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October 2019 = |
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Toby
Hay |
Alison Cotton |
Anunnaki |
Sally Barry |
Joost
Dijkema |
Vinny
Peculiar |
Various Artists |
Glenn Phillips |
Papir |
Electric
Funeral |
Pink
Moon |
the
Chemistry Set |
Astral
TV |
Donovan' Brain
/ Fraudband |
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Home |
TOBY HAY
- NEW MUSIC FOR THE 12 STRING GUITAR
(The
State51
Conspiracy Ltd)
Toby
Hay has a deceptively breezy yet unhurried
approach to his guitar playing which somehow
evokes a sense of travel, of locations that are
felt rather than seen. It's rather like being
bewitched by clouds viewed from a train window -
one moment you make sense of what's in front of
you, and the next your senses are overtaken by
the unvisited and yet strangely familiar sounds
of a station platform. I'm a huge fan of his
work, both solo (this is his third album) and in
collaboration with another Woolf Music veteran
and fellow nimble- fingered young
guitar-slinger, Jim Ghedi; so it goes without
saying that 'New Music' is pretty much essential
listening.
And
yet, it's much more than that. One could sense
the anticipation in his voice as Tony explained
to me last summer that he was privileged enough
to be having a guitar built specifically for him
by the legendary Roger Bucknall of Fylde
Guitars. I won't pretend to understand the
technicalities, but it was being set up to play
in unique tunings, and the resulting album was
to be recorded live, with no editing or
overdubs.
The
results are quite simply extraordinary - music,
played and heard in its very purest form. The
stand-out numbers for me are the opening
'Morning Song' (sadly not the same as that by
the Green Ray, featuring arguably my favourite
electric guitarist, the late Richard
Treece),
the haunting ’The Summer the Sky Cried for Rain’
which evokes images of Sandy Bull, and 'The Bird
and the Waterfall', improvised after an early
morning walk around the grounds at Real World
Studios, located in Box, Wiltshire, just a
handful of miles away from where I sit and
write. Genius.
(Phil
McMullen)
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ALISON
COTTON – THE GIRL I LEFT
BEHIND ME
(LP
on Clay
Pipe Music Records)
Alison
Cotton has been quietly amassing a formidable
body of work over a number of years that spans
inventive folk rock, pastoral psychedelia and
acid folk with an experimental edge in The
Eighteenth Day of May, The Trimdon Grange
Explosion and currently The Left Outsides, a duo
with husband Mark Nicholas. Since
2018 we’ve also been treated to a new side of
Alison’s work, as a solo artist and her debut
album in this respect ‘All Is Quiet At The
Ancient Theatre’ was one of last years
undisputed highlights – a record of haunting and
occasionally elemental beauty. Seeing Alison
perform solo at this years ‘Woolf II’ festival
in the atmospheric setting of Cleeve House was
one of those memorable pairings of music and
setting that will live long in the memory.
‘The
Girl I Left Behind Me’ is a 10” record released
by the reliably excellent Clay Pipe Music,
surely a perfect home for such well crafted
music with its attention to detail for the whole
package, lovingly wrapped in Frances Castle’s
wonderful artwork. The record was born in a
commission from BBC6 Music’s Gideon Coe where
Alison was tasked with creating the soundtrack
to a Muriel Spark ghost story that shares its
name with this release. The story revolves
around a woman working in a London office, her
first job after recovering from serious illness,
and her conviction on leaving the office one
evening that she has left something important at
the office but she cannot work out what it is.
Whilst my descriptive skills in ghost story
terms might not convey the psychology, mystery,
tension and suspense of the story (I’m certainly
no M.R. James), Alison’s mournful and indeed at
times eerie viola melody and subtle use of other
instruments, voice and effects certainly evokes
all of those things very successfully indeed. It
has a sparse beauty as a piece of music that on
its own terms tempts the imagination into
strange, dark and lonely places and whilst it
displays her classical training and impressive
compositional know-how it also shows an acute
ear and sensibility for using music to convey a
story through sound images without the need for
words. Echoes of Thomas Tallis and Gavin Bryars
are woven together with gothic, Celtic and
European traditional folk influences and
electronic tones and textures to create
something very special with or without a spoken
narrative.
The
second piece of music is again inspired by a
Muriel Spark ghost story called ‘The House of
the Famous Poet’ set in the Blitz and wartime
London. Within the story, the surreal notion of
an ‘Abstract Funeral’ captured Alison’s
imagination and inspired the composition. Once
again the music revolves around the mournful
tone of the viola, floating over a gentle
electronic dronescape that evokes the melancholy
and loneliness of grief and loss but without
sounding doom laden and ritualistic. There is a
strong Celtic feel to the viola melody that is
made all the more achingly beautiful by the use
of layered almost mediaeval vocals creating a
hypnotic polyphony and swelling waves of cymbals
which add a wilder, more windswept drama to the
piece. Close your eyes and a solemn slow motion
funeral march to an ancient chapel on a
windswept cliff appears before you.
I’ve
played this music many times since receiving it
and each time it reveals a little bit more of
itself – the fine detail in its textures,
colours and construction, the different moods
and images evoked depending when you listen and
how you feel at the time. It’s a short record,
barely 25 minutes over its two tracks but packs
an awful lot into that time. As a soundtrack
it’s remarkable but more than that, it is music
for the imagination of the very best kind and
for all of your contemplative moments, I
recommend it most highly.
(Francis Comyn)
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ANUNNAKI
– IMMANENTIZE THE ESCHATON
(LP
on Cardinal
Fuzz Records)
Anunnaki
hail from British Columbia and bring a superior
brand of occult psychedelia flavoured with doom
laden riffs and fizzing electronica into your
living rooms courtesy of Cardinal Fuzz records
who must by now be the premier advocate of
Canadian psychedelic rock by some margin. The
duo of Dave Read from Moths & Locusts and
Arlen Thompson (Wolf Parade) have released
material periodically over the years and have
one previous full length album to their name
that came out in 2017. It’s hard to believe that
a duo can whip up such a storm of metallic
noise, super intense often elemental atmosphere
and modular mayhem but let’s be thankful that
they do.
‘Immanentize
The Eschaton’, a phrase with political and
theological applications and meaning, is
certainly a deep, dark trip and refers to a post
Armageddon state of trying to bring about the
final ‘heaven-like’ end of times on earth - so
we can be clear that this is not a record
destined for family parties and relaxation. The
record is one of extreme light and shade and
certainly strives for what could be termed a
celestial chaos. However whilst it is often
incredibly heavy and occasionally brutal
it also has a calm, even serene aspect
that is prominent in many parts of its journey
and it’s this tension or contrast that actually
makes the record such a rewarding and gripping
listen.
We
have three tracks starting with ‘Rise’ where
long and high flying synthesized tones set the
scene before a choppy guitar gradually emerges
to herald a blizzard of distortion and waves of
super heavy metallic riffing that gather pace
and power over a distant yet powerful beat and
cymbal crashes. It’s an incredibly intense
opener and certainly grabs the attention over
its 7 minutes before it fades to a simple drone.
‘Procession’ gives us almost 15 minutes drenched
in atmosphere that takes in loneliness, brooding
mystery and stormy chaotic violence. Spacey
synths and echoing sparsely played guitar
initially evoke a kind of celestial spaghetti
western before taking a lengthy trip through a
spooky dreamscape full of mystery and tension
that quietly adds rhythm and an eastern tinged
vibe before the by now hypnotic, repetitive
riffing gets meatier, wraps itself in a chorus
of howling post-rock noise with some scorching,
touching on ecstatic, space rock guitar fighting
its way through before winding down to silence.
‘Demiurge’
at more than 21 minutes is almost like a suite
with distinct movements in the way it navigates
the listener on another epic voyage for the ears
and imagination. Once again starting out with a
strong spacey, kosmische sound that pulses and
generates waves of ambience, frequencies gently
buzz and throb, and an otherworldly ambience is
established before the peace is shattered by
hard hitting drums and slow pulverising metallic
riffs and screams that slow down to
virtual stasis before a short, chaotic
and certainly more urgent heavy psych fuelled
break changes the pace and mood, providing a
bridge to the final section where spacious
picked guitar notes are augmented by drones, and
free form tones that reference early electronic
composition before returning to a simple
brooding repetitive drone to the end of this
fine record. It’s a high risk strategy where
such diverse musical styles are brought together
in one long piece but here it is done very
skilfully indeed and the result is an end to end
thrill to listen to.
This
is a record of real extremes and a wonderful use
of dynamics and textures to create moods and
atmopsheres befitting the theme of the album. It
mixes the celestial and the very definitely
earthbound very intelligently and at times I
imagined a Keiji Haino fronted Swans or Mogwai
sounding like this which is a good thing indeed.
A fine soundtrack for post Armageddon life but
don’t wait that long to enjoy this fine record
and delve into its pleasures today.
(Francis Comyn)
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SALLY
BARRY – RENDITIONS
(CD on Green
Monkey)
While they may stem from a punk, noise and
metal background, former Honeymoon Killers’
drummer Barry and guitarists Mark Brunke and
Ruth Davidson (who doubles on cello
embellishment) bring a calm elegance to these
nearly two dozen tracks, which Brunke originally
composed between 20 and 35 years ago.
‘Sunbleached’ suits rainy day navelgazing, with
Barry’s measured vocals weaving languorous smoke
rings around Davidson’s cello melodies (did I
mention they’re also classical music dropouts?)
But tracks like ‘Come In Electronica’, ‘Loving
My Disease’, ‘Wasted Time’, ‘Love Bit Her Nest’,
and ‘Erin’ serve to exorcise Brunke’s personal
demons, including his mother’s heroin overdose
in 1997. Punk’s anger and angst return to the
surface, feeding Brunke’s tales of “love, loss,
marriages, divorces, birth, physical and mental
disease, and real and spiritual death…
everything that’s happened in the intervening 20
years”, including the dissolution of his
relationship with Barry.
The stripped-down bedsit vibe of ‘Ley
Lines’, ‘Saturnine Mine’, et. al. border on No
Depression, no-fi home recordings (particularly
‘Requiem and Famine’), but that’s another part
of the album’s alluring charm. Brunke’s lyrical
ruminations are easily identifiable by anyone’s
who suffered tragic loss, loneliness, and
emptiness. The horrible spate of recent suicides
(musical and otherwise) attest to something
going wrong with how people are reacting to
society’s ills. Barry & Co. sadly remind us
that things haven’t improved much over the last
three decades, but this cathartic experience may
help you get through rough times the way it
seems to have successfully helped them navigate
life’s unexpected digressions. While 22 tracks
of relentlessly gloomy introspective soul
searching wears thin and occasionally veers into
a monotonous drone of self-pity, music has been
known to sooth the savage breast, and we can all
use a comforting voice of “been there, done
that” recognition to deal with our own demons.
(Jeff
Penczak)
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JOOST
DIJKEMA – TIME
THIEF
Twin
Dimension Records LP/CD/digital
www.joostdijkema.com
Dutch
finger-picking
guitarist Joost puts out his second solo album
following on from 2016’s Sacred Revelations,
both sport artwork by Sir Plastic Crimewave’s
Steven Krakow and Sara Gosett. There has also
been a joint album with Bert Hadders full of
songs about murder, trains, girls and strikes.
Opening
with twin instrumentals ‘We Came Across Pt111’
and ‘Plastic Seawater’ Joost's prowess on the 12
string is immediately apparent, he also adds
flute, bass and percussion. Then comes the title
track ‘Time Thief’ where we get to hear his
vocals, which on this one are half spoken half
sung reminding me of a point somewhere between
English guitarist John Smith and the gruffness
of say Malcolm Holcombe. Joost has immersed
himself in the school of Takoma and also in the
singer songwriter discipline of Townes Van Zandt
and Guy Clark, revealing an old soul in a young
body, his style also takes in modern exponents
of acoustic guitar wizardry like Ryley Walker
and William Tyler.
The
title track is a perceptive rumination on times
passing. With lines like “he’s a robber I
believe” on which he is joined on vocals by
Finnish musician Heta Salkolahti, who also plays
superb fiddle on a few of the tracks. ‘Spring
Fever’ adds drums and banjo. Heta’s deep earthy
fiddle tones combining well with Joost’s banjo,
it certainly has a spring in its step. ‘Edge Of
The City’ features some excellent harmonics and
fairly fly’s by, again it’s a song informed by
change. Side one ends with ‘Legacy Of An Old
Skeleton Car’, this song sees Joost pick up his
electric guitar, to great effect, a widescreen
tune full of fat open notes and clusters of fine
finger picking.
Side
two starts with ‘Strange Replacements’ a
downbeat rumination again on times swift
passing, it’s the most straightforward
arrangement on the record, Joost sings and plays
guitar, drums and bass he is joined on keys and
2nd vocal by Heta. ‘Dalla Montagne
Alla Pianura’, shows the playful side of the
school of American primitive guitarists and
shows his mastery of the style reflecting the
hours and hours of practice one needs in this
field. ‘Elite’s Last Journey’ is a pretty
straight forward folk rock song introduced by
some intricate playing and lovely harmonics. ‘To
Make Us Believe Once Again’, a beautiful
dreamer’s elegy, well placed on the record, it
provides a reassuring anchor before the final
song on this very strong album. ‘Galangal Tea’
another widescreen instrumental on which he
plays 12 string , he is joined by lap steel
guitarist John Hekkert who also throws in a few
effects, the star of the show though goes to
Joost's excellent guitar work across the album.
Highly recommended, now I've got to get that
debut!
(Andrew Young)
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VINNY
PECULIAR – WHILE YOU STILL CAN
LP/CD/
DL Shadrack and Duxbury
www.vinnypeculiar.com
This
is the eighth album by Midlands based singer
songwriter Vinny (aka Alan Wilkes). On previous
albums he has been joined by various members of
The Fall, Oasis, The Smiths and Aztec Camera,
but don’t let that put you off, he is one of the
most insightful songwriters out there. For this
new album he has unleashed his inner rock star
(well nearly). The record is informed by a whole
host of characters from the political world,
from TV and from the arts in general. It is an
extremely good album full of memorable songs,
mainly in a fairly straightforward rock style. I
have always rated Simon Rivers from the Bitter
Springs as one of the finest lyricists this
country has produced and on a number of these
songs I’m reminded of him, both in the singing
and the songs.
The
album starts with the stark, barely there,
keening tones of ‘Vote For Me’ a plea to his
constituents. The crunchy ‘Pop Music For Ugly
People’ arrives with a bang, a big rocker with
treated vocals. “This is the church, this is the
steeple, open the door, it’s just pop music for
ugly people” ‘Diane Abbott Takes A Selfie’, is
an insightful song about the need for self
promotion through the usual of social media.
‘Culture Vulture’ rocks like a bastard, straight
out the traps, a lovely descending riff, with a
chorus of “Screw You”. ‘Ministry Of Fate’ takes
us back to the eighties, mainly because of the
programmed drum machine, and synths, “the truth
is out there, don’t you know”.
‘Art
and Poverty’, is terrific, I’m reminded a little
of Art Brut, it is also very funny
indeed.‘Question Time’, is my personal favourite
on the album, a jangly pop song, full of
excellent rhyming couplets, like “seen at a
festival, drunk in a bar, deep in the green
fields, covered with glitter stars”.
‘Scarecrows’, is a little funkier, with some
nice cooing female vocals, the song deals in
government corruption, lies and redaction. ‘Man
Out Of Time’, is a terrific glam rock song with
a slew of slide guitar, which starts in 1972 and
ends in 1976. The songmentions Top of the Pops,
Spiders From Mars, Noggin The Nog, The Singing
Ringing Tree and Donny and Marie, amongst
others, get your kicks from 1976. The album ends
with the louche ‘Let Them Take Drugs’,
ostensibly because all the time they are out of
their heads, they are no threat. It has the
killer line“let them oscillate wildly”. Let them
eat chips, let them go soft, let them breakdown,
let them take drugs. The chorus of “Let their
addiction control their lives, feed their
obsession, ignore the supplier, let them take
drugs, let them take drugs” is very catchy. Stay
free, stay really free, we can build ourselves a
new society; indeed wasted people carry no
threat. An
excellent album that could well be his best yet.
Vote for Vinny.
(Andrew Young)
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FRUITS
DE MER – VARIOUS SINGLES
www.fruitsdemerrecords.com
Crystal
Jacqueline and The Honey
Pot
are up first with a coloured, double 7” vinyl.
They are somewhat of the FdM house band and here
the label goes back to its roots with a bunch of
cover songs.
First
up is their version of the Traffic classic ‘Mr
Fantasy’, all echoed vocals and Mellotron. This
is followed by the old King Crimson classic ‘I
Talk To The Wind’, which singer Jacqueline does
an excellent job with, its informed more by Judy
Dyble’s vocal than by the Greg Lake version,
which will be more familiar to readers, due to
it being on the Court Of The Crimson King album.
‘Sun Goes Down’, by Dave Dee, Dozy, Beaky, Mick
and Tich. This was originally a b side of a 45
which Beaky from said group says “we went quite
psychedelic with it but the Honey Pot have gone
a bit further with, indeed it got me thinking I
must have had some kind of mushroom”. Rare
Bird’s almost hit single ‘Sympathy’ gets a cool
cover, it sticks fairly close to the original
being mainly acapella, joined later by lashings
of organ, drums, bass and a wicked guitar solo
from Icarus Peel. This double single stretches
to almost 30 minutes and ends with ‘Dreams’ a
track from the Deram recording artists Tonton
Macoute and running to almost eight minutes,
they do a great version with male and female
vocals, cloaked with more mossy Mellotron and
searing electric guitar.
The
Past Tense go
all out with a 7” single which is accompanied by
a free albums worth of songs included in the
package, upon which they cover amongst others,
Love, The Moving Sidewalks, Rupert’s People,
Wild Flowers, The Glass Family and David Clayton
Thomas. Authentic 60’smod/garage/psych sounds
being the order of the day. Most of the songs
are unfamiliar to me so I’ve learnt a lot from
their selection. They do a great job on the
songs that I have heard though, plenty of organ,
guitar drum and bass with some fine harmonies
chucked in.
For
the last of these batch of singles we hear from
sixties duo Chad And Jeremy who deliver an acoustic version of their song Rest
In Peace from their excellent album Cabbages And
Kings. “Here lies Fred, he’s better off dead”.
What is it with FdM and memorial songs; first we
had Tir Na Nog with We Pick Up Birds At
Funerals, now we have Rest In Peace. The very
first release by FdM was by Schizo
Fun Addict and they now return with their
terrific cover of the Mamas And Papas classic
‘Dedicated To The One I Love’, on which they are
joined by singer IIlona V. Hanford
Flyover are a new name to me but I really
enjoyed their version of Neon Pearl’s ‘Just
Another Day’ I’ve only just discovered this
overlooked gem from Neon Pearl in the last few
months, if you ever see a copy pick it up,
anyway they do a fine job, dreamy vocals with
some drifting Mellotron. The last song goes to
Sweden’s duo Us
And Them, who get to grips with the Neil
Young classic ‘What Did You Do To My Life’,
stripping it right back in their inimitable way
but sticking with the laser guided melody.
Artwork for this single is by the great West
Country artist John Hurford. So, here’s another
batch of highly desirable singles from a label
bearing down fast on its 100th
release.
(Andrew Young)
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Glenn
Phillips - Echoes: The Hampton Grease Band, My Life, My Music
and How I Stopped Having Panic Attacks
(book, published by Snowstar Publishing)
Like many others of a
similar vintage I suspect, I discovered Glenn
Phillips’ music through his extraordinary 1975
instrumental album ‘Lost at Sea’, which was
released here in England on the then embryonic
Virgin Records label, and promoted with all the
vim and vigour that we’ve since come to expect
from Mr. Branson. Drawn in by the startling
cover art and woo’d by the complex sleeve notes
on the reverse, the moment I got it home and
dropped the needle I discovered for myself the
fiery, frenetic guitar playing which has become
Phillips’ trademark - not for nothing did Lowell George of Little Feat call him “the most
amazing guitarist I’ve ever heard.”
Even
before then I’d heard whispers about the Hampton
Grease Band: their sole 1971
double album ‘Music to Eat’ was allegedly one of
the worst-selling albums in the history of
Columbia Records, and either despite that or
because of it was also a bit of a Holy Grail
amongst long-hairs of my acquaintance,
particularly those who dug extended guitar jams.
Never a particularly valuable collector’s item,
it was nevertheless next to impossible to find,
here in the rural shire counties at least, and
reading in the sleeve-notes of the
aforementioned ‘Lost at Sea’ that Phillips had
been a founding member only made me redouble my
efforts to find a copy. I seem to recall I
scored mine a few years later in the then newly
opened Zippo Records shop in London SW4, but my
memory may well be playing tricks after all this
time. Needless to say, it instantly became and
remains a firm favourite, and I would never have
imagined then that being able to interview
former members and feature the album extensively
in a fanzine that I was later privileged to edit
would indirectly lead to it being reissued by
Sony in 1996; and apparently very well received
it was, too.
Since
‘Lost at Sea’ Glenn Phillips has gone on to
release more than a dozen solo albums -
‘Scratched by the Rabbit’ is a personal
favourite, for whatever that’s worth - although
none as starkly expressive as that initial 1975
release, an album produced following the death
of his father who committed suicide on his 50th
birthday. Phillips was just 23 at the time.
‘Echoes:
The Hampton Grease Band, My Life, My Music and
How I Stopped Having Panic Attacks’ [Snowstar
Publishing] is a vivid and eminently readable
memoir which works on several levels at once.
Musicially, there is of course all the
fascinating insight you’d expect regarding the
history of a band as revered and original as the
Hampton Grease Band; and along the way there are
woven into the narrative stories concerning
Frank Zappa, Captain Beefheart, Lowell George
and Mike Oldfield (amongst many, many others,
including quite a few punk and new wave
luminaries), as their lives and that of Glenn
Phillips briefly interjected. Then there’s
Glenn’s life, his friends (of which there are
many, for Glenn is one of the most likeable
people imaginable) and his family - including
Katie, his wife of 35 years and counting.
All of
which leaves the perhaps to some surprising
addition of the panic attacks which afflicted
much of Glenn Phillips’ adult life -
debilitating attacks brought about not by
stage-fright, but by medical procedures. Even
the suggestion of something as simple as giving
a blood sample could prompt a seizure. Glenn: “When
I
initially wrote those panic attack stories
that take place earlier in the book, I had no
idea what was going on. It was as if I had
written a mystery novel, but I hadn’t solved
the mystery. Throughout my life, I had
wondered why I freaked out about going to the
doctor. I remember going into hospital [to
have wisdom teeth extracted] when I was 18 and
having no anxiety at all. A few years after
that my father killed himself and that’s when
I had the first panic attack. From the time my
father killed himself and I made ‘Lost at
Sea,’ to the time when that record was
re-issued and I did the ‘Lost at Sea’ reunion
show, 40 years had passed - and that’s how
long it took me to figure out what was going
on. It was there in front of my face, and I
didn’t see it. Anxiety is rarely about what
you think it’s about.”
Speaking
as one who has fought his own depressive
daemons, there’s not been enough of this kind of
honesty, or at least not in the biographies I’ve
read - and if it helps even a handful of people
who suffer from similar disorders then the
publishers can consider this a job very well
done.
And if
that’s not enough, the book comes with a new
album of solo recordings entitled, rather
brilliantly, ‘The Dark Parade’ and a DVD
of a live ‘Lost at Sea’ 40th-anniversary show
recorded in 2015. Needless to say, I can’t
recommend this highly enough.
(Phil
McMullen)
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PAPIR
-
VI
(LP/CD/DL
on Stickman
Records)
Papir’s
fine sixth album has been out since May and we
haven’t reviewed it yet – can’t have that, now,
can we? The
Danish trio - Nicklas Sorensen (guitar),
Christian Becher (bass), and Christoffer
Brochmann (drums) released their second album on
Stickman Records, following all previous
releases back to their beginnings in 2010 on El
Paraiso Records.
I’ve always held Papir’s guitar-driven
instrumental psych close to their former label
mates and fellow countrymen Causa Sui; whereas
Causa Sui tends to be more striking and dynamic,
Papir uses a little more finesse and build-up,
though you arrive at a similar, happy
destination.
Stickman
Records calls the album “a compact blend of
composed audible voyages,” and we can roll with
that description.
“Compact,” I suppose, refers to the
album’s four tracks coming in at a crisp 39
minutes, with each track averaging roughly 10
minutes, compared to the previous Papir V
clocking in at a mammoth 94 minutes’ heft.
Never
particularly known for their imaginative album
or song titles – trust me, the music MORE than
makes up for it – we have VI.I, VI.II, VI.III,
and mustn’t forget the palindromic VI.IV.
VI.I is a bass-driven affair, with
Christian’s foundation-building start, followed
by Nicklas establishing a basic melody line on
guitar. This
gradually leads to some fantastic drumming by
Christoffer, and finally Nicklas goes full-tilt
on guitar. Papir
is all about the build-up.
We’re off to a good start.
Christian
again sets everything up on VI.II with his bass,
and Nicklas plays some very melodic
high-register guitar.
Some atmospheric keyboards add an extra
dimension to the sound.
Gradually, Nicklas turns things up, and
shifts his guitar from a clean tone to add more
and more distortion and wah-wah.
The synths get heavier, the tempo starts
getting more complex, Christoffer crashes the
cymbals, and we start lapping on the shores of
prog.
What
I like about the album is that not only do the
four tracks individually build in intensity and
complexity, but the record as a whole does, too,
as we find on Side Two.
The flip goes much more psychedelic and
the sound grows thicker, denser, and more
adventurous. VI.III
begins with spacy synth, and after a couple of
minutes, just when you’re expecting William
Shatner to intone “Space – the final frontier,”
the band all kick in, led again by the rhythm of
Christian’s stage-setting bass and Christoffer’s
engaging drumming.
Nicklas’s guitar is teasing at first, but
after all this is Papir, and after a Steve
Hackett-like section, expands and blossoms into
full band heavyosity, before space synthing into
the cosmos.
VI.IV
doesn’t mess around, and Christian starts things
off yet again, this time with a fast-burning
bass riff. After
a brief warm-up around his riff, Nicklas bolts
straight out of the gate with a long and loud,
funky psychedelic pedal and effects-driven
wig-out, with Christoffer shadowing him
pace-for-pace with his propulsive drumming.
The piece goes heavy-light-heavy-heavier.
The atmospherics ramp up adding extra
thickness and color, and the band keep up the
intensity for the duration of its 11 minutes.
If VI.IV doesn’t get your blood pumping,
nothing will.
Papir
VI is just what the doctor ordered for anyone
with seasonal doldrums or any doldrums for that
matter. After
six albums in nine years, the virtuosic trio has
it down. This
is expansive guitar psych, with bass and drums
to rival any band.
(It’s great workout music too, just
sayin’.) Papir
knows how to create a musical frame, then build
sound and rhythm around it like windows, walls,
doorways and pieces of artwork throughout the
walls and gardens.
Rock solid.
(Mark
Feingold)
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ELECTRIC
FUNERAL
- THE WILD PERFORMANCE
(2LP/CD/DL from Guerssen)
Formed
in
Switzerland in the late sixties Electric Funeral
were a heavy guitar based band who never managed
to record any studio material at the time. This
is a damn shame as their Sabbath sounding tunes
hit the spot for those of us who like that kind
of thing. What remains is this collection of
demos and live recordings all with a definite
lo-fi feel although this is not necessarily a
bad thing given the nature of the music.
Serving a suitable introduction
“People” is two and a half minutes of distorted
guitar over a basic headbanging riff, the guitar
of Alain Christinaz dancing all over the place
with evil intent; the song is far too short.
Sounding like a long-lost Sabbath demo “War
Funeral Song” offers a riffs and quieter
passages all with that distorted guitar and
plenty of energy, the song building into a
frantic boogie with some great guitar work.
Sounding like a heavier Deep Purple
“Black Pages” is another fine tune whilst “Rock
Ba Rock” has a moody, swirling intro that pulls
you in an extended solo setting the scene before
thing get heavier again. Possibly the best thing
on the collection, a live version of “To Be One”
is seven minutes of glorious noise, an addictive
riff getting your head moving as the band strap
in for the ride, Sabbath meets Hawkwind in an
acid strewn cavern.
Those of you who lived through the
NWOBHM, will certainly see some similarities
between that movement and the primitive riffing
of “Fly Away” which could be a lost gem from
1979, whilst “My Destiny”, recorded in 1973, is
a nine minute epic with the band in hyperactive
mode as they attack the song with ferocity and
manic energy, even the slower passages seemingly
straining at the leash.
Primitive, muddy and ragged around the
edges it may be (it is) but given volume and
some kind of altered state, beer will be fine,
this is a collection of proto metal that
deserves to be heard. (Simon
Lewis)
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THE
PINK MOON - LET THE DEVIL TAKE TOMORROW
( LP from Crispin
Glover Records)
Featuring
members
of Sugarfoot, Thrush, Angora Static and the
excellently named Tremelo Wankers, The Pink Moon
tread a retro musical path that is cloaked in
R'n'B, Freakbeat, just dropped my first acid
trip and the occasional lava lamp, the music
loud, brash and surprisingly fresh meaning it
has a timeless quality about it as all good
music should have.
Kicking off with the sprightly “Ball
and Chain”, you are immediately invited to start
groovin' as the band deliver some soulful garage
vibes, organ to the fore and plenty of invention
to be found within. On “Baby Let Me Follow You
Down” Dylan/The Band are given an enthusiastic
nod, complete with authentic sixties jangle and
I can hear the lovely Cara singing away in the
kitchen. With a more eighties garage vibe
“Bloodline” will keep you moving with its
stomp-ability and some fine guitar moves, whilst
“Heartbreaker” sees the band stretch out just a
bit, a delightful vocal/guitar intro leading
into another soulful groove displaying a well
harnessed heaviness that only increases the
tension, the tune enjoying a sweet lysergic
atmosphere as it moves forward. To end side one,
“Rag Out” sounds like The Stairs with its R'n'B
fuzz laden glory, yep your feet are stiill
grooving as you go to flip the disc.
With the fun continuing on side two,
“Last Mistake” has a Monomen feel to its
riffing, “Temptation” is both primitive and
magnificent deserving
volume and a quick shot of something
dangerous whilst “Where You Gonna Go” (The
Unrelated Segments) proves the band know how to
pick a cover as they rage through the tune all
guns blazing whilst you reach for another shot
and the volume knob.
Slightly worse for wear “Parrotpunk”
gets you moving again another garage stomper
with hints of The Who running through it before
“C'mon” ends it all, plenty of energy left to
leave you grinning happily, must be time for
another shot and maybe we could turn the lava
lamp on.
As well as sounding fab, this album
looks fantastic, red vinyl, a thick plastic
sleeve with the band logo on, a stylish pop-art
style photo on the cover and a lime green
interior, garage class from start to finish,
both retro and ultra modern, go get one. (Simon Lewis)
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CHEMISTRY
SET – THE INCOMPLETE FABULOUS STINKING
2xCD on Green
Monkey
Great Scott(s), it’s Chemistry Set! Not
THE Chemistry Set, the prolific John
Peel-championed cult neo-psych British quartet.
In fact, these Pacific Northwesterners only
released an EP and single in their brief
mid-‘80s lifetime. No, if this Chemistry Set is
remembered at all, it’s for ‘Underground’, their
stonking contribution to the infamous Sub Pop 200 compilation in 1988. But if you’re a follower of all
things Terrascopic, then you’ll recognize the
great Scotts (guitarist Sutherland and drummer
Vanderpool) as members of Terrastock performers
Donovan’s Brain and The Green Pajamas,
respectively, although Sutherland joined the
Brain after their Terrastock 5 performance in
Seattle. But back in the mid-‘80s, they were
smack (pun intended) dab in the middle of the
Seattle grunge explosion and released an
eponymous 6-track mini LP (often referred to as
“Purple Record” after its cover art) and a
follow-up single, mysteriously titled “Fabulous
Stinking”, the titular source of this
“incomplete” compilation of both releases, plus
demos, rehearsals, and additional previously
unreleased material.
The
“Purple Record” was as out of place in
Grungeville U.S.A. as anything fellow
Seattleites (and future Terrastockers) The Green
Pajamas were releasing at the time (Book
of Hours, November,
Ghosts Of Love). But the two were mining similar territory and their
overlooked material featured excellent jangly
guitar pop with earworm melodies that retain
their charm 30 years on. If the kids scooping up
those R.E.M. albums (Life’s
Rich Pageant, Document,
Green) had an opportunity to hear these recordings, things may have
been much different for the band. (Although the
Scotts’ careers didn’t turn out all that bad!)
Opener
‘Fields’
is an immediate heart-warmer full of backwards,
phased guitars, double-timed drum pounding and
immediately accessible melodies and vocals.
‘Beneath The Plow’ is even better, with a
friendly vocal, ascending melody, excellent
solos from Sutherland and fellow guitarist Tom
Ewers, and tight performance that could’ve been
a hit if record labels and MTV weren’t falling
all over themselves to discover and sign the
next big [grungy] thing. A terrible case of
right place, wrong influences.
‘Hall
of Mirrors’ is another grabber with Vanderpool a
veritable automaton on the drumkit, and the
ballads ‘Blind Caroline’ and the gruesome ‘Kill
The Sleepers’ change the pace towards dreamy
psychedelia. The speedy, about-faced adrenalin
rush of the slacker-baiting ‘Underground’ from
the Sub Pop comp ventures into Mudhoney
territory (anther Terrastock vet) and is
commonly cited as one of the set’s best tracks,
but the label failed to capitalize and sign the
band, another nail in the heart that ushered in
their ultimate dissolution the following year.
But
not before the “Fabulous Stinking” single
(Fatbald, 1989) took one last stab at the
limelight with an “If you can’t beat ‘em, join
‘em” vibe that finds the band building on their
Sub Pop exposure with the sloppy, no-hold-barred
rip snorting, fist pumping rollercoaster ride of
‘Look Over Your Shoulder’ and the bar band brawn
of ‘Failure’. Not a jingly-jangly guitar in
sight. Disc one ends with three previously
unreleased cuts. ‘Grasshopper’ is typical new
wave bravado with screaming guitars and
white-hot solos; the remaining pair were
recorded for a single release that never
happened, as the band dissolved when guitarist
Bill Campbell left to form Flop. ‘5 Fingers’ is
certainly worthy of your ears, with its raucous
guitar interplay and furious skinpounding;
‘Grime’ is an equally fun listen for those who
don’t think that angry grunge verging on
hardcore is a dirty word.
Disc
two features rehearsals, demos and alternate
takes (most filled with appropriate band patter)
that show a band finding its sound in a
comfortable rehearsal and/or basement setting
(the power poppy ‘Good Christian’ was actually
recorded in bassist Bryan Learned’s basement).
Quality is as expected for 30-year old cassettes
and rehearsal recordings. An alternate mix of
the EP weeper ‘Blind Caroline’ spearheads a
promising collection of ultimately abandoned
songs, showcasing the delicate jangly guitars
that featured early in the band’s first phase.
Highlights that should have been explored
further include the “good when you’re stoned”
circular riff of ‘Snake In The Garden’, the
dreamy ‘In My Eye’ and ‘Daisy Jane’, and the
jangly ‘Exo Skeletons’. All told, an excellent
artefact from “the other Seattle sound of the
‘80s”.
(Jeff Penczak)
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ASTRAL
TV
– TRAVELLING THE CIRCUITS
(LP/Digital
on El
Paraiso
Records)
Astral
TV hails from Copenhagen and is comprised of
Rasmus Rasmussen from Aerosol and Causa Sui, and
Keith Canisius.
The two have released their second LP,
after 2017’s Chrystal Shores.
It’s an all-instrumental electronic
affair whose 14 tracks are perfect for
stargazing or exploring either inner or outer
space. Between
them, Rasmussen and Canisius have a veritable
stockpile of vintage analog and digital synths
and effects toys, and the results reflect this
blend of old and new electronic sounds.
The record was culled from many long
nights of jamming with the tape – okay, the ones
and zeros – rolling, whittling the massive
results down to as many as 60 tracks, and again
to the final 14, adding new layers, and refining
and rendering them ship shape.
What
you get is a very pleasurable collection of
electronic sound collages.
There are both brief tracks that entice
you for something more, and medium size tracks
full of the limitless sonic possibilities that
Bob Moog and all those who came after him gifted
us. The
pieces are never dull, full of blinking rhythms
and appealing melodies that weave in and out
endlessly with their myriad sound oscillations.
You can hear traces of practitioners of
the cosmic art such as Tangerine Dream,
Radiophonic Workshop, Suzanne Ciani and Jonn
Serrie (if you’re unfamiliar with him but like
space music, run, don’t walk).
To
mention a couple, pieces such as “Oumuamua”
dazzle, glitter and sparkle.
Named for the first detected interstellar
interloper, was there ever both a discovery and
a name so tailor-made for a piece of space
music? Now
that we have a second detected object, comet
2I/Borisov, you can bet the race is on for
artists to claim Borisov for their next magnum
opus. The
album’s longest track, “Different Dreams,” is
probably the most fully-realized work.
Intricate, diaphanous, drifting and
ethereal – all these things describe “Different
Dreams.” Both
“Oumuamua” and “Different Dreams” introduce
floating electric guitar to the electronic
tossed salad, and elevate them further into the
dreamscape.
Despite
the lack of any kind of song structure, I found
myself returning again and again to “Travelling
the Circuits.” Repeated
listenings certainly lead to more discovery and
pleasure. And
the Danish word for “circuits” can also mean
“orbits” – perfect.
This is an album to slow down with and
enjoy, look up, look out, look in, and exhale.
(Mark
Feingold)
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DONOVAN’S
BRAIN / FRAUDBAND – BURNT TREES IN THE SNOW
(LP from Career/Kasumuen)
Split albums are an odd egg, occasionally
issued to showcase a comeback or to introduce a
new act to fans familiar with the established
veterans. This is neither. Donovan’s Brain are
familiar to everyone here at Terrascope Towers
from their brilliant performance at Terrastock 5
in Seattle, as well as their extensive back
catalogue (this is their eleventh album).
Fraudband are an Australian guitar and drums
instrumental duo who play punky surf with fuzz
tones set to “Stun”! They also have a tangential
Terrastock connection: they’re based in
Melbourne (home of the late Tony Dale who
released many Terrastock artists’ albums on his
Camera Obscura label), and their previous
release was also a split LP, this time pairing
up with Terrastock veterans, The Bevis Frond!
Donovan’s
Brain’s
side features five tracks of their celebrated
amalgam of psychedelic, freakbeat, and paisley
pop with jangly melodies occasionally morphing
into extended West Coast guitar freakouts. The
current eight-member lineup features five
guitarists, including Career label brain trust
Ron Sanchez and Deniz Tek (ex-Radio Birdman,
another Oz connection!), ex-Chemistry Set member
Scott Sutherland (see our review of their
recently reissued compilation The
Incomplete Fabulous Stinking here),
and the prolific Seattle power pop duo, The
Windbreakers’ singer/songwriter Bobby Sutliff.
Most of the lineup, including skinpounding
dynamo Ric Parnell of Spinal
Tap and Atomic Rooster fame appear
throughout last year’s 3xCD compilation Convolutions Of The Brain,
from which three outtakes are also available as
download-only bonus tracks.
Sutherland’s
jingle-jangle paisley pop ‘Kelp Whip’ starts
things off with a perky earwig, supplemented by
Sanchez’s keyboard solo that’s quite reminiscent
of The Neutrons’ ‘Dance Of The Psychedelic
Lounge Lizards’ and that other Donovan’s
‘Neutron’ (everything seems so interconnected
around here!). Sanchez’s keyboard flourishes
also bubble throughout his ‘Gandy Dancer’, with
its unusual time signatures and syncopated
melodies that recall Beefheart’s Magic Band in
full throttle. Guitarist Kris Hughes contributes
her beautiful ‘Hear Me’, recalling the West
Coast guitar soundscapes of Quicksilver
Messenger Service, KAK, and H.P. Lovecraft, as
well as British practitioners Man and Help
Yourself, whose ranks included the late Richard
Treece and Ken Whaley, who also previously
recorded with the Brain. In fact, one of
Treece’s final performances with the Brain is
included in the bonus downloads. The ferocious,
guitars-whaling ‘Flash Containment’ goes out in
a blaze of string-bending glory.
In
addition to another rendition of the perennial
favourite ‘Tad’s New Cymbal Stand’ (with an
older line-up not featured on the present
album), the bonus downloads include a couple of
cinematic cues, the best of which is the
smorgasbord of faint vocals, cocktail gurgles,
and melancholic whistles and piano that permeate
the De Wolfe library music-styled ‘Thinking of
Neutrons Film Mix’. This might serve as
background for a sci-fi film or hairpin cruise
around the Riviera’s Grand Corniche. But knowing
the band of musicologists at work here, it’s
probably a reference to the aforementioned
Man-spinoff project The Neutrons!
Fraudband’s
side
kicks off with the sounds of Lalo Schifrin’s
‘Mission: Impossible Theme’ ringing in your ears
throughout ‘You Never Said’ and is reprised via
‘Let You Away’, which may be an extension of the
same track under a separate title? Like Dick
Dale in a power bender, ‘Better Loosen Up’
shreds fingers and eardrums in its atomic
assault on the senses, while the epic
seven-minute closer ‘Making Things Better By
Making Them Worse’ is a roller coaster wave of
tsunamic wah-wah fuzz. It’s all a bit
similar-sounding to my ears, but surf instro
aficionados may enjoy it. Their download bonus
cuts feature three live tracks of tropical
thunder for fuzz heads everywhere.
(Jeff Penczak)
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