well on a Renaissance album – there’s a faint hint of Annie Haslam’s vocals as well, always a strongpoint of Weller’s Pajamas tracks. And the seductive, sinewy ‘Why Did I Think I Could’ may be her finest vocal ever! Elsewhere, ‘All of the Starry Sky’ is a dreamy thousand yard stare into the dark, infinite universe, while ‘Who Is The Girl’ sounds like Kelly found a Macca outtake lying in the corner of Abbey Road studio, a little dittie from long, long ago, and ‘When Juliet Smiles’ could’ve been one of his own outtakes from the Pajamas’ original comeback albums on Camera Obscura (i.e., Strung Behind The Sun, All Clues Lead To Meagan’s Bed).

A couple of spooky, NASA-supplied sound excursions bring outer space closer to home, supplementing the band’s earthbound instrumentation, itself buoyed by guest violin, cello, and trumpet contributions. It expands the album’s musical pallet beyond bar band blues or heavy-lidded psychedelia (cf., ‘Ten Million Light Years Away’, ‘Anyone But Me’), again nodding respectfully back to the “Tony Dale era” that reintroduced the band to a wider audience, beginning at Terrascope’s very own series of Terrastock festivals going on 20 years ago now!

If there’re are any knocks against the album, some listeners might have wished for a little more substance to a few of the songs, with nearly half clocking in at or under two minutes (and, perhaps the instrumental ‘(Dusk)’ – a Pajamas first! – could’ve been incorporated into another track to flesh out the feeling that another shoe is about to drop at any moment). But these are minor quibbles for what is essentially another strong and varied album of flamenco(!), prog, psych, and effervescent pop. And word has it that the band are already at work on their next album, due early next year! (Jeff Penczak)




(CD single from http://www.backwaterrecords.com/shop)

It is very rare that the Terrascope gives a full review to a four track EP, especially if it is the first release from the artist in question, sometimes however, the music speaks for itself and the reviewer feels the need to share music that has crept right under his skin.

   Opening with a moody guitar riff and plenty of atmosphere, it is the voice of Amy Hollinrake that really catches the attention as “Fade Into This” drift like silk across the room, a mixture of Allysen Callery and Joan Baez, rich yet languid, the dream like arrangement and sparseness of the music the perfect partner for the vocals, a mixture of traditional and modern folk sensibilities with a understated guitar adding plenty of sweetness.

    With the above tune as the A-Side of a vinyl single, the flip belongs to “You Came By” a short and beautiful song that sounds like it comes from 1970, the voice again dominating the track laden with emotion making you stop and listen with complete concentration.

    Offering a touch more energy, “Belief in Nothingness” has an edgy, nagging guitar riff and some wonderful harmonies, the west coast guitar solo in the middle, sparse yet perfect, a piano adding richness to the arrangement, another tune to drift off to.

    Saving the best until last, “The Blackest Crow” is an emotional tour de force, the voice soaring and wringing every drop from the lyrics, the minimalist arrangement allowing the song to shine out its pain and longing creating a future classic that you can hear right now.

   Ably assisted by Ben Smith (keys) and Joe Perkins (Guitars), Amy Hollingrake has released a damn near perfect opening salvo which seems glued to my CD player right now, the soundtrack to my autumn and beyond. (Simon Lewis)



(CD from http://www.fruitsdemerrecords.com/ )

With a faint whiff of irony this album collect together several early releases from the vinyl vaults of Fruit De Mer Records, the album originally compiled by Record collector and issued on a limited edition vinyl album.

   Having failed to gain access to the vaults of original sixties psych, Fruit De Mer decided to get current bands to cover those tunes instead. They got the bands, but promotion and actual sales proved more difficult but as time went on, the label became the (almost) national institution we all know and love, so much so that Record Collector kicked off a new series of limited albums with the label, collecting together those early singles and long since sold out, With the vinyl market booming at the moment, it would be an expensive pastime collecting all the original singles, which is where this CD comes in, a handy dispenser of some early FDM magic.

    Whilst my memories of the tune always associate it with The Friday Rock Show, “Theme One” (George Martin) is a top tune even without the memories, a great hook creating a slice of melodic Prog that is ably handled by Schizo Fun Addict, some interesting samples adding some freshness to the song. Hailing from Spain, Stay give “Rainy day Mushroom Pillow” (SAC) a delicious lysergic coating staying fairly faithful to the original but doing it with some style.

    Elsewhere, Vibravoid rock their way through “Eye Shaking King” (Amon Dull) and a wonderful version of “Set The Controls For The Heart Of The Sun” with plenty of effects, energy and Psychedelic intent, whilst Alison O'Donnel with Head South By Weaving get mellow and folksy on a glorious version of “Day Is Done” (Nick Drake). Other highlights include the psych-pop happiness of “Red Chair, Fade Away” (Bee Gees) performed with verve and panache by Pavement Society, the guitar taking us into the stars, and the excellent reading of “Baby's On Fire” by Hausfrauen Experiment which is possibly weirder than the original. Also included is a live rendition of “Midnight To Six Man” by The Pretty Things which was originally available on a 7” that came with the album and is an energetic and very Garage way to end a great collection of music that showcases exactly why Fruit De Mer has gone from strength to strength. One for that Psychedelic party after a stroll through the countryside. (Simon Lewis)



MICHAEL TANNER AND ALISON COTTON - S/T (Cassette from Reckno https://reckno.bandcamp.com/)

United Bible Studies and The Left Outsides are both by-names for excellence in Terrascope’s book so how thrilling to hear members of both collaborating on this understated gem.

Truthfully there’s nothing much going on but then that’s the whole point of  this bucolic and sombre Drone in three parts, ideal for early morning rumination or for that matter 24/7 daydreaming. Ghostly as if wreathed in enchanted mist, the glacially paced subtle variations – often of a single note - speak volumes as meditative strains are suspended in the ether for what seems like eternity.

Fans of either band will hardly quibble at any of this, while Radio 3 playlist compilers and aficionados of A Winged Victory For The Sullen (now there’s an idea for a hook up) would be wise to take note. All of which sets me thinking about the promised new The Left Outsides album and which will hopefully draw on some of this dark ambience. With tunes and stuff of course.
(Ian Fraser)



(LP/Digital album from God Unknown

Thank God for the internet.

Astragal, according to Google Search, is a small round moulding and not one of the fallen host or a footnote from one of Tolkien’s more obscure and impenetrable tomes. That’s a shame really because London three piece Broken DC deserve a dark soubriquet for an album befitting of their moody and portentous brand of hardcore indie rock, which inhabits a spectral realm somewhere between Serena Maneesh and MBV/Sonic Youth in the throes of cold turkey. 

It’s subtly brooding fare that straddles the twilight twixt gothic gloom and more interesting and less predictable post-rock – the quiet/loud is broken up on tracks like ‘Phase In A Still River Flows’  (a lengthy, oozing stretch of dark majesty) with something more cryptic and left field. Here as elsewhere, harmonious and occasionally choral vocals hint at false piety and a duplicitous innocence while guitars crystallise, crash and burn around. The skipping-but-scary ‘Hollow Tree’ has the same unsettling nursery rhyme quality to it as that song from the Wicker Man but which builds, becoming darker, heavier and more ominous in the telling, while other highlights include playlist-bound ‘Summer Lawns’ and the lushly torpid ‘Forever Blue’ through which a cinematic trumpet wails lamentingly. In fact if that ain’t the guy from Teeth Of The Sea then my name’s Nigel Farage (note to US chums, he’s a UK “politician” presently giving aide to Donald Trump, you have good reason to be afraid).

As we are all-too-ready to admit here sometimes dark is good as are God Unknown, who are rapidly becoming one of those labels whose judgement you can trust to be pretty damned unerring. You see the label name and buy blind (or should that be deaf) knowing full well that what you’ll get is one helluva quality product. Very much like this one.

(Ian Fraser)



(LP from Bandcamp  )

Sometimes the body and the mind demand a bit of healthy noise to blow away those cobwebs and de-stress yourself, if this is you then get hold a copy of this album turn the fucker up and get ready to dance inside the maelstrom as the opening riff of “Oracle War” untangles those knots and makes life worth living again, drums and keys soon joined by a thunderous guitar riff that is part Psych, part Metal, part Stoner and all good.

   Blending Hawkwind with Motorhead, Kyuss and Acid Mother Temple, the band detonate their way through nine tracks with “Nine Knots” sounding like dance music for demons with a nice bouncy riff, whilst “Trench Arcana” is slightly slower and gets your head nodding after a long toke (or possibly just a cold beer).

    Whilst there a changes of pace and volume, even the quiet bits are fairly loud and tracks like “Sunken Chapel” rock hard, a relentless, riff infested, wall of noise that makes you glad to be alive although at this point the neighbours may be knocking on your door, especially during the screamed middle section.

    Opening with a warped drone and electronic noise, “Slime Liturgy” adds some variation, the distorted vocals hard to understand lost and washed away by the chaotic noise, the tension created by the listener waiting for the gargantuan guitar riff that never arrives, brilliant.

    With a hypnotic bassline and plenty of weirdness, “Canaan's Jewel” is an absolute highlight for me, like Sabbath on far too much acid, crushing everything as it entwines itself around your spinal cord and takes control, the whole album rounded off with “Underwater Exequy” a track smothered in feedback and barely controlled noise, a primitive rhythm leading us a merry dance around the fire until we slump, exhausted, on the forest floor.  (Simon Lewis)



(LP from Morctapes )

Sparse and delicate the music on this album has the decaying beauty of an old iron gate or a long forgotten greenhouse, vines and tendrils curling through broken panes and twisted frame.

    Purely instrumental, “Wake III” serves as an introduction to the collection, a pulsing piano and droning melody creating the soundtrack to a film noire, an elegant lady walking through rain-washed streets towards that final meeting with her fate. On “Are You Going To leave Me”, a distorted guitar serves as a foundation for the soft and understated voice of Annelies, the two contrasting sounds creating an emotional tension that perfectly suits the tune.

    With every song on the album containing the same mood and pace the whole collection drifts slowly forward each track seemingly born from the last with “Blind/Light” hovering over the room like the scent of an old lover, nostalgic and wreathed in a warm sadness, drones and vocals shimmering together, the voices of Yumi Verplancke and Steve Marreyt adding a deep resonance to a track that seemingly sums up the whole album.

    Over on side two, “Traces” is another gossamer fine piece of music reminding me of StoneBreath in its delicacy and darkness, the same true of “Sun” , Piano and vocals locked together in minimal harmony. Taking us back to the film noire, “Wake IV” is a moody drone with flecks of melody that remind me of bird calls, the tune giving way to the album's finest moment, the magnificent “Strangers” a piece that reaches the very essence of the collection, stark and emotional, the music seemingly born from faraway stars.

      One of the finest releases of the year, one to be treasured and loved. (Simon Lewis)



(EP/Digital from Rocket Recordings)

The bad news is that by the time you’ve read this the limited run of 300 copies of this almost LP length EP will almost certainly have sold out. There’s a very good reason for that of course and not just that your reviewer has been typically tardy in pulling his finger out. No it’s because Flowers Must Die are as hot as mustard right now as anyone fortunate enough to have witnessed them at Liverpool Psych Fest or any of their recent tie-in dates will surely attest. It’s also testimony to Rocket Recordings that they have this unerring knack of snapping up bands at just the right time, so while Flowers have cut their teeth with an already enviable body of work including three acclaimed albums and numerous satellite releases back home in Sweden, they are just about hitting their peak as Sista Valens so clearly demonstrates.

Those of you who have studied your “krautrock” will recognise the band name as an homage to an Ash Ra Tempel track from their Swingungen album. However it’s Amon Duul (II) who provide the template for the tribal wild abandon of the title track, powered by a cacophony of guitar, drums, synth washes, whistles and the scraping violin of new member Lisa Eklund who also assumes vocal duties. The loping cosmic groove of ‘Taskig Stämning Annars’ (look I’ve spent that much time writing about great Swedish bands of late you’d think my spell check would have given in gracefully by now) is a personal favourite and one I used on a recent pre-Psych fest playlist to illustrate the promise of wondrous bounty on offer. Its laconic jazzy feel and “acid-drenched” vocal sounds like it’s been hurled at the looser outer limits of the Funkadelic canon with Pharaoh Sanders’ tenor parping over the top.

‘Kruta’ flies the flag for the industrial motorik wing of the Kosmische korp, a slight eastern tinge firing the imagination as well as the cylinders – and this lot undoubtedly fire on all six - before ‘Varför’ revisits the dreamier, more pastoral-sounding territory that Trad Gras Och Stenar would occasionally kick back into. It more than holds its own in such august company, grounded by a constant, resolute bass riff while the rest of the band weaves and coils all around it, with Eklund’s plaintive vocal providing Sweden’s answer to Bardo Pond’s Isobel Sollenberger.

If it all seems to be over rather too soon – and trust a hack to sniff at a 35 minute-plus EP don’t you think? – try and console yourselves with the news that the band’s first album on Rocket will be released next year. On this evidence, and with a new Anthroprophh LP also in the pipeline, you might be forgiven for starting to compile your “best of” list for 2017 right here, right now.
(Ian Fraser )



(CD/DL from http://darkhollerarts.com/ )

    A series of songs based on Pennsylvania folklore. All originals bar one, a well placed cover of the child balled Long Lankin. For this outing the band is Timothy along with Prydwyn, Rod Goelz, /E Hoskin and a guest appearance by Martyn Bates, produced by Caleb Brown.

    This could well be their most accessible album yet, still playing nearly all acoustic instruments, but this time underpinned by some fine electric bass. The instruments on this outing are voice, bouzouki, dumbek, jug-drum, bass, wood flute, banjo, mandocello, shakers, bell, recorder, motheart, bodhran, cymbals, balalaika, glockenspiel, cello-banjo, mandolin and jaw harp.

    The legend of Bigfoot is the subject of Tim's focus on this latest set of songs, indeed the record starts with footsteps and ends with a series of bizarre calls to radio stations and police departments about sightings of large hairy beings.

    First song 'In The Red Witch House' unfolds to claw hammer banjo and percussion, a tale of a werewolf creature and a coven of witches. 'The Hidebehind' introduces deep bass and wood flute on a tale of woodland abductions by a creature enshrined in Pennsylvanian folk lore known as the "Hide-behind"

    'Trotterhead' is a short grim tale, of sleep-troubled dreams and leads nicely into 'Long Lankin' a tune that should be familier to our fine readers through versions by Steeleye Span, Martin Carthy and others, it's one of the lesser known Child ballads, detailing a double murder of lady of the house and of her baby, make sure that your windows and doors are all locked.

    'I Know His Name' reintroduces us to Walking Sam and is Tim's third song about the legend that is Walking Sam (the first was eponymous and the second was 'Witchwalker') a song about a tall being with long hair with eyes like burning coals, a stovepipe hat, cursed and damned to wander eternally. 'The Singing Corpse' is a nice mandolin lead ballad and a fine ghost story about various townsfolk being frightened by a walking corpse who would appear on a certain grave and sing "Nearer My God To Thee". recited at the songs end by Martyn Bates ( Eyeless In Gaza).

    'The Red Dog Fox' a tale about a soldier with red hair who was believed to be a werewolf, impelled upon the light of the silvery full moon to shapeshift in to a fox and go a hunting. Indeed upon his death when shot as a fox, transformed back into a man. 'Sticks' follows this, a song about finding strange formations of sticks in the woods.

    'Far Away The Morning' introduces us to 'The Mothman', another shapeshifter and one that was made famous by John Keel's excellent book "The Mothman Prophecies". 'The Missing' continues the themes introduced so far, a haiku like short song.

    'Die Woolf Man's Grob' a tale of a werewolf creature based on a true story from Northumberland County, Pennsylvania and named for the place where the old werewolf fell and died, a dire-wolf.

     The final song 'Apples For The Albatwitch' a wonderful tale of apple eating, flute playing ape men, tall hair covered creatures, who lured folk in to the woods, from which they would never return.

     The disc ends with various agitated callers to sheriff departments, by people who claim to have seen strange hair covered beings out in the woods, beings that scared the living shit out of them....sleep tight boys and girls.

(Andrew Young)



(LP/CD/DL from https://megadodo.bandcamp.com/)

Icarus Peel's new solo album "Forget-Me-Not Under Pussy Willow" opens with tinkling piano and a welcoming voice; the narrator describing the album before it opens…

    The first main cut is 'Forget-Me-Not,' a folky, proggy song - distinctly late '60s, one thinks of Small Faces… whimsical and lots of wah-guitar. 'Job Shiver' is more poppy, while 'Planting People' again brings out the wah-guitar, but with trumpet synths and a martial drumbeat. The funereal organ echoes the undertaker who is the main character of this concept album. 'It's Raining' returns to the narrator, and then a distinctly retro-sounding West Coast track, with a terrific tune and lots of attitude. Some great slide guitar playing here. This is what used to be called The Single - an album highlight without a doubt. 'We Came, We Saw' also ramps up the slide quotient, but the cut is a bouncy song in bluesy style. "We came, we saw, we thieved…" - the baddies of the piece, and from the Big Smoke as well… 'Something I Should Say' returns to the narrator for the third time, before… side B.

     To side B then… 'Catch Your Breath' is a Floydian whimsy, with Crystal Jacqueline supplying backing vocals and a supple backwards guitar threaded through the piece. Another highlight of the work. 'Melody May' brings arpeggiating acoustic guitar to the fray, as a softer ballad hoves into view. Some lovely chord changes here, augmented with subtle synth backing. Very nice. 'Auntie Powders Her Nose' has a hint of those story-telling early G***s*s tracks to it. 'Intimidation' marries a folky riff to a story of Big Smoke gangsters - "a professional kick in the teeth" indeed. 'Just Deserts' rocks out - great backing vocals augmenting the chorus. More great fuzzy guitar too. 'Here's The News' -deploys a phone call and a TV voice: bank robbers fail in sleepy town! .

    At the end, 'Endings Happily' brings the sun to the little town - a great multi-voiced chorus with lots of zip and extra instruments, plus Leslie'd guitar in a sparse arrangement. Great bass here; a nice spacey guitar solo in there too. The narrator ends it all: "away you go." Definitely one for fans of those marvellous late '60s concept albums.

(Steve Palmer)



(LP from https://www.subpop.com/)

(British release: Rocket Recordings )

Whether or not you believe their own publicity, that the members of GOAT are from the small town of Korpilombolo, Sweden, (one frequented by a witch!), isn't really the point. But, that this unusual group has been producing incredibly interesting music for the last several years is indisputable.

     Visually, GOAT, with their costumes and masks, is a combination of Dr. John's Night Trippers, and Sun Ra's 'Arkestra'. Spiritually, they seem to derive their influences from African voodoo, and perhaps Amun Duul's communal and trans-generational continuum, (if you believe the hype). Musically, this ensemble combines their pan-African and middle-Eastern tonalities and grooves, (reminiscent of Fela Kuti and Ali Farka Toure) with a fun element of Western psychedelia; the combination of which, I've never quite heard before.

     GOAT's new release on the Sub Pop label, "Requiem", their third lp, contains all of the aforementioned qualities and more. Beginning with the distant sound of birds, leading to a cappella female voices, “Union of Sun and Moon”, develops into a lovely pan flute and percussion groove. “I Sing in Silence” follows suit with a Ry Cooder/Ali Farka Toure inspired guitar lick, and a guiro-heavy percussion section playing in alternating 6/4, 4/4, and 2/4 time signatures. The engaging lyric, "Brother, I am your Sister, We have each other," fits in the pocket perfectly and sounds simply, transcendental.

    Just when you’re sinking blissfully into a trance, with "Temple Rhythms", you're awakened by "Alarms". This track, soaked in reverberating acoustic guitars, introduces the psychedelia that the band is known for. The responsorial interplay of female and male voices evokes The Mamas and Papas, (it works, believe it or not), and finishes with a wonderfully insane whammy bar guitar workout, ala The Jefferson Airplane at their best/worst, depending on your point of view, or current state of mind.

    Then, suddenly, you're back into a Congolese groove with the seemingly Kanda Bongo Man influenced "Trouble in The Streets", albeit with the weird dimension of a lazy, bluesy slide guitar. The last few notes, played on what sounds like a vibrating and cheesy Ace Tone Organ, ends on a chord, completely unrelated to the original key. Suddenly as the tune fades out, the keyboard player must realise he’s lost, and plays the notes down a tone, but not quite close enough to the tonic. Fun stuff!

    Introducing the next track, "Psychedelic Chant" with an Islamic call to prayer doesn't really sound psychedelic to me. Nor does the rest of the tune. Filler, I’m afraid. On the other hand, the reverb drenched "Goatband" certainly is of the psyche genre, but unfortunately remains undeveloped and goes nowhere. "Try My Robe" is a different matter. Beginning with what sounds like someone lighting up and taking a toke, we're right back in Mali. The guitar, once again echoing Ali Farka Toure, introduces the female voices, but this time with superb violin and mandolin accompaniment. The rhythm section plays in 6/4 time, while the singers ask you to "Share my bread. Taste my food. Try my Robe". Sure, I’ll try some of that.

    "It's Not Me" and “All Seeing Eye” may be the most explosive tracks on the album. Starting with a minimalist xylophone lick, the following drum groove brings us into Who territory, by way of Steve Reich. The latter tune is a great Townsend-esque rocker, with a searing vocal line, channeling Blondie on acid. But would she have approved of the Eagles playing the cliché twin guitar solo in the middle? (Did I mention GOAT has a wonderful sense of humour?).

    Seeming to warm up to the aggressive ‘60’s sound of the last few cuts, "Goatfuzz" keeps the heat on the disc. With a neo-Count Five fuzz guitar lick, this track is a psychotic reaction to most of the staid and sober music played on contemporary ‘hit’ radio. Combining early Blue Oyster Cult with the tone bending 13th Floor Elevators, this tune simply rocks. And it doesn't end where you think it might. It just jams out in true stoner fashion. Brilliant!

    Nearing the end of the album, "Goodbye" is a beautifully delicate tune, featuring zither, acoustic guitar, and beaded shakers, which seems to drift silently into the African (Swedish?) night. The album culminates with the lovely and ethereal "Ubuntu", during which you can barely hear the spoken messages of the most essential of human virtues…compassion and humanity. And just like the rest of the album, you really have to listen closely to hear what GOAT has to say, and then judge for yourself, what is real what is not. (Rick Skol)



(LP/CD/DL  from http://badafro.dk/)

After four years Danish Psych legends Baby Woodrose return to the fray with a fuzzed up collection of Garage/Psych that is perfect for frying brains and cranking up loud on a Friday night. Opening track “Reality” reveals that the raw sound of previous releases remains, the analogue production and minimal overdubs giving the tune a dark heavy feel as the riff buries itself in your head. Sounding like an angrier version of Love, “21st Century Slave” is a future classic, jangly fuzz and snarl aal thrown into the mix, whilst “Open Doors” manages to sound like “London Calling” if it was a classic sixties Garage Tune, with added organ to boot, or maybe that is just the way I hear it.

  Adding some atmospheric Synths, “Mind Control Machine” has a great chorus and a sing-a-long feel hidden amongst the fuzz, the guitars burning in the middle, whilst “Peace” is a mellower acoustic number that jangles beautifully, effects-a-plenty and a  trippy sheen that makes yer head swirl, the song followed perfectly by an explosive cover of “Freedom”  (you know, the one Richie Havens sings at Woodstock) that elevates the angrier elements of the lyrics letting you sing along as you throw back a beer.

   Leaving the best until last, the final trio of songs are fantastic with the dirty riffing of “Red The Signpost” matched by some gritty guitar work, “Mantra” allowing you to bliss out for a while in the company of more wonderful playing, whilst “Termination”, the final track, is an eight minute blast of Space-Rock that slowly builds from spacey beginnings into a head crunching nod-out that blends early Floyd with The Linus Pauling Quartet and the ghost of Hendrix, More please and quickly. (Simon Lewis)