Cat’s
Game
by Dylan
Rodrigue matches acoustic songsmithery with a
drums/bass/keyboards format in the production of an
album which lies somewhere between youthful indie
sounds, and something more mature and restrained. Opener
‘White Moon’ is an elegant and tuneful, ‘Self-Love’ is
similarly melodic, whereas ‘The Money Game’ brings in
distorted vocals and a much faster pace – kind of like
an early REM sound. Later songs keep the rock format,
with perhaps a hint of Neil Young in the arrangements –
‘Minimize The Damage’ especially. Album closer ‘Living
In Colour’ is acoustic and keening, and, like a lot of
the rest of the album, deals with emotionally intense
material. This is music from the heart, and, I suspect,
from personal experience. The standard of music and
vocals is consistently high.
(https://dylanrodrigue.bandcamp.com/album/cats-game)
Emotion
Machine
by Emotion
Machine is strange, eerie electronic music with
real and processed vocals. The project of Paula Rae
Gibson and Kit Downes, its opening track ‘Still’ sounds
like a long lost Jon Hassel piece with vocals:
atmospheric, spooky. A smoky evening piano arrives for
the second cut, bringing a jazz feel (double bass sound
too), while ‘Love On Time’ follows the same format. The
jazz elements to this album are strong on ‘If You Are
Me,’ probably my favourite track. The sound-world does
stay the same throughout the album, but at the right
time of day that would be just right; perhaps the
Witching Hour.
(slowfoot.co.uk)
Mary
Queen Of Scots
on their album Beachy Head Here I Come offer a curious little collection of
indie-sounding lo-fi pop with dual male/female vocals.
Whether the whimsical, almost naïve sound is what the
band wanted to project is a question for them, but the
innocence of a band starting out is nicely evoked by the
curiously wobbly vocals and timing variations. The songs
are all quite slow and melancholy (lots of minor keys),
with ‘Lyle Lovett On The Radio’ being the perfect
example; there’s a sort of mournful beauty to this one.
Other highlights include ‘Dateline International’ and
‘Lost In Space’. I’m not sure who this album is aimed at
though, which is a shame, as it does have its charms.
(Shenley-Fields-Forever)
Beginners
by Angus McOg
is the project of Italian traveller and muso Antonio
Tavoni, presenting the listener with a combination of
prog instrumentation and rock sounds. The opener ‘Laika’
is anthemic, yet with a curiously homespun feel, owing a
lot I think to the acoustic elements. The vocals are a
bit of an acquired taste, but they do work in the
context of their own music. I particularly liked the
closing trio of songs, ‘Beginners,’ ‘Cold Sand’ and
‘Chanting Mime Hands’ which almost work as a tryptich;
great instrumentation, with the orchestra adding that
little bit extra, and all beautifully produced. Rock
fans and prog fans would get a lot out of this release I
think.
(http://www.angusmcog.it)
On
the self-titled album by Wilkerson
(one Danny Wilkerson) the mood is retro and the vibe is
kinda ELO, certainly with regard to the opener
‘Everybody Loves To Love.’ In the melodic structures and
arrangements I was immediately reminded of Duncan
Maitland, and, therefore, of Pugwash. But this is
original stuff, of course. The production is busy and in
places manically busy, but, again, this does work by and
large. Highlights in this rollercoaster of an album
include ‘Enough For Somebody’ and ‘Too Much Of A Good
Thing,’ which for cheeky Rhodes-based tunesmithery
almost out-Pugwashes Pugwash. Excellent stuff. ‘Comes In
Waves’ carries a great tune with a lovely vocal:
Wilkerson has the talent and voice to carry this. A good
album, if a little too busy in places, but which for
fans of melodic rock will be a very nice discovery.
(www.dannywilkerson.com)
Kersbergen
& Janisch
is an album of electronica based around sampled acoustic
instruments – piano and cello for instance – with more
esoteric sounds over the top. The main track occupies a
quarter of this short album, adding a sampled shenai to
bring world vibes. The mood is ambient, with the lack of
information on the CDR adding to the sense of mystery.
Drones on later cuts compete with skreeling electronic
noises and deep cello scrapes. Enigmatic.
(kersbergenjanisch.bandcamp.com)
Different
Planet
by London-based psych outfit Deep
Cut is a kind of harmony vocal saturated look back
to trippy times, full of jangling guitars and Motown
drums. Main man Mat Flint (formerly of Revolver) sounds
a little like The Charlatans’ singer Tim Burgess, to
great effect. Opening cut ‘No’ has it all: pop hooks,
nice instrumentation, retro vibe. ‘Still Counting’ is
more of a garage rock piece, while ‘Washed Up’ returns
to the washes of harmony vocals. Very nice sound.
‘Spiralling’ brings it a little more up to date with its
sampled drum beat sounding a little like Stereo MCs,
while ‘Sharp Tongues’ is the Indian-travelling song,
albeit with punky bass and keening, stretched-out
vocals. The title track is a mash-up of the garage feel
and the 90s rhythm track. Some vocals are male, some
female, which is a nice touch, and when the two join and
harmonised the stacks of vocals are terrific. An
enjoyable album with lots of variety. Great listening,
this one.
(www.garedunordrecords.co.uk)
Twin
Powers Vol III
from Feu
Robertson and Vitaphone
is a dual project for the Partycul System label, here
created for a 12” vinyl release. The Feu Robertson
tracks sound a bit like an alternate world Fall
collaborating with John Cooper Clarke; non-conformist,
yes, and with lots of words. The Vitaphone offering is a
single twenty minute piece of work which after an
extended instrumental build-up morphs into a werd
barrage of sound and vocals, which comes across like a
William Burroughs cut-up of distant melody and
spoken/sung words. Pretty strange. On the same label
comes the “Cyclotron +3” compilation Ultima Triplex,
celebrating the label’s twentieth anniversary, whose
highlights are: 4tRECk (fairy-ground psych of loops);
Immaterial Possession (haunting goth-rock); chevo légé
(ambient sampledelica); Oui Mais Non (dreamy rock
instrumental); and Xela Zaid (minimalist rippling
instrumental).
(partyculsystem.bandcamp.com)
Seven
years
ago I reviewed a rather fine little offering from Ric Kemper with three tracks of half spoken, half sung music. Three
years later I reviewed his album “Electric Rooms” which
was also rather good. Now comes a new offering, Cursus,
which has a distinctly bluesy feel: E/A/B chords, blues
harmonica, and, indeed, a song about the blues. The
man’s lazy, melancholy voice is in fine form here, with
the opening two cuts both excellent. ‘Twilight’ is
rather weird, while on ‘Radio Blues’ the guitar playing
comes to the fore. ‘Driving West’ is inimitably Kemper,
his voice somehow off and on the music at once, while
‘Another World’ continues the overdriven gee-tar feel.
Album closer ‘Cursus’ matches beautifully recorded
acoustic guitars with a slow, yet heavy feel. I hope Ric
won’t mind me calling his work slightly shambolic, even
lo-fi in places, but I mean that in the best possible
sense, in that, through natural inclination and via his
wavering, yet sincere vocals, he manages to bring a
unique English quirkiness to his music, which is very
appealing. Check him out, and you might get sucked into
his world…
(www.rickemper.uk)
King
Cobra
by The Senior
Service opens with what I can only describe as a
homage to The Stranglers via some kind of alternate
mariachi band conducted by Ennio Moricone… I think that
covers all bases. This is music which seeks to evoke
film soundtrack instrumentals. The brass quotient is
high, the production very professional, the guitars
suitably twangy. Listening to this you’re plunged into
the 1960s and 1970s via some clever musicology. My main
problem with the album as a whole is that it all sounds
pretty much the same. Perhaps these are soundtracks from
the same film. Good fun, then, but a curiously empty
listen.
(www.damagedgoods.co.uk)
Angstparade
by stoner/doom band Daemon’s
Child is German metal with shouty vocals, heavy
bass, heavy drums, and sludgy guitars which also are
quite heavy. If you like the sound of shouty vocals,
heavy bass, heavy drums, and sludgy guitars which also
are quite heavy, then this is for you. It would probably
help if you understood the German language.
(www.zygmatron.de)
Thank
you
very much for those insights Steve....
I
have received a split cassette featuring Jacken
Elswyth/Sproatly Smith - ‘Betwixt
& Between’ Jacken is London based musician
who plays the banjo, she draws on the old-time
Appalachian style of songs and accompanies these with
drones and improvisations. This is the third release on
the label and features on her side four compositions.
‘Glory in the Meeting House’, ‘Improvisation on Sweet
Lemeny’, ‘Last Chance/ Sandy river Belle’, and
‘Improvisation’. Jacken also accompanies her banjo
playing with shruti box drones on these dance tunes and
improvisations. The other side is given over to
Herefordshire’s Sproatly Smith who duly deliver a 15
minute song called ‘Vichai’, in their typically eclectic
style they take in a touch of Hawaiian slide guitar,
wooden flutes, samples of ghostly gospel songs,
owl-calls and ringing bells, to create a pleasing piece
of music. A few copies of this series of cassettes,
CDR’s and prints are still available from £5.00 each
from https://betwixtbetweentapes.bandcamp.com/.
Jacken
has also just put out another cassette which is a split
release with Quinie, they share a side each just like
the previous cassette, jacken’s side consists of four
banjo pieces plus a venture into English folk-songwith a
recording of ‘The Banks Of Green Willow’ which was made
in a filed in Herefordshire. On the Quinie side is a set
of songs on which we have bells whistles and percussion,
interspersed with ready drones, Quinie is joined by
Gordon Bruce and
Tom Merewether.
Kadonnut
Manner
– The First Train
to Kajanaland # (Finnish Primitive Guitar, Volume 2).
Out now, on
Creative Class War Records. For fans of American
primitive guitarists, I can heartily recommend a new CD
by Finland’s Kaddonnut Manner, the project of Finland’s
Lauri Manner, an exceptional guitarist who has studied
Basho, Fahey and also modern guys such as Jack Rose and
Glenn Jones. The album is purely instrumental with
finger picked steel strung guitars being the order of
the day. This is Lauri’s second album after releasing a
tape in a miniscule run at the beginning of 2017.
Kadonnut Manner means Lost Continent, a description that
Lauri says is the way he feels about being European and
a human being in 2018, it feels as if the whole
civilization seems to be sinking into the ocean and the
only way he can keep calm, is to play these intricate
finger picked guitar tunes. There are songs influenced
by evil creatures, short stories, poems and the Finnish
landscapes feature prominently, there is some
crystalline playing, some beautiful compositions and
unusual tunings on display. This record would sit very
nicely in the Kicking Mule discography and if you have
enjoyed the recent albums by Michael Chapman and William
Tyler, then I’m sure that you will enjoy this fine
record. It’s available from kaddonnutmanner.bandcamp.com.
Dylan
Walshe
- All
Manner of Ways. Available on CD. This
is a self released album by an Irishman who has
relocated to Nashville, Tennessee. This is Dylan’s
second album (the first being a live recording) and is
firmly in the singer-songwriter category, containing as
it does a nice blend of Irish and Americana music. On
first listen I immediately picked up a touch of The
Waterboys (if they were from the states), we get dobro’s
and fiddles, bowed double bass, acoustic guitars, steel
guitar, accordion and electric guitars. Of particular
note is the fiddle which is played beautifully
throughout by John Mailender, and given prominence on
the majority of the songs. Dylan has an appealing whisky
soaked voice, and the lyrics of an Irish poet, I’m
reminded of Terry Clarke another transplanted Irishman,
this time one that made his home in Austin, Texas. Dylan
has surrounded himself with a mix of Irish and American
musicians, such as Andy Gibson from Hank Williams 111
who plays some lovely Steel guitar on ‘Luck is a Begger,
Luck is a King’, and James Fearnley of the Pogues who
contributes Accordion on a couple of tracks. He has been
heartily endorsed by Christy Moore who said of him “He
is a wordsmith & a fair chanter, it does my heart
good to hear him sing”. He has also paid his dues,
playing support to a number of greats like Ramblin’ Jack
Elliott, Ray Wylie Hubbard, Bobby Bare, Peter Rowan and
The Blasters. I enjoyed the album a lot and feel that
with enough exposure could do well for him. Available
from dylanwalshe.bandcamp.com
Opel
- Sand And Stone Suite.
Available on CD. Opel
were a two piece band, consisting of guitarist Warren
Wilson and singer Claire Colley.
They recorded an EP plus an album of psych folk
flavoured tunes in the mid to late nineties. This is a
collection of their songs that were either unreleased or
are different versions but with four new songs dating
from 2018. Bookended by two versions of the title track
‘Sand and Stone, it is an interesting album which would
appeal to fans of acid folk, in fact the band refers to
their music as wicker rock. These versions are quite
different in their readings the first being a raw
acoustic demo. On ‘She Don’t Care’ I’m reminded of Meg
Baird from Espers. They also do a fine job on ‘She
Smiles’, the Spirit song on the album ‘The Family That
Plays Together’. ‘Running Ghost’, is a beautiful ghostly
ballad with barely there instrumentation. In fact we are
halfway through the record and so far it’s all so very
fragile. Things do pick up with the next song ‘Most
Important Days’ which adds organ/ keyboards and features
double tracked vocals. ‘Dreamer’ is about the most rock
they get, it features skittering drums and electric
guitar with a wah wah effect, before it explodes into
some mighty unexpected rifferama before settling down
again for a few beats and the song repeats and fades,
nice. ‘Believer’ slows things down with a mainly
acoustic song; it was one of the bands first songs and
here sees a 2018 reinterpretation. The record ends with
their 2018 version of the title track with added organ
and electric guitars, this was briefly available in the
run up to Fruits de Mer Records 16th dream
event (as were a couple of others on the album). The
record is available in an edition of 40 copies from
Reverb Worship reverbworship.com
The
Ego Ritual
E.P CD on Kool Kat Music www.koolkatmuik.com.
This is the debut release by new UK
psychedelic/alternative rock band The Ego Ritual which
consists of James Styring: vocals, William James Ward:
all guitars and Gaz Wilde: drums. It’s a pretty decent
stab at psychedelic flavoured rock with a few Eastern
flavours; there is even a touch of power pop and paisley
underground. The cover art is by Mick Dillingham and
Marc Lacey. The first of the four tracks starts with a
catchy song entitled ‘Chakra Maraca’ which sounds like
1967; it begins with a sitar, has some excellent guitar
solos and rocks along nicely. ‘Ten Points for the Red
Star’ also has some blistering guitars, thundering drums
and a mystical trippy middle section. ‘Serenade the Ley
Line’ is a shake your money maker groover, much crunchy
rifferama. The four track EP ends with ‘Days Of Set’ a
sea shanty, all spangled guitar lines, urgent vocals,
adrift on a tempestuous sea, crashing drums and crashing
waves and plenty of classic guitar solos move things
along nicely, all in all its a good introduction to a
promising new psych rock band.
The
Quietened Village
- A year In the
Country. Various Artists CD. This is a reissue of
the 2016 album with new accompanying notes by the
contributors, a revised track listing, three previously
unreleased tracks and a new badge, sticker and print
designs. We lose David Colohan and add in The Heartwood
Institute, Field Lines Cartographer and Pulselovers.
Here
is the original review by Simon Lewis in 2016 https://www.terrascope.co.uk/Reviews/Reviews_May_16.htm#QuietVillage.
And here is a link to where you can order this sumptuous
new edition, which in keeping with the label is
available in two editions Dawn Light and a Nightfall
boxset, find it @ www.ayearinthecountry.co.uk
The
Chris
White Experience - (Volume One).
Chris White of the Zombies has just
released an album of songs which date from 1976 onwards.
The Zombies are due to inducted into the Rock And Roll
Hall Of Fame later this month. Chris was the man
responsible for writing over half of the seminal Odessey
And Oracle which he also co produced. Here is a highly
melodic album featuring Colin Blunstone, Matthew Fisher,
Tim Renwick, Rod Argent, Russ Ballard, Jim Rodford and
John Verity. Some of the highlights are the opener ‘Why
Can’t You Lie To Me’, with breathy vocals by Colin
Blunstone ‘Good For You Darling’ featuring some lovely
fluid guitar from Tim Renwick. ‘Ride On The Wind’ with
John Verity. ‘Taking The Wings From Butterflies’ again
featuring Colin Blunstone and ‘Like A Shotgun’ featuring
Maggie Ryder on vocals. All in all this is a highly
melodic album, one which is a welcome addition to the
story of one of England’s finest bands of the sixties. www.thechriswhiteexperience.com
Dali
Mraz – Level 25.
Composer and Drummer Dali from the Czech Republic has a
new album on which he is joined by 20 musicians from all
around the globe. On the album he hopes to demonstrate
the transition from childhood to adulthood. Well, the
level of musicianship on this album is truly staggering,
I think that all of the contributors are well respected
in their fields and are all basically virtuosos. Russian
keyboard player extraordinaire Valeriy Stepanov is
probably the most well known, he is joined by master
guitarists Martin Miller, Mike Gotthard and Lawrence
Linea. Bass players Frederico Malaman, Romain Labaye and
Junior Ribeiro Braguinha plus another four! The sounds
range from Jazz rock through to progressive rock, a few
light classical tropes appear and the drumming of album
creator Dali is just off the scale, the album is a gem.
Opener “November” sets the scene with a kind of Larry
Carlton on steroids type tune, the percussion is
playful, the bass funky, plus the fluid guitar solos are
highly accomplished. “atoN”
has some terrific piano playing. “Attack” sounds like a
very funky version of late Soft Machine, all tricksy
time changes. “Friend” calms things down with a lovely
piano led piece. “You Know” is as deep as an ocean, yet
remains quite playful. The
celebratory “21” rocks like a bastard, I’m getting Allan
Holdsworth and the kind of stuff Stomu Yamashita was
putting out in the early seventies, in other words very
progressive. And so it goes “In My Mind”
sees them tackle progressive jazz rock in style.
“Without Noise” is a calming elegiac tune which works
well in breaking up the onslaught. “32nd
Notes To Mraz” is a song where they through in
everything bar the kitchen sink. The album ends with
“Ehm..Just..”, a tonal piece that is complex, melodious
and cathartic. For once as a reviewer I feel that I am
not worthy of reviewing this astonishing piece of music.
www.dalimraz.com
Bones
And Theaft – Mickey.
Based on the poems of One Shoe Mickey, and
available as a combined book and CD. John Bentley vocals
and words is joined by Ian Mckean: guitars and
keyboards, Admiral Lord Biscuit: drums, Arthur Bentley:
Alto Saxophone and Bird Radio: flute and keyboards. This is a song novella of poetry detailing the life and times of
Mickey who lives in a cardboard box on the streets of
south London. He brain is scrambled but his heart is
pure. He spends his day collecting odd gloves which he
hangs up hoping to find its other half but also on a
quest to find the one true glove reputed to be lost
somewhere in the ancient and mythical city of London. We
have ten mainly spoken word songs, during which we are
introduced into Mickey’s world. There are Songs about
squashed snails and his attempt to glue back their
shells/homes “Snails”. We
have
songs about the police, and the people that they have to
deal with in a typical 24 hour day “Coppers”. A
heartfelt song about a nurse who has to sleep on the
floor, because
her disabled sister uses the only bed! “The Little
Nurse”. A song
that sounds awfully like the spoken word section of
Parklife by Blur entitled “Dirty Jobs”, basically
detailing all the jobs that no one wants to do, here is
a snippet “We got unpaid volunteers digging graves for
the refugees who never made it. Drrowned in the wide
ocean, mis-sold a sponge filled life jacket, to go with
the hopeless notion. A
song about a character called “Mutt And Jeff” who is
indeed, as deaf as a post. It
ends with “The Camberwell Road” which details one of
Mickey’s daily trudges; it’s a well observed song that
is both beautiful and sad. https://bonesandtheaft.bandcamp.com/album/mickey.
Also out on the same label is Bones
& The Aft/ Bird Radio -
You’ve Been Kind on hand made limited edition
vinyl complete with booklet featuring lyrics and
artwork. This album documents a tour out to fans homes
and gardens to play various songs asking no fee but a
pass the hat arrangement, as a special thank you they
made up a song for each of these houses; using the same
line up as before. A lot of the songs feature the flute
playing of Bird Radio which lend the songs a nice vibe,
plenty of crunchy electric guitars, a punkish attitude
and songs with titles such as Eeldogs, Tectonic Plates,
Garway Hill and the title track You’ve Been Kind. This
album has been hand made with love and is heartfelt. A
Liver And Lights Production www.bonesandtheaft.bandcamp.com
Emily
Fairlight – Mother Of Gloom.
Here is the debut album by Emily who hails from
Australia, lives in New Zealand but recorded this album
in Austin, Texas. The band consists of Emily: vocals and
acoustic guitar. Doug Walseth: Acoustic and electric
guitar and bass. Andrew Bain: bass. Cully Symington:
drums. Austin Smith: violin. Rob Bernard: banjo and
Kullen Fuchs: trumpet, accordion, omnichord and
vibraphone. It is an assured debut that sits squarely in
the females with highly distinctive vocals bag, she has
a distinct warble to her voice. On first impression I’m
reminded of Jesse Sykes, Lucinda Williams and Cat Power.
“Body Below” is an excellent opening song, just the
right amount of gloom and hanging strings. “Drag The
Night In” follows and is also a very strong song, shades
of Mary Margaret O’Hara. “Water, Water” is another fine
song, dripping with country noir. The more upbeat
styling of “Time’s Unfaithful Wife” helps disperse the
gloom a little but really it’s a song about the marching
of time and how it slips like sand through the fingers.
“Sinking Ship” has some lonesome whistling and a martial
beat. “The Bed” is reminiscent of Calexico, probably due
to the trumpet and drifting accordion. “Loneliest Place”
really is a bit too much gloom, even for me, it again
has accordion and trumpet. The album ends with the short
but stately violin accompanied “Breathe Baby, Breathe”
an exquisite chamber folk piece. Find it at www.occultation.co.uk
it’s a joint release with Fishrider Records www.fishriderrecords.com.
Misty
Lane records from Italy have just repressed their Circles
End LP “18 Dutch Folk Pop Dreams Vol 1” which
featured some truly obscure Dutch folk pop songs from
various artists, most of whom may have only issued a
single or two whilst they were active. The date of these
songs, range from 1968 through to 1973. It was initially
released in December 2018 in an edition of 500 which
sold out in the blink of an eye. Featuring little known
artists, such as; Jon Wyce, Richard Neal, Fon Klement,
Double You, The Marigold, Linda Christine and Judith
Angela, amongst others. This is an excellent folk/psych
release which you now have another chance to get hold
of, highly recommended. www.mistylanemusic.com
Also
out on
the same label are a couple of 7” vinyl singles. First
a new, old Twink single, on which he re records his classic “10,000 Words In A
Cardboard Box”. This dates from 1999 and he is backed by
the group Smallstone. Over on the flip side we have an
unearthed song from 1968 entitled Zion De Gallier
“Geraldine”. This was recorded at Abbey Road with Dane
Stevens lead vocals, Mark Wirtz on keyboards and
Mellotron, John Wood bass and Twink playing drums. www.mistylanemusic.com
Misty
Lane Records have also released a cool 7” by The
Mods dating from 1966 on which they deliver a
couple of ace garage punk songs, their signature song “I
Give You An Inch (And You Take A Mile)” and the equally
brutal “You’ve Got Another Think Coming”. Both of these
singles are limited to 300 individually numbered copies
and the album limited to 500 copies also hand numbered.
Find them all here at www.mistylanemusic.com.
Abul
Mogard – And We Are Passing Through Silently.
This is a collection of songs which have been reworked
by Abul between 2015 and 2018. Emerging in 2012 with a
much sought after cassette for Steve Moore’s VCO record
label. Abul is a
synthesiser player who it is reckoned is actually
another musician in disguise, various artists have been
offered up from Moby through to Tim Hecker. The story
goes that he is a retired metalwork factory worker from
Serbia. Here he tackles songs from Aisha Devi, nick
nicely, Becoming Animal, Clodagh Simonds/Brian Eno and
Penelope Trappes. The songs are dense, drifting, drone
filled ambient synth pieces which build and decay
nicely. He shows a complete mastery of the synth and its
capabilities, stretching out the songs on modular
synths, Farfisa organ, samplers and digital
manipulation. I hear everything from Future Sound Of
London through to Tangerine Dream, I expect Wire
magazine will adore him. www.houndstoothlabel.com
State
Records
are on a bit of a roll at the moment especially with the
latest Embrooks album. They have just issued a 500 vinyl
copy single by The Galileo 7 Too Late/ The World Looks Different Today. The Medway
rockers, fronted by Allan Crockford, have released five
or six albums so far with another due this summer; from
which this limited single is taken from. Both of these
tracks are exclusive to this single, the lead off track
is presented in Mono and features vocals from Viv her
first on a 45, cool guitars and organ with a cooking
rhythm section propel this poppy song along at a fair
pace and the second track is a completely different take
to the version that closes out side one of the new
album, a nice confection with a poppy flavour, it’s
rooted in the sixties, lovely melodic harmonies,
swirling organ and crunchy guitars. www.staterecords.com
Spaceship
– Outcrops.
Mark Williamson has a new album out and this time it will be released on vinyl. Mark
has relocated to West Yorkshire and has again taken his
recording equipment outside to record some of the sounds
of nature in his new locale. He specialises in recording
in rural locations adding found sounds to these
hauntological, geophysical synthesiser recordings. For
this latest release we have four tracks, the first the
‘Whirlaw Stones’ is a twelve minute drifter which builds
and decays nicely. These recordings were made in a
series of small caves in the upper Calder valley and
Cliviger gorge. ‘Orchan Rocks’ which opens the record is
slightly unsettling, ten minute song, during which we
are entreated to a slowly unfurling movement by which
the senses are stimulated by various sounds of nature
such as crows and songbirds.
‘Hawk Stones’ is much more animated and
percussive but still informed by the sounds of the
countryside. The final song ‘Bride Stones’ is another
twelve plus minute song during which I’m sure I can hear
the bleating of synthesised sheep, anyway the record is
well suited to the vinyl format offering two tracks per
side, its due to be released towards the end of May. For
more information contact John Jervis @wiaiwya@hotmail.com
Datura4
– Blessed Is The Boogie.
Hailing from Western Australia, the Datura4 return
for a third album, which like their predecessors is
released on the Alive Natural Sounds record label.
Straight out of the traps we are treated to a glammy,
rocking set of songs, double tracked guitars, blistering
lead guitar runs, a terrific rhythm section, a few
touches of wah wah, some fat open riffing, and meaty
vocals by band leader Dom Mariani, who co wrote all the
songs and gets to unleash and indulge in his love of the
boogie, the songs are infectious, some in formed by
harp, slide guitar and organ. This is boogie glam and
dares you to keep your feet still, all you cats and
mouses get ready, boom, boom, boom. On this record we
hear Dom’s1969 black Les Paul guitar, previously owned
by Sitting Bull guitarist Paul Felton. Unsubstantiated
rumours claim that this magic axe may have once belonged
to the legendary Daddy Cool, showing a clear arc from
the birth of Australian blues rock through to this
modern day classic which is informed by plenty of
driving, boogie blues, think John Lee Hooker mixed with
George Thorogood and the destroyers, topped off with a
healthy dollop of glam rock. Out now, available from www.alive-records.com.
Just
as I was going to submit these
rumbles, a package has arrived from Boring Machines in
Italy with three records, firstly Everest Magma –
Minus Plus Escapism. This is the band’s third
album, a record described as a blues for the year 3000,
the record is inspired by Salvia Divinorum. It has been
created using voice, acoustic guitars and various tapes
and effects, I detect the harmonies of CSNY and maybe a
little Cat Stevens. Also out on Boring Machines is Fabio
Orsi – S/T a highly prolific artist who
operates in the Dance/Electronic field. Since commencing
recording in 2006 he has put out some 40 albums!
It consists of two lengthy pieces both of them 20
minutes and both untitled. Its classy, immersive,
experimental, drone based electro music. Lastly we have
BeMyDelay – Bloom Into Night. This is the
project of Italian born Marcella Riccardi from Bologna
where she bagan her career as guitarist for Massimo
Delano. For this record she has focused more on acoustic
folk and archaic blues. The record features Marcella:
guitars, vocals and farfisa along with Dominique
Vaccaro: guitars and Vittoria Burattini: drums. Along
with guests, Egle Sommacal: guitars and Bruno Germano:
piano. I swear
that I can also hear hammered dulcimers but upon
checking it is actually a Khim played here by Egle. The
songs are sung in English and are located in the
spectrum of English folk and west coast rock,
impassioned vocals, plenty of hazy lazy psychedelic lead
guitar lines framing these songs to great effect, I’m
reminded of Karen Elson and also of Jesse Sykes with her
terrific vocal style. Marcella has produced an excellent
record, plenty of space for the instruments to frame
these never less than interesting arrangements. www.boringmachines.bandcamp.com
Burnt
Paw
- Lunar Vortex Incantations.
Handmade cdr, with four prints.
‘I Will Always Be A Wanderer’ was his first
release, swiftly followed by an EP entitled ‘Stolen
Apples Lost Crowns’. Lunar
Vortex Incantations was born on the side of a hilltop
under a ruined tower below a silver crescent, so says
the promo sheet. ‘Diamond Fear’ the opener is
a good introduction to the album coming on like
Alexander Tucker, shades of Stone Breath, the playing
more Jack Rose, Glenn Jones and American primitive. It’s
a song about a hawk and about mortality.
His finger picked acoustic guitar style of
playing, accents his laconic delivery very well. ‘Amber
Cave’ sees him on a poetic but fruitless search, the
song is really nice to an acoustic guitar and harmonium
led tune, elsewhere there are splashes of piano.
‘Emanations’ twinkles in the atmosphere at dusk, slow
and courtly, guitar playing over the top of a musical
box that gradually runs out of wind. ‘Fire Maidens’ has
a touch of urgency about it, more magic stones, riders
and wolves, “we left our bones to the wolves” The EP
ends with ‘Silver Antlers’ “the
moon is rising our feathers start to glow twilight
surrounds us ragged winds blow distance is calling the
hills hold out their arms a crown of silver antlers to
illuminate the drowning road”. Rather liking this
release, it’s what they call a real grower. Andy
(Burnt Paw) contacted me and said that he had just
seen the line up for the woolf festival and said they
were all artists he loves and he would love to attend
but being way up north it might be difficult but he
will try. He asked if he could send me CD, well I’m
very glad he did because it’s just the kind of thing
that Ptolemaic Terrascope has highlighted over the
years. Find it
here. https://burntpaw.bandcamp.com
Until next time, happy trails - Andrew Young.
Terrascopic Rumbles for Spring was brought to you by
Andrew Young and Steve
Palmer. Artwork, layout & direction by Phil
McMullen © Terrascope Online, 2019
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