Highlights on the five track album are the two longer tracks with both “Invisible World” and “In-A-Tie-Dye-Da-Vida” allowing the band to stretch out and express themselves, although special mention must also go to the weird soundscape of “Mothlight” which seems to create an altered state all of its own. Home-grown psych worth searching out. (https://sundagger.bandcamp.com/album/invisible-world) 
Describing themselves as Neo Post-Punk, Cabbage have some excellent riffs a rather sarcastic turn of phrase and a vitality that will make you leap about and turn their debut EP way up loud. Opening salvo “Kevin” gets the ball rolling with style, punk guitardescending into full on noise chaos towards the end sounding like the Buttholes meeting the Buzzcocks in a dark cellar. Next up, “Dinner” has a sinister groove and vitriolic lyrics that are angry and very funny at the same time. To round of things “White Noise” has a rockabilly rhythm sounding like the theme to a nihilist spaghetti western, the band turning up the tension as the song rolls along until it finallt degenerates into a squall of beautiful white noise. Maybe it is something in the water but you cannot imagine this band coming from anywhere other the Manchester. ( https://ahcabbage.bandcamp.com/album/le-chou)
Sticking with the noisy guitar thing, Daemon's Child are a German band whose second album “Scherben Mussen Sein” (There Must Be Shards) contains eight tracks of heavy riffing that take the intensity of Sabbath and the energy of punk to create their own blend of stoner punk, the riffs topped off with the intense vocal performance of Ana Muhi, whose voice adds another layer of originality to their sound. Almost sounding like two bands made up of the same people, “Keine Zeit” is a hardcore wall of noise whilst “Zucker” is gloomy doomy metal rooted in the seventies. Best of all is the ten minute “Nights” the guitar sound as thick as t ar pits, de-tuned and coated in sludge, the neolithic riffs best heard very fucking loud, guaranteed to remove cobwebs and frighten your granny. (http://www.zygmatron.de/releases)
Seems it has been a good winter for all things heavy as we move onto a trio of releases from Heavy Psych Sounds, a label that definitely deal in heavy sounds although the psych is open to debate depending on your definition of the genre. First up, Dual, whose album “Fears of the Dead” has plenty of seventies riffing in its grooves, with Sabbath, Blue Cheer or Grand Funk being obvious influences, the tunes having a boogie feel running through the heaviness giving them a good time feel despite the titles. Highlights for me include “This Old Crow” which features some fine wah guitar and that aforementioned groove, Electricity with its slow burning atmosphere and the closing blast of “Locked Outside” which reminds me of something from an obscure NWOBHM compilation. Sounding consistent throughout, this is a collection that deserves beer and volume. On the same label “Jupiter Rose” is a similar sounding album from Banquet, The sound slightly sludgier and more traditionally metal perhaps although there is plenty of variation on show in their songs and the playing is excellent, with the wah solo of “Mastermind” catching the ear straight away. Elsewhere, the title track is a slower paced song that is atmospheric and tightly controlled, in fact every song has plenty of dynamic tension within creating a very listenable collection , whilst “Touching the Grave” is energetic and again driven by some wah inspired guitar, the tune rocking hard from start to finish.
Finally from Heavy Psych Sounds, the wonderfully named Stoned Jesus release “Stormy Monday” a four t rack EP that has definite stoner vibes with the title track sounding like a mellower Monster Magnet whilst a cover of “Bear Cave” (Red Temple Spirits) is slow and tension laden, the most psychedelic thing on the release that slowly dissolves into a sludge filled drone. After the party stoner metal of “Drunk and Horny” the final ten miutes of the collection are taken up by a longer version of the title track that features some heavenly guitar playing that will get you drifting away as you lie back and enjoy the cool vibes. If you like all thing heavy this is a label well worth checking out. (http://www.heavypsychsounds.com/)
After that barrage of news and a delicious shepherd pie courtesy of the lovely Cara, it is time for something more relaxing in the form of the new single by The Driftwood Manor, a band long loved by the Terrascope. Wistful and haunting “Fraction of a Wolf” features droning violins, gentle guitars and a delightful melody line that is sung beautifully by Eddie Keenan, I assume. The kind of song that stays with you for days and makes you want to hit repeat, which explains why I have just listened to it four times. Available as a download only from all the usual suspects.
Mixing the melodic sensibilities of the Kinks or the Beatles with the off kilter sleaze of Tom Waits plus some Americana and your own personality has seen actor turned songwriter John Patrick Walker produce “People Going Somewhere” a 12 song collection that is intriguing, surprising and damn good. Opening track “Mother's Gonna Shrug Us Off” has a quick burst of feedback before offering those Waits comparisons, whilst the title track is the best song Lennon never wrote, distorted vocals and a distinctly Beatle-esque production adding charm to a delightful tune. Submitting the Americana slice “Santa Fe” has chiming guitar, perfect country lyrics and a warmth that hooks you in. Throughout the album there is a woozy charm and plenty of unexpected twists such as the distorted guitar in “Hideous Monster” or the late seventies Floyd impression of “Never Win”, whilst “Shelia” is a fine piece of psych with a pop heart and “The Story of Mary Jane (And Me) sounds like Roger Mcgough in slightly stoned surroundings. All in all an album I like way more than I thought I would. Released March 11th . (http://www.jpwalkermusic.com/)
Considered part of the metal scene, self–taught Italian musician Paul Chain has been around since the seventies and was part of cult Italian group Death SS. On “The Violet Art Of Improvisation” we find a collection of pieces recorded in the eighties with the 31 minute “Tetri Teschi In Luce Viola” kicking things off in style, a repetitive and simple riff becoming the bedrock for swirling synths and shredded guitar passages, Paul using a phonetic language at some points as well, the words having no mean merely sound and rhythm. As the track progresses you find y ourself moving in time, the track dragging you into its beat, destroying your own sense of reality, having more to do with the early seventies German scene than it does with anything metal I am familiar with. Twenty minutes in even the beat is removed allowing you to get lost in a dark cloud of electronic sound, vocals and general noise, the beat returning again to lead you out, cleansed but exhausted. Sounding a bit like Gong at their early seventies strangest, “”Emarginante Viaggio” has some fine drumming, echoed vocals and more experimental, slightly jazzy guitar within, all blended into a glorious cacophony of sound that works so well. Running in at just over 20 minutes, “X-ray” is awash with some distorted guitar that is low in the mix, almost droning underneath the drums and bass, occasionally rising to the surface like some giant beast from the depth of a great lake. Engaging throughout the track seems to fly by with plenty of variation in dynamics and great playing as well.
Moving on to disc 2, we find six shorter pieces, well none over ten minutes anyway, with “Old Way” having a song like structure underpinned with drones, the structure slowly peeling away as the song progresses over nine psychedelic minutes, whilst “Celtic Rain” reminds me of “Hurry On Sundown” in a woozy improvised fashion. Beautifully packaged the album also includes an interview with Ted Bundy about the perils of hardcore pornography conducted just before he was executed.
(http://www.minotaurorecords.com/)
Taking as its inspiration memories of raves in fields, dancing in night, generally at that moment when the evening could become euphoric or laden with paranoia, “Creaking Haze and other rave ghosts” is a wondrous electronic trip created by Matt Saunders under the name Assembled Minds. Inevitably, the heartbeat of the collection are the electronic beats, complete with clicks, hand claps and deep bass, but layered around these are cloaks of synths, melodies and warm comforting basslines, each track having a character of its own, the music more Ultramarine than Prodigy meaning it has a mellow trippiness that I love. Over ten tracks the music flows beautifully and does indeed contain an aching nostalgia for those days of easy friendships and lost places, the music at the core of those half forgotten memories.
(https://patternedair.bandcamp.com/releases)
Mixing Americana, folk and Psychedelia, Wolverton have come up with a rather fine selection of tunes on their latest collection “Thing Left On Earth” with opener “Cherry Tomatoes” having a sweet mellow vibe, some gorgeous harmony vocals and drifting guitar lines, some lazy, twinkling piano adding that final touch o f loveliness to the song. On “Mahogany” there is an old time folk feel to the lyrics/vocal delivery, whilst the guitar has a distorted edge that blends perfectly with a droning organ. Sounding like one of those sing-a-long Dylan tunes, “Nothing” has a delightful sway, the haze of a summers day drifting through the track, hints of nostalgia and regret to be found in the lyrics. Finally, “See You Still” continues the achingly beautifully song writing, everything perfectly in its place, ending a small collection that is at least eight songs too short. I am really fond of Wolverton and this could be the best thing they have done so far. (https://wolvertonmusic.bandcamp.com/)
Hailing from Finland and peddling some excellent Rockabilly/Garage sounds on “Hypnic Jerk”, The Country Dark create a sleazy rock and roll universe that will appeal to fans of The Cramps, or The Stomachmouths, to name but two. Underneath the distortion there is also a country twang to the tunes although tunes such as “Demon In Bambi Lee” or “Mummified Head” generally bury that twang in fuzzed up noise, the latter having a Psych atmosphere running through it sounding like a lost Pebbles gem. Elsewhere, “Skank Ass” has that country groove, whilst “Green and Drippin'” sounds like The Groundhogs fronted by Tom Waits. Almost a ballad, “Fucked Up (In So Many Ways) is a hillbilly lament about ingesting to many drugs, whilst the whole shindig is rounded off with a spirited cover of “Farmer John” (The Premiers) made famous on that essential Nuggets compilation. So, you may have heard it all before but this is a highly entertaining collection that will get your party started. (http://www.humurecords.com/)
Featuring the talents of Eliza Skelton and Paul Simmonds (Bevis Frond), The Desperate Ones could be described as Gothic Psych with gypsy violin and some heavy guitar taking the lead on their album “1906”, a collection that takes a while to get into, but is worth the effort, the songs having a depth and almost epi c quality to them. Opening track “The Murder Book” sets the scene, all the elements in place as the dark tale weaves its atmospheric magic, whilst “A Thousand Days” changes tack with birdsong and chiming acoustic guitar heralding a sweet ballad beautifully sung by Eliza. Nice and dirty “The Slippery Slope” has some heavy guitar trickery and uses the word caboodle, which made me smile. Elsewhere, “Astronomy is a slice of rural rockabilly, “Blood Moon”is a moody Gothic soundtrack and “Cold Hand” conjures up pictures of lonely prairies, sounding like something Quentin Tarantino needs to hear. Perhaps the centrepiece of the album, an eight minute version of “My Death” (Jacques Brel) is as overblown and glorious as it should be, the gentleness of “The Dream Of The Nightjar” leading us out sweetly. I have played this album numerous times and even now it throws up surprises, sounding different every time, which is a sign of quality in my book. (https://thedesperateones.bandcamp.com/releases)
T o round off my portion of Rumbles a quick trawl through some vinyl singles you may well enjoy kicking off with the Sleazy Glam of “Junkie Luck” a rather fine example of seventies rock and roll from Smash Fashion who manage to channel The Sweet and Bowie into three (or so) glorious minutes, a retro blast of goodness that will have you reaching for your flares and make-up, excellent guitar work, repeated chorus and trashed attitude all firmly in place. On the flip and spirited cover of “Long Blonde Animal” (Golden Earring) which sounds as good as you hoped it would, like a lost CBGB's Band that never quite managed to leave their seventies rock and roll behind. Housed in a great picture cover and pressed on red vinyl, kinda perfect really.
(http://www.smashfashionmusic.com/)
Pressed on weird, grey/green/blue/brown swirled vinyl comes a four band shared 7” that showcases bands from New Brunswick nj, with Shadow Band playing some lovely melodic Pop Psych on the drifting “Blue Dreaming”, whilst King Darves sound like an outtake from “Transformer” as “Yoke/Sightline” channels Lou Reed over a Ukulele, before a banjo takes over taking the music down a weirder path that is slowly engulfed by fog. On the other side Quit do strange and noisy cosmic Psych that references both Beefheart and Amon Duul with their tune, “Bleeding” whilst Human Adult Band with the experimental and noisy “(If You Got) Worms On The Brain” a blast of proto-punk chaos that encourages you to turn it up. Another fine release housed in a great sleeve and well worth picking up. (http://dihd.net/)
Flying the flag for Garage, freakbeat and dirty R'n'B, State records return to the fray with a brace of seven inchers with Thee Jezebels pounding out four songs in ten minutes on their “Mover and a Groover” EP with the title track telling of drinking and hangovers over a fuzzed up R'n'B riff that has plenty of energy and reminds me of The Strypes. More Garagey in flavour, “Lorelie” is another fiery offering with plenty o f attitude, whilst “Ain't Worth The Time” steps into the seventies with a distinctly Glam feel, pounding drums and a sing-a-long melody that lodges in your head. Finally, “Jezebel” is a lost Nugget of garage goodness, loud and raucous, a tune that ends far too soon. Also on State records, The Galileo7 deliver some heavy psych/freakbeat on “Cruel Bird”, the whole band working hard to smash the tune out of the park, some sweet harmonies softening the blow. Turn this sucker over and you get more of the same as “Nowhere People” maintains the quality and the flavour, the sound warm and richly rewarding. The website seems to be slightly out of date, but they do have an ebay store. (http://staterecs.com/news/)
Finally for the singles, a trio of new sounds from the always entertaining Fruit De Mer Records With Texas based Proud Peasant giving us a bit of old school prog as they cover Eloy and |Manfred Mann's Earth band on their “Cosmic Sound” release. With some driving guitar and shimering keys, “Daybreak” (Eloy) will get you shaking your head and your loon pants as it aims for the stars, the mood slowed down and made more mysterious as “Saturn, Lord of the Ring / Mercury, The winged Messenger” takes over, some majestic guitar soaring over a solid rhythm section with plenty of tricky bits, the second half becoming spacier and drifting before turning into some righteously heavy prog that makes you glad to be alive, fabulous stuff.
Next up, Claudio Cataldi mixes electronic and acoustic sounds on his four track release with the lead track being a cover of “Here She Comes Now” (Velvet Underground) a fuzzy guitar and some lovely jangle giving the tune a relaxed and mellow feel, the vocals almost buried under the thick layers of sound. Equally lovely, is “All My Friends Are here”, a home-spun hippy feel pervading the tune, gentle waves of guitar floating above the melody. Raiding his back catalogue, “Final” and “Ropes and Strings” continue the mellow psych feel of the EP, with the latter being an excellent guitar piece, whilst the former is a classic slice of relaxed song writing that is beautifully constructed. Written way before Mr Bowie's untimely departure, Sendelica swap the usual space-rock vibes for something more shoegazey and relaxed with their dreasm laden version of “Ziggy Stardust”, Female vocals adding another twist as does the incredibly slow tempo, to be fair it takes some getting used to it once you are tuned in you realise that it is really rather good as it floats away for seven deeply ambient minutes. Complementing the tune is a long remix from Astralasia that slows the whole thing down even more turning the tune into a droning cloud of electronic bliss that is wonderfully mixed, the vocals disembodied in the middle of the soundscape, the guitar soaring over the electronic pulses. Another excellent set of releases froma label that continue to do wha t they do so well. (http://www.fruitsdemerrecords.com/)
Right, now it is time to hand over to Andrew Young for a few more choice delights for your ears, cheers Andrew.
The Joy of Nature 'A Roda Do Tempo' www.cynfeirdd.com - After a short period of inactivity the The Joy of Nature have returned with a fine album.This is the project of Luis Couto along with his Portuguese band of brothers. Entitled 'The Wheel Of Time'.
What really works here is the deep, mysteriously intoned vocals, combined with a strong rythmic foundation, allowing for all manner of traditional instruments to add plenty of drama. Together they conjure up some very good neofolk psych. Utilising a whole variety of interesting instruments. We have mountain dulcimers, hurdy gurdys, whistles, bagpipes, percussion and some tasty fluid electric guitar.
With titles such as 'The Ruins Under Late Summer Sun', 'Born From Still WarmLava' and 'Shepherds Of The Vast Sea'. The first release from them was in 2008 and since then they have released a string of singles and over 10 albums. This could yet be their best yet, as it progresses the intensity builds, with huge flowing guitar lines, tribal drumming and deep bass anchoring things, combined with solemnly delivered lyrics and all manner of pipes , drones, whistles etc.
A huge standing stone is pictured on the inside cover of this record and some of this stuff sounds as if it had been birthed at the very dawn of civilisation. I get a very pagan ritualistic vibe from a lot of these songs, plenty of great melodic lead guitar, often shadowing the lyrics either flanged or fuzzed often with plenty of drone, tolling bells occur a few times too, the whole thing really is a rural delight. The standout tracks for me were 'Stream with No Name' 'Burnt Corn waltz', 'Beyond The River OfOblivion' and the wonderful 'Basalt Villages'...a cracking start to this edition of rumbles.
Isabel 11 'Abaddon Rising' www.trakwerx.com /label.htm. - Abaddon is taken from the book of revelation, a particularly nasty piece of work known as the angel from the abyss. It is the project of Jackson Del Ray from the group the 13 pygmies who have released a whole raft of albums over the last few years.
We arrive here in the middle of some epic, It is the second phase of this present story, this time song titles run from Isabell X11 through to Isabell XX1. The titles of the songs are all numbers and I have no idea about the first ten or indeed the next ten , this could run and run.
The vocals are near ly all from Meg Maryatt who has a lovely voice, no vibrato, just inhabiting a pure fresh clean tone. Jackson and Meg share the vocals on a couple of the tunes. Classical guitar and the synthesiser are employed throughout often accompanied with viola, violin and mandola providing the pure melodic lines.
The opening track starts with a forlorn Meg pleading to be let go, then in to track two and we are into a nice fat beat with plenty of electronics, guitar and sweeping string sections. This is very much in the symphonic prog arena, lovely coursing violins and classical guitars lend it a stately air.
With a repeated motif appearing throught the songs, that lends the project a cohesion and of course to it being a concept album.In fact its practically beatless; a couple of the tracks have minimal percussion. It's a wash of classic pieces with plenty of dreamy space rock and whirling organ tones to give it a great sweeping epic nature, with ever present classical guitar and a touch of fretless bass here and there. Note must also be made of the Eno-esque keyboards and violins, often dancing with each other throughout a lot of these pieces.
Mention must be made of the packaging with this record, decked out in quite exquisite fine card, seals and a glassine wrapper.
Census Of Hallucinations 'Nothing Is As It Seems' www.aural-innovations/stonepremonitions. With over ten albums released between 2000-2007, Tim Jones returns after a five year hiatus. The genesis of this record lies with a concept piece, containing four tracks about John Lennon that were recorded in 2014 for an earlier for a project.
The songs are all spoken word narratives over some pretty fine prog rock. Tim's Humour is still very much evident and it's this that helps lighten these songs which in the wrong hands could turn out to be diatribes. His barbed social commentary always the driving factor in his song writing .
A fine example being the first track, 'Conspiracy Of Silences' a song that is about a pair of stupid mindless tourists, Mr know it all and Mrs Sunscreen going on holiday, leaving their brains at home, travelling on a three dimensional plane, this one chugs along nicely to a fine prog rock backing, ending with the Monty Python reference "he's not the messiah, he's a naughty boy".
Elephant Elephant Elephant, an effervescent song, a song which concerns his parents, parents that he does not particularly like, and of the shock of looking in a mirror only to see his fathers face looking back at him. Another reference appears in this song (this time Led Zeppelin) with the line, "If there's a hedgehog in your bus lane, don't worry, its just looking for the mayfly ", and "there's a feeling that I get when I walk down these steps that they might not lead to heaven", screaming lead guitars and lounge horns are occasionly piped in, and that is just the second track. It's a boat load of inspiration and of premonitions. The songs are all spoken word narratives, mostly over a prog r ock backing.
'In Ruins' is about the rewriting of history, and is the first song to mention John Lennon, using some of Imagine's themes. The me me me generation are given short thrift here to pulsing electric guitar and keys, joined by his son for the first of two narrated poems. Tim does actually sing on the title track 'Nothing Is as It Seems' and sounds a bit like a wonky Peter Gabriel. This song contains some great piano, twin guitars and has a nice ending with the song gradually breaking down and fading into the ether. Highlights for me are'Faculty Of Mirrors' a song about narcissism, that ends with a great lead guitar break. 'Nautilus' which deals with far too many subjects for it's own good, but eventually settles down to some nice instrumental passages, along with a dash of space whispering. Also 'He Who Can Manage Camels' which is helped along nicely with plenty of lead guitar and mellotron, this tune deals with religion and contains a poem in the middle by his son James Jones titled'Lost In The Lakes'.
Various guests drop in to help out proceedings. Maxine Marten backing vocals throughout and Barry Lamb on 'In Ruins'.helps out with sax, synth and mellotron. Special mention too, of the superb guitar throughout this record by John Simms. Last track 'Brainless Ape' rocks out, joined by plenty of girly ooh's, but things don't get too cloying as he cant help riffing on more bitter vitriol. File under 'sweet and sour'.
Heading over the ocean now to the States ...Rich Osborn 'Freehand' www.RichardOsbornGuitar.com. Studying guitar throughout the sixties, then experiencing an epithany upon hearing what John Fahey could do with a guitar, he set off to further investigate the Takoma school of guitarists, the so called American primitives style as adopted by artists like Toulouse Englehardt, Peter Lacey and then bang onto Robbie Basho, which is where he finally heard the style he wanted to emulate, a style which consists of long mystical guitar pieces with Tabla's, what we now know as World Music.
Tragedy then struck, a catastrophic injury left him unable to play for a number of years. Fast forward to twenty years ago when he then started to completely relearn the guitar again, culmina ting with the release his debut album in 2012 ' Giving Voice:Guitar Explorations' , then re-entering the studio a couple of years after and these are the results. A special blend of 'free raga guitar' music, playing a number of wonderful instruments like the 1915 Di Luccia, a National Resophonic and a cutaway Alan Perlman Classical Guitar.
A couple of these tracks are over ten minutes long, a couple more are also over the seven minute mark, enabling Rich to fully explore the tones and textures of these sweeping pieces. He is a very expressive player and these songs are very easy to listen to, a couple of the tracks include vocals .. standout tracks for me are 'A SingingIn The Blood', a great epic guitar piece split into sections. 'New Ledger BookSeries' with its concerns over the treatment of native Americans. 'CloudTowers' inspired by Bach's great preludes and fugues for the organ transposed to guitar. ' Winter Moon InThe Oak Tree' a pastiche of Japanese Koto music. ' Night Sidewalks' an eleven plus minutes tour de force about an American 'alap' in a suburban landscapeand 'Heading Home' a fine track which gently closes this fine album.
Further examples of his free-raga style of playing can be found on the recent Tompkins Square record'Beyond Besekley Guitar' a record well worth tracking down.
The Wonder Revolution 'The Magic World' www.thewonderrevolution.com on the small Air House Records. The art/music Kansas based collective, release their sixth record. With members from all aroungd the globe from Sweden, France and various parts of the U.S. The unifying member being David Lord ( Francis Moss) serving as a curator for the collective.
For a point of reference you could look to 'The Sea And Cake' or perhaps the magical worlds of Wes Anderson. The tracks have titles like 'Elephant Fairy Valley', 'Land Of The Firefly Canopies' 'Gnomeland' and 'land Of The Red Moons'. with personal favourites being 'Tearlandia', 'The Giant Atlantis/Blimpland' 'BudapestRiver' and ' Snow Kingdom'. It's quite a sprawling record almost 70 minutes and flows remarkably well, with it's soft breathy vocals, classical guitar, electronics and dreamlike songs it certainly transports you away to a magical world.
The album is a collaboration between vocalist/percussionist Sam Hake, vocalist/guitarist/ bassist Benjamin Hunt and guitarist David Lord. Together they get lost in forests, climb mountains, ford streams and swim in sea's, amid much birdsong and found sounds. If you have ever listened to 'Smile' by the Beach Boys then you will have some understanding of what is being attempted here, indeed it all bleeds into a coherent whole, the sum of it's parts when taken together create a magical world. Hints of 'The Flaming Lips' circa 'The Soft Bulletin' or indeed Mercury Rev around the time of 'Deserter Song's' are all touchstones as are the Animal Collective.
This is a concept record, with each of the songs set in a different land, I could easily see it accompanying a computer game. It is a Midsummer Night's Dream, ethereal and otherwordly. The soft vocals of Sam Hake reminding me of Eric Matthews or Colin Blunstone lending the tracks a soft gossamer hue. All in all a delightful record, and one I'm happy to get completely lost in.
Katje Janisch 'West of Twilight' has a new release on the Reverb Worship label. It's a fairly short (34 minutes) record, on which she accompanies herself with various guitars, cello, clarinet, recorders, flutes and mandolins, with minimal percussion along with double tracked vocals in places, which add colour.
It's v ery much rooted in the psych folk mould. The main influence on this record would have to be Vashti Bunyan's seminal 'Diamond Days' of which it is very similar, cello's and whistles occasionally crop up and add some flesh to the bones of this quite stark record. Titles such as 'Neptune's Dream', 'Cordelia's Lament' and 'TheHunter And The Fairy' give you some indication of the subject matter here.
Katje wrote, performed and recorded the 10 songs here and should be proud of what she has achieved. My favourites are the cello underpinned 'The Yew Tree (resurrection)' which is flecked with bells, synth and fingerpicked guitar. Mother' with it's lovely recorder, violin, cello and acoustic guitar. Also 'The Golden Cup' with hints of Linda Perhacs, is a celestial delight, with splashes of oboe, heavenly choirs and all manner of pipes and whistles.
That's about it for another month, as always we love hearing from bands and artists and labels (and occasionally professional promotors as well), and it's a real treat being able to share all this lovely music with you all. Be good to yourselves at least once a day and we'll see you in a little while with another round-up of all that's great and good.
Terrascopic Rumbles for January was brought to you by Simon Lewis and Andrew Young. Artwork, layout & direction by Phil McMullen - © Terrascope Online, 2016 |
