|
|
|
|
|
|
|
|
|
|
=
March 2019 = |
|
|
Big
Front Yard
|
Steve Gunn |
Brainiac 5 |
Matthew Edwards |
Embrooks |
Willie
Gibson |
Astronauts,
Etc |
Jim Spencer |
Kitchen
Cynics |
Oliver
Cherer |
Sonora
Sunrise |
Bitterns |
Green
Seagull |
|
|
|
|
|
|
|
|
|
|
|
|
BIG FRONT
YARD – BIG FRONT YARD
(2LP
from
Thylacine
Records)
1973
was
a peak in the timeline of musical exploration
for a younger me, and picking through my shelves
today, still crammed with albums from the
British leg of the country-rock underground by
the likes of Bronco, Hookfoot, Help Yourself,
Quiver, Brinsley Schwarz, Home, Byzantium, Gypsy
and Cochise, it’s interesting to note how many
albums from the years up to and including that
date have survived both my changing tastes and,
more tellingly perhaps, my occasional
record-selling purges when times was ’ard. By
1974 both musical fashions and production values
were changing, ushering in a funkier, often
keyboard driven groove; bands like the Neutrons,
Snafu and Hobo briefly held sway over my bedsit
dance floor, while by 1975 a harder, rockier
edge still was introduced by the likes of Ducks
Deluxe and Bees Make Honey as the glorious flame
of the Pub Rock era lighted my way into a new
world of the 9 to 5. The Brinsleys, of course,
were still there; they simply cranked up the
volume and went for it. By 1977 the whole thing
was all over, in so many ways.
Just
occasionally
the field still gets overturned by musical
detectorists to reveal a glinting treasure from
that period, though I confess it’s been a while
since anything really floored me; the Greasy
Bear recordings from a few years back is
probably the only recent example. The
(re-)discovery of Big Front Yard is though a treasure in every regard, and Thylacine
Records – not the same one that released some
Violent Femmes records a decade or so ago; this
is a Shagrat Records subsidiary - are to be
congratulated for putting together this
absolutely fascinating double album of
previously lost recordings dating from between
1973 and 1975, from a band which included
brothers Mick and Steve Dolan (ex Hard Meat),
both now sadly passed away along with, it seems,
everyone else in BFY.
‘Morning
Glory’ is an early favourite; Nigel Cross
rightly maintains that this song in particular
always reminds
him of Traffic, placing him back along the
highways and byways of the West Midlands, the
birds singing, the church bells ringing, the
era of John Barleycorn or Low Spark.
Big
Front Yard guitarist Mike Dolan
actually went on to play on Traffic's Far
from Home LP so he’s obviously not far
off the mark. I have to confess though that
the song always puts me in mind of the
Neutrons, which is no bad thing in itself.
Over on side 2, ‘Keep on Keeping On’ is
notable for the warm harmony vocals and a
majestic guitar solo – I can easily imagine
this being one of Big Front Yard’s end of set
dance-floor favourites. It reminds me of
Home’s ‘Red E. Lewis And The Red Caps’.
There’s
then a brief run of absolutely outstanding cuts
on side 3, including ‘Time it Right’ which is
pure, unadulterated West Coast rock –
whichever of the Dolan brothers, Mike or
Steve, sings on this one he sounds exactly
like Jay Ferguson, and the song like an
outtake from one of his much-maligned solo
albums. The song then takes off on a long,
dazzling twin-guitar passage not a million
miles away from the Man band in their pomp,
before picking up again from where it left
off. Another dance floor favourite for the
boys on their night, I strongly suspect. This
is followed by the sublime ‘In Your Wagon’, a
heart-rending ballad written by some time
Dolan sideman Phil Jump which is built on an
exquisite lattice work of guitars. A
slow-burner to end the night, swaying on the
dance floor with the girl of your choice in
your arms.
There’s
more
choice cuts in store over on Side 4, including
the opening psychedelic rocker ‘Mad John's
Dream’ with what sounds like a B3 Hammond
cabinet in full swing. This was the B-side of
the group's one and only 7" 45 released on the
Rampant label; and the closing ‘Godzilla’,
a lengthy instrumental showcase, shades of Wishbone
Ash or, again, the Man band.
All
in
all a fantastic double album which is worth
every moment of the several months of
negotiation and brilliant restoration - the
latter in the capable hands of Tony Poole, ex-
Starry Eyed and Laughing, who themselves also
date from that (to me, at least) critical period
of British music, 1973/5.
(Phil McMullen)
|
|
|
Home
|
STEVE
GUNN – THE UNSEEN IN
BETWEEN
(LP/CD/DL
on Matador
Records)
Steve
Gunn is a treasure.
The non-flashy singer-songwriter from
Brooklyn, and originally the Philadelphia area,
crafts thoughtful songs and is a prodigious
talent on acoustic and electric guitar.
Fresh off producing Michael Chapman’s
latest, he brings us The Unseen in Between.
Gunn has now been making music for a
little over ten years.
While his early work was folk-based and
largely acoustic, he has gradually incorporated
more electric guitar into his repertoire (and
the man can play).
The Unseen in Between strikes a balance,
with a representation of really all his styles
from past to present.
Subtlety is the watchword – usually – and
The Unseen in Between is a perfect title for
appreciating his work and the rewards it brings
the astute listener. The
album’s nine songs feature a sparkling
production by James Elkington and engineer
Daniel Schlett.
From
the opening acoustic strums of “New Moon,” Gunn
and Elkington gradually build up the sound to
include tremolo guitar, harmonica, strings,
atmospherics, and a wah-wah flourish at the end.
“I see a glimmer” he sings – “across the
wall, through the mirror.
Out past the street, beyond the weather.
To that place no one seems to know.”
That is both the intro and the essence of
The Unseen in Between and Steve Gunn’s message –
look further, then further still.
“Vagabond”
is a mid-tempo roller, with acoustic, pedal
steel, and Gunn’s wah-wah playing, and graced
with guest Meg Baird’s harmony vocals.
It jaunts along with a Dire Straits-like
feel, as Gunn sings of romantic but lost
characters on society’s fringes, with words like
“Camped out in a graveyard.
Took a job to clean some tombstones.
Like lovers in a shadow of a crooked
dream.”
“Chance”
is in the classic Gunn electric style, much as
the later “New Familiar.”
In both, Gunn introduces a laid back,
linear, hypnotic, labyrinth-like acoustic intro,
which forms the song’s underlying basis.
He and the band take their time settling
into a nice groove, slowly building the verses
and choruses. Then
he takes his Strat and goes exploring for, well,
The Unseen in Between.
In “Chance,” Gunn veers off, riding a
towering wave of guitar feedback to the song’s
conclusion. “New
Familiar” is the album’s crowning point.
The buildup and guitar layering are most
splendid on this six minute piece of psychedelic
heaven. Gunn
plays a blistering solo to round out the song.
I’ve listened to the song 1,457,689 times
and haven’t tired of it yet.
“Chance” and especially “New Familiar”
are sure to become concert favorites – and he is
marvelous in concert.
“Stonehurst
Cowboy” is a gentle acoustic ballad about
nostalgically revisiting his old neighborhood.
The song is inflected with sadness and
loss from the death of Gunn’s father two weeks
after the release of his excellent previous
album, 2016’s “Eyes on the Lines” after a
two-year fight with cancer. Gunn
spent precious time with his father near the
end, getting to know each other as never before,
and the lessons and experience inform Stonehurst
Cowboy.
“Lightning
Field” returns to the sonic territory of
“Chance” and “New Familiar,” with exquisite
layering of acoustic and electric guitars and
soloing by Gunn.
Producer James Elkington somehow draws a
perfect balance of all these guitars, to which
he likely contributed, retaining in crystal
clarity the acoustic guitar foundation amid all
these axes. The
song is about visual artist Walter De Maria’s
work of the same name, comprised of 400
stainless steel poles driven into the New Mexico
desert, intending to catch lightning for display
to onlookers. The
song is humorous, about traveling to see this
majestic phenomenon, only to come away
empty-handed, having seen perhaps a glimpse of
its intended result, or nothing at all.
“Morning
is Mended” is a pretty acoustic song filled with
tasteful soundscapes (and is not a retort to Cat Stevens). Closer
“Paranoid” – definitely no Sabbath cover, rounds
out the album with a big production, including
strings, piano, bells as a nice touch for
accent, and a couple of psychedelic interludes.
The
Unseen in Between is Steve Gunn’s most
well-rounded work yet.
This unassuming, talented young man
rarely goes over the top, though he clearly
could if he wanted.
The songwriting, production and playing
are first-rate, with some new classics to add to
his growing canon.
Sensational work.
(Mark
Feingold)
|
|
|
Home |
THE
BRAINIAC 5 – BACK TO
THE SHORE
(Reckless Records www.brainiac5.co.uk
CD)
Following on from last year’s ‘We’re Ready’,
Cornwall’s finest return with probably their
most eclectic record yet and I mean eclectic in
a good way. The new record is based around an
unused loop recorded during the last albums
sessions, which they have stretched out and
expanded for the 4 part centrepiece to this
record, a song which is split into parts, and
lasts around the half an hour mark.
The album also features a raft of special guests and
a number of styles all of which work
tremendously well. The album starts with the
punkish ‘Long Enough’ which uses lyrics from
E.E. Cummings poem ‘As Freedom Is A Breakfast
Food’.
The first part of this bonkers sea saga that is ‘Back
To Shore’ ( all with Woody as ringmaster) begins
with ‘Back To Shore Pt.1: A Woman’s Work’, this
eight minute song begins with a huge riff before
a recitation appears by Lucy Yuill, it then
features the Zennor Mermaid Chrissy Quayle - who
throughout this album plays terrific flute, sax,
whistle and vocals. We are headed north, to the
Norselands, on a crazy percussive bed which
includes jews harp, (even this song is split
into various parts), unlock the gates, frenzied
manic guitar solos bubble up with a free jazz
undercurrent, phew!
‘Back To Shore Pt.2: This Way’ follows, a nine plus
minute, vaguely tropical tale, narrated by
Oxman. It’s accompanied by harmonica, slide
guitar, more crazy percussion, at some point
Dave Brooks plays some Dega electronic pipes?
Chrissy adds some more delicious dollops of
flute. Further into the song we hear highland
bagpipes and baritone saxophone. It’s as mad as
a box of frogs, there really is so much going on
during this crazy folk inflected sea shanty,
that it’s hard to take it all in.
‘Back To Shore’ Pt.3: Tribute To Alex Ward’ has some
blistering lead guitar, a cool tenor sax figure
by Oli Arlotto is utilised to fine effect,
acting as a repeated riff throughout this
shorter piece. We now arrive at the longest song
of the saga ‘Back To Shore Pt.4: The Seal Man’.
A twelve plus minutes song, introduced with
lyrics from Rebecca Clarke’s “The Seal Man”. It
is an epic song, filled with bird song, bubbling
African style percussion, lead guitar,
percussion, Jew’s harp and drums. The baritone
saxophone by guest Oli is blowing a gale, the
guitars mesh together and some textural
keyboards are added. At some point the
proceedings slow down a little and Richard Booth
makes an appearance on underwater guitar.
‘Elegy’, a brief guitar instrumental breaks things
up, before the penultimate ‘What We Can’, a
catchy song written by Charlie Taylor hoves into
view. After all that has gone before this is a
pretty standard rock song. The album ends with
the cool rocking ‘Breaking Up’, a song written
at days end by Duncan Kerr, it tells of black
nights with a monkey on your back, perfectly
showcasing the band which consists of Charlie
Taylor: vocals, guitars, keyboards, drums and
percussion. Duncan ‘Mad Dog’ Kerr: guitars,
vocals and bass. Wayne Worrell: bass and Joe
Malone: drums. This is as varied an album as
I’ve heard for some time, I absolutely love it,
and now can I please lie down in a darkened
room!
(Andrew Young)
|
|
|
Home
|
MATTHEW
EDWARDS & THE UNFORTUNATES – THE BIRMINGHAM
POETS
www.december-square.com
Signed to Paris label December Square Records, this
is the third album by Matthew and his
Unfortunates. The first album was recorded
whilst Matthew lived in California. He has since
relocated to Birmingham here in the UK; the
second album was released by Gare Du Nord in
2017 entitled 'Folklore'.
The band consists of Craigus Andrew Barry on guitar;
Derick Simmonds on drums; James Cotterill on
bass, David Roberton on Mellotrons, piano and
theremin, plus Matthew on vocals and guitar with
guests Dagmar Krause, Danielle Cawdell, Kirsty
Griffiths and Jennifer Edwards. It was recorded
at the Woodbine studios by John Rivers.
This is a very impressive album of highly literate
songs, which I wholeheartedly recommend; it
features ten concise songs which are melodic and
superbly executed. The albums opening song is
‘Beside Myself’ a soul baring song reminiscent
of Bowie in his ‘Golden Years’ period, it also
has some fine keyboard textures and a few verses
sung by the female backing singers and a
succinct guitar solo towards its end. ‘Bad
Design’ follows this opener with the band firing
complementing each other. ‘Anthony Bold’ is a
song about an orphaned kid who got a full
scholarship to a minor public school, the
experiences of which left him scarred for life.
A well observed song and an early highlight.
‘Desire is a Witch’ is a slightly discordant
rock song, well placed in the album, providing a
little grit. ‘The Sons of Marxist Fathers’ is
ostensibly about his parents, escaping to
California but never psychologically leaving the
Birmingham Shires. The affecting lyrics tell of
a childhood handing out communist literature and
a dreaming of utopia, it’s a fantastic song with
some lovely jazzy guitar, plangent keyboards, it
slowly builds in momentum until Matthew returns
with treated vocals and an amazing nerve
shredding solo played on a bass clarinet by
Chris Cundy.
‘The Birmingham Poets’ the title song is delightful,
guitars bounce, a pretty, melodic, descending
guitar figure is added, the song is short and
fairly sparse, but highly affecting. Here’s a
sample of the excellent lyrics “I told my mother
I was forthright and stoic, mum I’m jumping off
the rocks with the Birmingham poets”.
‘California, Can You Wait’ is a terrifically
catchy song which should probably be released as
a single; complete with bahbah interjections,
ala ‘Reward' by The Teardrop Explodes. ‘Our
Boldest Daughter’ a song which expresses the
happiness and pains of family life, is another
well observed song. ‘The Rag trade’, has some
great precise guitar parts, textural keyboards
and distinctive vocals by Dagmar. The album ends
with‘We Think the World of You’, a song written
the day after Matthews father died. In fact the
album was recorded in a difficult and turbulent
period with Matthew’s mother passing just as the
record was completed, one of the band members
had cancer, plus another member had a breakdown
and also lost his mother too!
This is one of the finest albums I’ve heard in quite
a while, the songs are well written and concise
without a wasted note, the playing is
exemplary.I highly recommend you seek this album
out, it’s released on the 5th of
April, I suggest you put the date in your diary.
(Andrew Young)
|
|
|
Home |
EMBROOKS
–WE
WHO ARE
Available on Vinyl/CD/DL www.staterecs.com
This album has been out since the end of December
last year. The band are principally a garage psych rock band,
who were active at the turn of the millennium
for five or six years before splitting. They
reformed and put out a single a couple of years
ago and now return with a new album.
Starting out in 1996 they were heavily influenced by
the moody, minor key mid 60’s US garage bands,
but changed tack after an album and a few
singles to a more aggressive UK freakbeat sound,
delivering the excellent album ‘Our New Day’ for
Bomp’s Voxx imprint. Their follow up ‘Yellow
Glass Perspections’ included healthy dollops of
psychedelia. This new album was recorded on 8
–track, at State Records custom built North
Downs Sound studio.
The record is full of clever surprises, ‘Going But
Not Gone’ is a sixties flavoured stomp with
period jangly guitars, swirling organs and
cowbell. ‘Nightmare’ was released as a single in
2016 and is pretty catchy. ‘Don’t Look At Me’ is
taken at a slower pace and adds some flute, it
sounds like it is taken straight from one of the
Pebbles compilations. ‘Human Living Vampire’ is
a psychedelic punkish freakbeat song with plenty
of 12 string guitar ala The Byrds, this one sees
the band really cooking. ‘Have You Ever Loved
Somebody’ is classy and so very sixties in
style, the first side ends with ‘Riot On
Kingsland Road’ a frenzied rocker, with added
flute and all manner of sirens and sound
effects.
‘Til Tomorrow’ is a sixties styled mid paced nugget,
again with plenty of raw jangly guitars. ‘I’m
Coming Home’ is a lot heavier, crashing drums
and heavy riffs, organ fills and plenty of
searing lead guitar. ‘Baby From The South’ is
perhaps the most British sounding song,
reminding me a little of My Drug Hell’s ‘Girl At
The Bus Stop’. ‘Peace Of Mind’ a gently chiming
guitar introduces this yearning slice of
psychedelia. We move back to the USA with the
classic Sir Douglas Quintet sounding ‘Hang Up’
an organ-drenched affair, it bursts out the
speakers, spewing fuzzy lead guitar everywhere.
The album ends with ‘You Can If You Want’ which
reminds me of Cream, it has some raw harmonica,
a cool bass pattern and everyone’s firing on all
cylinders, a suitable end to a fine album, this
is a class album, welcome back.
(Andrew Young)
|
|
|
Home
|
WILLIE
GIBSON – SAINT- EX
Gare du Nord 10”/CD/DL
www.garedunordrecords.bandcamp.com
Here’s a bit of an oddity, an E.P based on the author
and aviator Antoine de Saint Exupéry,
composed and played on modular synths with a few
vocal lines from Emma Winston and drums by Ian
Button. This is a follow up to the 2017 album
from Willie entitled ‘Vivaldi: Seasons Change’,
an electro classical realisation of Vivaldi’s:
Four Seasons.
Willie Gibson is not his real name, it is a pseudonym
for George Baker who was a Trumpet player back
in the late sixties /early seventies before
becoming fascinated by synthesisers. He has also
set up Ravenwood Music, a production music
boutique with a collection of music libraries
and an electronic themed catalogue. Here he
utilises the following; VCO’s, Tip Topz 3000,
Verbos HO; studio electronics 4075, Lima Flo
Motormouth, Grendel Formant Filter, Toppobrillo
Multifilter, Thomas White Dual LPG; Sequencers
Klee, Oberkorn 3, Tip Top z8000, Stepper Acid;
Misc: MI Rings, 2hp Pluck, Tip Top Fold plus
Roland SE-02, Doepfer, Dark Energy, Make Noise
O-Coast, Moog Etherways plus various plugins.
I’ll be testing you all on these later.
The record begins with ‘Wind, Sand And Stars’ on
which we experience take off and gain a little
altitude before flying over mountains and seas
whilst encountering a storm as the song
progresses, we have an occasional vocal and real
drums, the song moves through a few phases
chugging along nicely.‘Dawn Flight’ all soft
focus memories of an idyllic childhood spent in
France, it is a song that wouldn’t be too out of
place on a Clay Pipe album, reminding me of Vic
Mars or The Hardy Tree. On this song we hear
calming, glacial sounding synths, melodically
twinkling away. ‘Cap Juby’ introduces a little
danger into the proceedings; it’s all a little
unsettling with visions of mirages and
sandstorms blowing all around. ‘Black Pebbles on
a White Plateau’ opens side B of the 10”. Here
we find Saint Ex in North Africa, grounded on a
high white mesa, with steep vertical sides. On a
piece of earth never visited before by man, he
alights and discovers a black pebble, then
further pebbles all the while feeling like a
speck in the vast universe spread out all aroun
dhim. Saint Exupéry went missing in ‘July 44’ somewhere in the
Mediterranean, neither the aircraft or his body
were ever recovered. On this final song we are
reminded that “what is under the ocean of clouds
is.... eternity”.
Also out on Gare du Nord is a tour 7” by Twink, which you may still be able to find a copy of. It was
released at the start of Feb and is still
available as of 1st of March.
It contains two songs ‘Brand New Morning’ written by
him and Picture Box’s Robert Halcrow, described
as
a surreal mix of Manfred Mans ‘Up The Junction’
and ‘Piper At The Gates OfDawn’ era Pink Floyd.
It’s very playful and very English and features
Robert on most of the instruments with Ian
Button and David Woolf. The B side is a Twink
original entitled ‘Dreams Turn Into Rainbows’ a
fine melancholic song, enlivened by Mellotron,
cello, flute, guitars, bass and drums. Limited
to 200copies from www.garedunordrecords.bandcamp.com
(Andrew Young)
|
|
|
Home |
ASTRONAUTS,
ETC. – LIVING IN SYMBOL
(LP/CD/DL
on
Company
Records)
Catching
up
on undeservedly overlooked albums from 2018 (by
us, at least), we have Living in Symbol, by the
Bay Area artist Astronauts, etc., aka Anthony
Ferraro, aka Tony Peppers.
Ferraro is a multi-instrumentalist, with
Living in Symbol his second album.
The album was co-produced by friend Chaz
Bear of Toro y Moi, for whom Ferraro has played
keyboards on tour.
Ferraro plays just about all the
instruments, with the exceptions of percussion
by Brijean Murphy and drums by Jonathan Mattson.
In fact, between Bear and Mattson, you
have two thirds of the excellent 2017 prog/jazz
album “Star Stuff” by Chaz Bundick Meets The
Mattson 2 helping out.
Living
in
Symbol has the feel of David Axelrod or even Les
Baxter-type lounge exotica and Philadelphia soul
updated for the digital, one-man bedroom
recording age. Or,
as my son simply called it, “the coffee-house in
outer space.”
The
album
takes a couple of tracks to find its footing, so
I’ll advance to the third song, “The Border.”
A gentle piano and bass intro leads to
easy listening synth strings.
Dreamy flutes and an organ make way for
Ferraro’s romantic croon.
The song (and most of the album) could be
from either a ‘60s movie soundtrack, or 70s
soul/R&B piece.
Next
up,
“The Room” has the feel of Johnny Mathis in his
prime riding a time machine to the International
Space Station aboard a SpaceX Falcon 9.
Likewise, “9 Fingers” is a lovely melody
gushing with romanticism and love, complete with
a so-cheesy-it’s-lovable spoken word break.
I dig the outro, with Ferraro’s digital
choir fading into him noodling away on piano as
the song fades.
“Fly
Over
Me” just begs for Barry White to do the
voiceover narration over the synth wash.
It leads perfectly into the wah-wah intro
over the bass and drums of “Visitor.”
This song is much like the earlier “The
Border,” but perhaps more chill if that’s even
possible, which is just fine, because by this
point, you’re melting and flowing with the
album’s mellow vibe, and haven’t a care in the
world.
“Who
I
Talk To” is all sugary strings surrounding
Ferraro’s soulful, laid-back crooning.
“Kelly On the Moon” continues the
soothing touch, pulling together all the album’s
elements – the synth strings, a tasteful guitar
figure, and the gentle vocals and harmonies.
Closer “Idleness” is the album’s most
curious track. Featuring
sound effects like phones ringing and footsteps,
the song is perhaps about a dying man in a
hospital. It
includes lyrics such as “I found another leak in
my brain. Not
to fret, it’s just like the others.
A pinprick and its sisters and brothers.
Won’t amount to anything.”
Angelic strings lead to rain sound
effects, a stop-start, and a ride to the end.
Living
in
Symbol is one warm, candle-lit bubble bath of an
album. Astronauts,
etc. has melded together some disparate elements
in time and technology to create a relaxing,
winning recipe.
(Mark
Feingold)
|
|
|
Home
|
JIM SPENCER
– 2nd LOOK
(DL
on
Numero
Group)
Numero
Group
has re-released the small catalogue of
blink-and-you-missed-him singer-songwriter Jim
Spencer, including this, 1974’s 2nd
Look. The
clever consumer will deduce that this was his
second release.
Spencer’s other albums are 1973’s
Landscapes and The Most Beautiful Song in the
Forest from 1977.
Additionally, he formed a band called
Major Arcana in 1975 which recorded one album.
Not
much
is out there about him.
A random search would more than likely
lead the intrepid researcher to a minor baseball
player of that name.
Spencer hailed from Milwaukee, Wisconsin,
and never really broke out of the local scene.
He dabbled in poetry and publishing
underground magazines, and at one point tried
writing a blend of rock and Wagner he called
“The Wrath of the Ring Worm.”
According to Numero Group, Spencer’s
albums were originally issued on the
fascinatingly-titled labels Thoth, Akashic, and
Castalia Records.
Sigmund Snopek II, who played keyboards,
flutes and strings on 2nd Look said
“he had forbidden books in his basement.
He was fascinated by other cultures and
religions and incorporated some of that into his
music.”
2nd
Look, which will most likely be more like First
Look for most listeners, is well-produced
singer-songwriter music of its time.
Fans of Gene Clark and Gordon Lightfoot
should find much to like in its ten songs. It’s
full of tender melodies, and Spencer’s voice is
warm and pleasant.
The subject matter more often than not
tends to be dark and melancholy, touching on
subjects of failure and abject self-reflection.
Opener and sort
of title track “Second Look” is about
regretting one’s decisions in life.
The sound is very Gene Clark, no bad
thing at all.
“No
Place
to Land” is about being rudderless and
struggling to find success and love.
It’s notable for its use of Mellotron,
highly unusual for a US singer-songwriter album.
“There Comes a Time” is probably the
album’s standout track.
It’s a very pretty song, though again the
subject is dark, about realizing the world is a
harsh place in a great many ways.
It again features Mellotron, and reminds
me of Gordon Lightfoot, Jim Croce, and even
Seals and Crofts in some ways.
The
seven-and-a-half
minute “What Am I Doing Here?” clocks in as the
album’s longest track, and is the odd outlier.
A song about getting dumped by a girl, it
features a Traffic-like sound, including a long
jam by the backing band, and is not unwelcome by
any means. “Just
a Little Time with You” is a pleasing love song,
a rare non-depressing song on the album.
“Laura”
is
a sublime piece in waltz-time, written by Ron
Matelic. The
brief instrumental “Interlude” leads to
“Lament,” you guessed it, another melancholy
song, about a lost love.
The lovely baroque piece has madrigal
touches and wouldn’t be out of place on Odessey
and Oracle. “Next
to You” returns to Gene Clark territory.
It’s sweet, upbeat, and – surprise – this
time Spencer gets the girl!
Jim
Spencer
would sadly pass away of a stroke at the young
age of 39, probably brought on by excessive drug
use. 2nd
Look is gentle singer-songwriter work, whose
pretty melodies and Spencer’s warm voice belie
an undercurrent of sadness.
(Mark
Feingold)
|
|
|
Home
|
KITCHEN
CYNICS - THINGS WE PRETEND TO DO
(LP from https://kitchencynics.bandcamp.com/)
Limited
to 99 copies, each with a unique collaged cover,
this collection of tunes is a thing of wonder
created by Alan Davidson, a man who seems able
to pen quality tunes at will.
As with all Kitchen Cynics albums,
there is a historical and sometimes personal
lyrical bent to the tales told within, with
opening track “Katherine's Prayer” concerning
the death of physicist James Clerk Maxwell, it's
haunting refrain matched by gently swaying
guitar lines and a psychedelic twist. Even
better is “Now I Am An Animal”, the music
sounding like a lost Incredible String Band
recording whilst Alan's wistful voice narrates
the story of a dying Inuit found near Aberdeen
in 1728, and how he would feel as he died, the
tune mad even more poignant with the addition of
vocals from Gayle Brogan.
In memory of Tom Rapp, “Being Here With
You” is another gently reverberating tune that
creeps under the skin soft and sad with a
lyrical beauty that lifts it into a sweetly
fading summer sky creating a tune that makes you
listen closely.
Finally on side one, “Bride Of the
Bard” has a more traditional feel both lyrically
and sonically although it still fits perfectly
with the rest of the side.
Reminding me of John Martyn in its
swirling guitar sounds, “Conveth” is a personal
tune concerning a place where some of Alan's
relatives were once weavers, the backgrounds
sounds droning and twinkling under the words
with precision, not a note wasted.
With a guitar sound that seems to have
become Alan's signature over the last few
albums, “condensation” is another classic
Cynic's song that deals with the uncertainty
that comes with old age, the lyrics playful and
nostalgic leading us nicely into “Music Of The
Ages”, originally written by C.O.B. And here
performed with added Phono Fiddle courtesy of
Chris Joynes and Gayle Brogan as well as a
whistle and plenty of random noise/heavy guitar
giving the song a delightfully lysergic feel.
Finally Alan sings of a recently
acquired family Grandfather Clock, a soft slowly
undulating tune that is absolutely beautiful,
conjuring images and soothing the soul, leaving
you feeling relaxed and slightly nostalgic.
I feel that this is one of Alan's
finest moments, the mood of all the tunes is
harmonious, the playing is perfect and there
seems to be a theme of ageing, time and
approaching mortality running through the
collection, highly recommended. (Simon Lewis)
|
|
|
Home
|
OLIVER
CHERER – I FEEL NOTHING MOST DAYS
(LP
from www.secondlanguagemusic.com
)
Musical
maverick
Oliver Cherer creates a real early contender for
album of the year. He began
writing and completing these songs after
discovering a tape of songs dating
from 1983 in his loft, the time lapse might
explain some of the 80’s feel to
them they possess. Labels such as Les Disques Du
Crepuscle and Factory spring
to mind, there is also a label called Kooky
which has put out records by both
Vini Reilly and Oliver Cherer, so a touch of
serendipity. Oliver
plays Vini Reilly’s actual guitar on
some of these songs. It’s been written, produced
and played by Oliver Cherer at his St Leonards
On Sea home studio, with special guests Elaine
Edwards on soprano sax, Riz Maslen (of
Neotropic) on backing vocals, Claudia Barton
ethereal voices, Fritz Catlin extra percussion
and Darren Morris Fender Rhodes.
‘Weight
Of The
Water’ has a cool intro, Oliver has often
reminded me slightly of Robert Wyatt
and this opening song has something of the
Canterbury sound to it, electric
piano and spangled guitars and a light psych
touch, could be early Cure. ‘A
Small Town’ gothic noir arrives, a classy
very parochial English setting, musings and
reminisces of times passing; this
song has some lovely jazzy guitar and benefits
from a soprano sax. You can
almost feel the torpor in the room, all
twitching curtains and small town
minds.
‘Untitled
1983’
with its atmospheric minimal backing, is a well
observed song delivered to a
crepuscular tune. It’s raining and it’s cold.
‘Earth Rise’ is very moody; we
hear a portrait of an artist.
Again it
has a few nice eighties touches and a spiralling
guitar figure. It features
some excellent playing on the ride which forms
the second half of the song.
‘Sinners Of The World’ a bossa nova drum machine
is joined by more of that
spangly guitar and terrific sax. The mood of the
song takes from the song
before it and that one the song before that,
lending a sense of continuity, it
defiantly rails against the machine.
‘Slowly,
Slowly’ a
small town drama, subways and daydreaming,
electric guitar, sax and drum
machine. ‘An Unfamiliar Kitchen’ a strange tale
about a man who arrives at the
station without a name, acoustic guitar and
ethereal vocals, more wistful sax,
a gentle sad song, again the rain is still
coming down, a chair creeks and a
clock ticks. ’Seberg’ what a great tune this one
is, a French gothic noir, all
hanging around smoking looking cool, with
curlicues of guitar notes, peeling
away.
‘Most
Days’ the
title song sees our protagonist inured to the
world, out on the side, unfeeling
and insensate. The tune is feather light, a
pretty confection, with a hint of
the Beach Boys. ‘The Girl on Top of the Trees’
on this song you can see the
bones of this project, principally Fender
guitar, Casio Keyboard and drum
machine. About halfway through this final song,
it fades out and re emerges with
a great instrumental ride. (Andrew
Young)
|
|
|
Home |
SONORA
SUNRISE – THE ROUTE THROUGH THE
CANYON
(CDs
from trailrecords.bandcamp.com
)
Russian
band
Sonora Sunrise, have put out a few digital
releases so far, this is their first
physical album which has been released by Trail
records, a label who put out
the recent compilation by The Spacious Mind last
year. Sonora Sunrise, play a-grade
space rock, with a desert vibe. The four piece
band feature guitars, keyboards,
bass, and drums, being mainly instrumental.
After
a brief
intro called ‘Ancient Stones’(Sundown) we arrive
at ‘Welcome To The Sandland’
eleven minutes long and not a minute wasted, it
builds into an epic sandblasted
space rock song that is an early highlight of
this most impressive album. What
is it with Russia lately; they seem to have
taken space rock to their hearts?
‘Unexpected
Trip’
features a synth introduction which develops
into a seven minute kosmiche
delight, aided by some propulsive drum and bass.
‘Poison’, another seven plus
minute song is an altogether heavier beast,
crunchy guitar riffs, drifting
keyboards, some excellent fretwork from Artem
Demidov and excellent synth work
from Dmitry Shersnev.
‘Canyon’
features
the vocals of Katya Zlobina, it has a slight
eastern vibe mixed with shades of
Native American chanting, it also has some very
tasty wah wah guitar scattered
throughout its duration, developing into another
excellent song. ‘Millions Of
Snakes’ is a ferocious space rock song, which
features oodles of lead guitar as
it progresses.
‘Roadside
Picnic’
slows things down a little, providing a little
respite, it being a little more
acoustic in feel but still has some excellent
Randy California style electric
guitar soloing, plus some nice textural synths.
This impressive album closes
out with a keyboard driven version of the
opening song ‘Ancient Stones’
(Planetary Standoff). (Andrew
Young)
|
|
|
Home |
BITTERNS
- BITTERNS
(CD
from https://store.cdbaby.com/cd/bitterns
)
New
psych band
from Houston, Texas. After the great storm in
2017, in an abandoned house, they
set about recording this EP. There were
thousands of gutted houses left behind
after the storm, eyeless, dark, decaying
structures, overgrown with vines,
lizards, vermin and insects. They named this
house Lizard Ranch Studios. The
band consists of El Sectro guitar and vocal
(There is a rumour that El Sectro
is Clinton Heider and he may have had some
connection with Terrascope
favourites The Linus Pauling Quartet ) plus Puka
- bass and Mono - drums.
Citing
the 13th
floor elevators; the original Texas psychedelic
pranksters, and also with
Houston itself; it being the birthplace of
psychedelia as inspirations. They
have recorded seven songs of pretty decent
psychedelic rock. ‘Requiem’ the
first song is terrific, cool snaking guitars,
and a solid rhythm section. It
becomes apparent quite quickly that he is a
super cool guitarist, some great echoing
spacey lead guitar. ‘Pieces’ is a sub Bydsian,
slightly plodding song and is
the weakest song on this ep, it is redeemed by
some fabulous lead guitar
towards the end, compressed and spewed out.
‘Hard Times’ however, is much better,
more of an acoustic blues song,
dusty and parched desert rock. It tells of
hardship and futility.
‘Dolls’
and up we
go, the band returns, an excellent rock song
straight out of the mid seventies,
a few atmospherics like the backwards guitar and
when they arrive the lead
breaks are ferocious and incendiary. ‘Words’
starts Manchester Baggy, disaffected
and aloof, but it doesn’t really go anywhere;
however we can still enjoy El
Espectro’s fretwork. ‘Slider’ what a great song,
straight out of the gate, the
wizard man, spells and incantations, swamp frogs
and Spanish moss. It also has
one of the best guitar solos I have heard
towards its climax. ‘Bittern’s
Lullaby’ is the last song and is my favourite.
Crunchy loping rhythms lock in
to a song of the Bittern, what strange birds we
are together, see the sun break
through the cover, see the reeds sway side to
side, hear me call my lonely
lover, life’s a bittern’s lullaby, with glorious
shards of electric guitar
pouring down, epic. More please.
(Andrew
Young)
|
|
|
Home |
GREEN
SEAGULL -
SIMEON
BROWN C/W BELLADONNA
(7”single
from www.megadodo.com
)
Continuing
the bird theme, Mega Dodo have put a
fabulous new 7” single out by Green Seagull. The
A side 'Simeon Brown' is just what the doctor
ordered, some English toytown psych. This lot
are all over the sixties. Soft
mournful brass, piano, chorals, orchestrated
arrangements, some lazy fuzz lead
guitar, it’s a sunny song, so terribly English.
‘Belladonna’ swings to a
Carnaby Street vibe, sharp moves, swirling
lights and cool organ stabs, it’s a
mover, a sure fire hit, a middle section jangles
they add some excellent
percussion, a little compressed guitar and some
nice harmonies. It also has the
requisite short fuzz lead guitar desired and
manages to find a little space for
some bleeping synth. Terrific, that was
excellent, thanks for that Green
Seagull. It also sports another tasty cover by
Sara Gossett. (Andrew
Young)
|
|
|
|
|
|
|
|
|
|