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VICMARS - THE LAND AND THE GARDEN
(LP on on Clay Pipe Music  www.claypipemusic.co.uk 300 numbered vinyl copies with download code)

    After living in Japan for a decade and feeling a bit homesick, Matt Davis AKA Vic Mars set about creating a record that was very much based upon his childhood memories of the Herefordshire landscape, that surrounded him as a grew up. Carefully, he pieced together this fine collection of nostalgic tunes, which are influenced by some of the great English composers like Delius, Vaughan Williams and also of some of the great 70's children's soundtrack artists like Vernon Elliott.

Using a palette of woodwinds, strings, pianos, guitars, glockenspiels, chimes and hammered dulcimers amongst others. He has crafted some delightful pastoral tunes, rural and nostalgic, that remind me of a gentler time. Resonant of the English landscape that so influenced these recordings. He has created a wonderful set of songs/tunes, that when listened to as a whole come together as one. Not often creeping over the two minute mark, we have a lovely series of incidental tunes that I could see being used by various media and TV companies.

'Walking On A Bearing'  opens this fantastic record and sets the scene well with its elegant bucolic charm. I'm not going to list all the tracks but a few will give you some idea. 'Collecting Pebbles and Stones' has a tinkling xylophone, clarinet and cello.  'Hedgerows And Conservation' arrives with a French horn, piano and oboe underpinned by bass and gentle percussion before a string section adds to the melody.

'Villages, Hamlets And Fetes' is all reminiscent of a summer fair, it parps, rings and chimes with glee, joined by cello and hammered dulcimer. 'Fences, Railway Lines And Other Obstacles' is busy with sawing strings, cello, piano then the swathes of instruments that join in create a real sense of activity. 'The Road Through The Village'  possibly my favourite is just beautiful, wistful and bucolic. 'A Stone Path' is stately and shows it's genesis in the use of the mellotron in it's creation. 'Hiking Attire' is peppered with keys and drums. 'Rural Etiquette' is another pastoral delight.

It is going to sell out quickly, and you know you need something like this in your collection; the download is still available though, and there are plans for a second edition in the near future. Mention too must be made of the superb accompanying artwork, designed by Clay Pipe owner and illustrator (and good friend of the Terrascope!) Frances Castle. A few high quality posters were made up of the cover but sold out in the blink of an eye. Highly recommended indeed.  (Andrew Young)

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SENDELICA - LIVE AT THE 7TH PSYCHEDELIC NETWORK FESTIVAL
(LP  from https://sendelica.bandcamp.com/)

    Having grabbed the Bevis Frond's excellent Psychedelic Network Festival offering a couple of years ago, I was extremely pleased to find that this one from Sendelica is similarly presented in a sturdy gatefold sleeve, colourfully decorated with a mixture of trippy images and photographs from the event, and housing two reassuringly chunky 180g discs, a colour poster and finally a download code that also gets you the extra track that wouldn't fit on the vinyl.

The show kicks off with 10-minute Spaceman Bubblegum, a song with its roots buried deep in Sendelica's past, its familiar tones making it immediately obvious that this is a gorgeous recording, with Lee's sax and Pete's guitar coming across loud and clear over Glenda and Meurig's powerful rhythm section.

A recent addition to the band is Richard Armstrong Sealand, whose theremin and keyboards supply additional spacey overtones to the often jazzy explorations, clearly audible in the mix which is blessed with excellent separation and a thoroughly convincing soundstage. The recording has a lush, smooth quality about it that is nicely complimented by the lysergic edge of the guitar and sax which cut through the reverie and round out the sound perfectly.

Indeed, sometimes the lead guitar brashly declares its intentions while the sax gently insinuates and the otherworldly sounds of the theremin and keyboard caper madly around the periphery; other times the bass and drums power to the fore, taking control of the proceedings and leading the dance.

And for the next four sides the intensity steadily builds in this way, occasionally falling back a little, only to recover a lot as each member of the band makes their own contribution to the hypnotic, addictive whole, revealing Sendelica as a band that are simultaneously very comfortable as a unit, and also perfectly able extend themselves individually when the occasion demands it.

The magical moments are many and the sound of the crowd is generally kept low in the mix, but when you do hear them towards the end of the record you know they are having the most amazing time, one which the listener genuinely feels part of, such is the quality of the recording.

In conclusion, if you're new to Sendelica then you won't go far wrong with this album, and if you're an established fan then I'm guessing that this album is an absolute must, as it sounds to me like one of their finest performances expertly captured at a great little festival. (Sean Gibbins)

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NICK GREY AND THE RANDOM ORCHESTRA - BREAKER OF SHIPS
(CD/LP on Milk and Moon records http://www.nick-grey.com )

Currently based in Berlin Nick has been releasing albums since 2002. This latest record is a proggy delight. First track 'Breaker Of Ships' is a song in three distinct parts finding our protaganist down in the murky depths of the underworld, full of opium dreams in the black seas, electronics are to the fore anchored with a crisp bass, cello, various electronics and processed percussion, then after 5 minutes a Bullfrog croak and what sounds like 'Sigur Ros' take over for a few minutes of angelic choirs , a lost cat then joins in, before the final part of the song appears through the sea-fog in the form of some great riffing guitars, snare drum fills and a fine guitar solo from Louis Pontvianne ends this most glorious opening song.

'Of Ghosts And Women' comes over all later period BabyBird with its perverted lyrics about "women with their legs wide open" bleeps , beats and keyboards are to the fore. 'The Archivist'  is one of the stronger tracks on an album full of them, it starts with a jazzy guitar motif, keyboard violin and supple bass with a clarinet joining in, slower in pace than the previous track and gives the instruments space to shine. 'Vanisher' (it's lyrics concerning Christian beliefs), begins with nylon strung guitar and a piano joined by gorgeous sinewy bass and a very 'Gilmouresque' guitar embellishes the tune, underpinned by a lightly plucked banjo and keyboards before a frippertronic solo appears .

'Juliet Of The Spirits' (with lyrics by Jean Mathoul who is responsible for drones and singing bowl) has some nice touches, more great supple bass playing. Clarinet and percussion help garnish this midsummer nights dream of a song, with a touch of mellotron too before adding vibes and more fine electric guitar. 'Juliet of the Bones' takes us back up and is one of the knottiest tunes on the record, great electric guitar, electronics, fretless bass and multi tracked clarinets twist around each other in this song of death - epic stuff. 'Ghost Rain' ends this record with a spoken word piece by Peter Wollen about the way we slaughter animals and comparing the screams of the slaughterhouse with the screams of his dying father riddled with cancer. It peters out to sounds of falling rain. This is a very strong electronic prog album, full of great music, highly recommended.  (Andrew Young)

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GOOD SHEPHERD - HER DARK ASPECTS
( 3” CD from http://www.rustedrail.com/)

With six tracks that clock in at under 25 minutes this collection is a soft haze of wonder that drifts through your life only to disappear far too quickly. Written, played, and recorded by Duncan Poyser, the fragile nature of the tunes means it seems perfect for these damp January days, its sense of melancholy and timelessness washing over you rich in emotion.

Opening track, “Good Day” has a sparse guitar that wraps itself softly around a lonesome voice creating a gentle ambience that settles like a newly fallen leaf. Reminding me of one of the more pastoral moments from “Trespass” (G***s**), “There is a Mountain” weaves its magic with ease, strummed guitar adding a subtle energy to the questioning lyrics, some electric guitar offering texture and variation to the tune, my favourite on the collection.

More experimental, the sweet notes of “Sing Again” are disturbed by faint crackles, the vocals distant as if lost on the wind, the whole tune gossamer thin and beautiful. Also beautiful is the heart felt “One” a classic singer-songwriter tune that crawls inside your head until you find yourself singing along and hitting the repeat button, hmmm, maybe this is my favourite tune on the disc.

With a rolling, hypnotic feel, “Song for Isaac” creates yet another texture from a simple guitar and vocal combo, another delicate creation that sounds better every time you hear it, as does the rest of the album, its simplicity is its strength highlighting the beauty found within. Finally, “End Of All” evokes feelings of sitting high on a mountain watching the end of all things, the guitar and voice finally washed away by a static liquid drone that devours everything.

Fans of Rusted Rail should have no hesitation in finding a copy of this excellent release and you should also track down “Ah, Good the Sea” the artists previous release. (Simon Lewis)

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CADDY - THE BETTER END
THE GREEN PAJAMAS - DEATH BY MISADVENTURE
(LPs from Sugarbush Records )

Sometimes an album takes a while to make an impact on your ears, as was the case with Caddy whose album only slowly snuck out of the shadows and into the sunlight, indeed, if I was writing my end of year list now, this may well have crept in there.

Pressed on blue vinyl, the colour of the sky that opening track “Here it Comes Again” evokes, the album shimmers into life, a beautiful haze, the song taking the best of Crowded House and The Church and merging them with the softest of brushes all the while retaining that sixties jangle that Sugarbush loves so much. On “Something About Carina” the band turn up the energy levels the jangle gaining a little bit of fuzz, hints of The House of Love to be heard, whilst on “Into The Sun” a bit of American power pop creeps into the mix, another fine tune with gorgeous vocals and a bright clean production. Drifting slowly into the haze again, the title track is serene and elegant filled with sweet melodies that swirl around your head with blissful delight.

Over on side two, “Wherever You Go” strongly reminds me of Teenage Fanclub, a rumbling bass line moving the tune along, its arrangements ensuring every last ounce of magic is claimed, the addition of some eighties saxophone another delightful touch. With the flip continuing the good work of the previous side I guess I should just sit back and let it all wash gracefully over me until the twin delights of “Beautiful Strange” and “No Sudden Moves” signal the beginning of the end, the former and sixties inspired jangle with some excellent, atmospheric guitar, the latter an energetic tune that leaves you on a high.

Any long time subscribers will know that The Green Pajamas can pretty much do no wrong in our eyes, so it was a real delight to find this re-issue of one of my favourite Pyjama albums, that was originally released on Green Monkey Records in 2012.

I discovered that I had written the original review for this album so, as I still stand by it, I will just repeat it here with slight variation as required.

Opening with the epic song cycle “The Fall of the Queen Bee” which ties eight
songs together around a loose theme of adventures within the colony, ending in the untimely death of the queen, this latest Green Pyjamas collection maintains the high quality and imaginative song writing that the band are known for, with dark themes a-plenty and an ear for melody that ensures emotions are high.

Immediately drawing you in, the first three songs are perfection, gently drifting tunes that have a complex heart, the simplicity of the tune carved into intricate shapes by the arrangements and instrumentation with the magnificent “Ring Around the Sun” being particularly effective. Seemingly having a direct line to your heart “Sky Blue Balloon” will stop you in your tracks, to these ears one of the finest songs that the band have ever written, its fragility cloaked with lyrical uncertainty, a chiming refrain adding another layer of feeling to the song.

With a gypsy air and plenty of energy, “The Queen Bee's Last Tango” is at the centre of the song cycle, the pivotal moment in the tale, told beautifully in a shimmering surreal atmosphere that blown away by the swarming guitars at the end , the band giving Neil Young a run for his money in the tones and emotion displayed.

After the slow, haunting lament of “Silk's Last Hour”, the weird fairy tale waltz of “The Queen Bee Is Dead” speaks of confusion and sadness before the cycle is rounded of with the gentle psychedelia of “Wrong Home”, a slowly dancing piano leading us out into an uncertain future.

To be honest I have had this album for a couple of months and it has taken several plays to fully appreciate its beauty and strength as it seems more obscure and dense than the other albums I own by the band. Now it has revealed itself to me however, it has become a favourite of mine that has also prompted me to re-visit the other discs, which made me realise just how brilliant the Green Pajamas are to my ears.

Split into two, the second half of the album is called “Cruel Dreams Cruel Things” consisting of another eight songs and opening with the guitar driven “A Piece of a Dream” which definitely does sound like vintage Pyjamas with some great distorted guitar running through the song, living happily with bright and breezy strings. Sweet and delightful, “Carrie” is a shadowy love song with a glorious melody, whilst “2nd to the Reward” is a more upbeat tune with obscure lyrics and more wonderful guitar playing.

After the slightly strange, laid-back stomp of “Beat Me Sally” complete with great organ work and horns, “Supervirgin” has a melody line that seems very familiar although that may be just because it is so good, who knows, either way this is a song that gets you singing along with consummate ease. As gentle as a summers breeze, “Christabel”aches with sadness, the music sticking pins in your heart before “In The Midnight Dim” gets all creepy and carnival minded as Christabel re-appears as a phantom come to haunt your dreams, the waltz time adding to the air of gothic menace. To round things off, “The Spell” has a lounge feel in its latin rhythms reminding me of Thomas Dolby for some strange reason and providing this collection with another texture right at the end.

Fans of The Green Pajamas will be well rewarded by this album, a fine collection that has hidden depths both musically and lyrically, a future classic you can hear now.

Well that pretty much sums it up, although due to time restraints the vinyl edition omits both “Supervirgin” and “The Moonlight Dim” which is a shame if you have heard the CD, but you will not notice if you are hearing the album for the first time. Pressed on lovely Green vinyl (what else), this is still one of my favourite albums by a truly underrated band.

Whilst the stranger and more eccentric Fruit De Mer gains all the plaudits, as they should, Sugarbush Records have gone quietly about their business releasing quality music that has longevity written through it, long may that continue. (Simon Lewis)

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LASSE PASSAGE - STOP MAKING SENSE AND START MAKING SUCCESS
(2XLP  from http://www.lassepassage.com/)

Originally released as a collection of four digital EP's, this sprawling and delightful collection gathers together those releases to create a joyous gathering of folk songs, drone, gentle instrumentation and the occasional slice of experimentation, the album never losing sight of wistful melody and maintaining a perfect sense of flow and identity.

   After the brief sweetness of “Prelude (The Change)” side one offers the beauty of “Tanker Om Morningen” a perfectly realised tune with soft atmospherics running through the chiming guitar, a Euphonium adding another texture to the tune. Moving on the jazzy groove of “The Lightness of Moving On” really hits the spot, whilst “Old Habit” reminds me of the Kings Of Convenience in its melodic sweetness. Leaving the best until last, the first side is rounded of by the two part “Till The Morning Comes”, the first part being a delicious song with fabulous vocals from Lasse and his guest Johanne Birkeland, their voices creating a lush and radiant cloud of loveliness, whilst the second part is a drifting autumnal drone that will happily bliss you out as you lie contented on the lounge carpet.

    Moving on then, side two offers a similar cornucopia of sounds with “I Am Too Sad To Tell You” mixing  lost vocals with ramshackle percussion and an ambient soundscape, the tune creeping under the skin with ease. Definitely more experimental than EP 1, the next few tracks are much more fractured short snatches of sampled speech, drones and strangeness, the record bought back into some sort of focus by the longer “Skate Tape” another off-kilter tune that reminds me of Danielle Dax in its construction and sounds. After this lightness returns with the delicate “Kveldssol Pa Loftet”, a mesmerising piece of instrumental folk with droning violin and Glockenspiel, the whole side finished by “No Dreams No Gold” a distorted dream-pop tune that seems to be the soundtrack to a long forgotten dream.

    Opening with the ominous drones of “Night Falls In Poortugaal”, side three sees Lasse Passage move from the bedroom to the studio, the tunes becoming more focused with the single “Say Say Say” being an obvious highlight, the delightful voice of Johanne Birkeland again illuminating proceedings. Elsewhere, the sweet delights of “God Bless The Light” should be much fucking longer, “I Don't Want To Die In Den Haag” is a sudden burst of lo-fi energy and “Morning (Untitled)” is an experimental haze of noise and notes all soft filtered for maximum delight.

    As if coming full circle, side four is a return to the simple melodic joys of side one with “Talk as Friends” seeming like a homecoming a song that oozes emotion, simple and highly effective, the whole album completed with “Sunday Walk” a song that sways like tall meadow grass in a summers breeze.

     Highly recommended, this is a wonderful collection that seems to have a narrative running through it, an album that deserves repeated plays gaining richness with each listen, soon to become an old friend. (Simon Lewis)

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THE OCEAN / MONO – THE QUIET OBSERVER / DEATH IN REVERSE
(Split LP from http://pelagic-records.com/)

For those of you interested in blowing the winter blues from your brain this release could be just the thing, twenty minutes of atmospherics and noise that ebb and flow with the emphasis on volume and dynamics.

   I am not familiar with The Ocean so my ears were a clean slate as some gentle piano and violin slowly eased its way into my consciousness, the delicate vibes slowly becoming more taut and ominous, drums becoming more pronounced until a howling voice heralded the beginning of some post metal riffery that rolled through the room making me grin like the Cheshire Cat throwing some devil horns. From here on in the tune switches between atmospheric metal ambience and more in yer face guitar shapes, all with plenty of variation and originality keeping you hooked until the tune finally fades just short of the 13 minute mark. Excellent stuff with some fine playing and a definite eye for the details.

     Having been a fan of Mono for some time I was not disappointed by “Death In Reverse” the band following their tried and perfected formula of rising atmospheric noise, effect pedals on max and plenty of emotion involved, continuing the bands quest for that quintessential slab of delicious noise, that moment when they finally burst free of earthly shackles. As ever, volume is the key to enjoyment, the track needing some time invested in it to truly discover each hidden  nuance and texture within the piece. This is time well spent as you finally lock into the Mono groove escaping gravity, time and space for 11 glorious minutes that last an eternity, dive in and break free. (Simon Lewis)

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ARWEN LEWIS – ARWEN
(Omad Records vinyl 12” LP/CD)

Well here’s a novel concept!

A debut LP by Arwen Lewis, daughter of Moby Grape guitarist and singer, Peter!

When this turned up in Santa’s sack a few weeks ago, on first glance I thought it was some obscure 60s LP on Atco – nice thick card sleeve and a cover shot of the artist in question as a cool-looking hippie chick hitching by the side of the road with her guitar case. Closer inspection reveals a 2015 vintage despite a neat reference to the first Grape front sleeve with some cowboy-hatted dude lurking in shack doorway in the background holding Old Glory - no middle digit in evidence though! BUT what’s so surprising about this record is that it comprises exclusively Arwen’s versions of some of the Grapes' most immortal tunes.

There’s a good chunk of stuff from the 1967 Grape debut, and a smattering of other songs we all know and love. It’s all done in the spirit of the illustrious original band – sympathetic studio sound and musicians and unerring musical and spiritual support from Lewis Senior.  ‘Indifference’ the closer (as it closes Moby Grape) even retains that fabulous psychedelic extended ending that made the original so good.

It’s faultlessly played and Lewis Junior reveals she has a fine set of pipes. Maybe not quite up there with Dad’s rich and incomparable tenor, but she sounds like she should eventually blossom into a powerful young songstress in her own right who doesn’t need to ride on the coat tails of her father’s own infamous career, though she does particularly shine on ‘He’, Peter’s song originally on the Grape’s sophomore set, Wow.
This is a must for us starved Grape fans still waiting on that 2010 studio reunion set but it rather begs the question – where are Arwen’s original songs? On the strength of her singing and playing here, I for one hope they won’t be long in coming.

(Nigel Cross)

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GOTHIC CHICKEN - LIFT THE COBWEB VEIL
(LP/DL from http://bit.ly/1SQDzJL )

Ten years in the making and featuring the talents of, amongst others, Alan Strawbridge (the Lucky Bishops, Schnauser), this album is a cornucopia of psych-prog delights, swirling with clouds of melody, time changes and surreal moments making it an early candidate for that elusive end of year list.

After the brief, carnivalesque “Overture?”, the album really begins with the waltzing psych of “Overthrow”, the band harking back to '68/'69 with everything perfectly re-created including the lyrics. On “And As For Me” the sound becomes mellower, a jolly sunshine pop tune darkened by some sombre lyrics, the band moving into more prog pastures for “Take A Little Time To give Your Drake A Treat”, the tune a deadringer for an outtake from the first Soft Machine LP, magnificent organ playing throughout and plenty of dynamics to boot.

So far so good and I am fucking enjoying this collection of tunes. If the review makes it sound somewhat retro, it is, yet it is obviously done with love and great enjoyment, the tunes so strong that they easily stand up to most of the original bands from the period meaning it makes for compulsive listening for fans of the era.

One of my favourite tracks, “Pitta Bread Man” is classic psych with a modern twist a delightfully swirling middle section bringing the song to life as does the sudden inclusion of a Banjo. Equally wonderful is “Priest Hole”, reminding me of the missing link between XTC and the Dukes of Stratosphear, a darker atmosphere and a wonderful arrangement bringing the best from the song, creepy and delightful at the same time.

If you are fond of bands such as The Idle race or The Move then “Westward Ho” is gonna float your boat, the song melancholic and tuneful, harking back to finer days as so much psych pop does.

Finally, “It's All Up To You, St Jude” ensures the quality continues right until the end, the surreal lyrics balanced by the sweetness of the music finishing an album that will have you hooked from beginning to end. (Simon Lewis)

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THE HONEY POT - INSIDE THE WHALE
(www.mega-dodo.co.uk)

Known far and wide for their groovy songwriting, the delicious vocals of Crystal Jacqueline and the scorching, far-out guitar playing of Icarus Peel, the Honey Pot zoom into 2016 with a new single "Lisa Dreams" and a new album "Inside The Whale."

The A side of the single is one of Icarus' most catchy songs to date, matching sonic effects with guitar chops and stabbing piano chords - highly pop-tastic, with all the retro references you could desire. The B side 'Into The Deep' is a slow, moody track written by the whole band and bursting with '60s goodness, not least some really terrific guitar licks and solos from Icarus. This is the debut release of the Mega Dodo Singles Club, so get in there fast from 22 January onwards...

The album opens with 'The Outskirts Of Your Mind,' a jaunty, uptempo little number with plenty of guitar riffs and licks, underpinned by solid drums and bass (the latter from new member Simon Fear), and overlaid with Crystal Jacqueline's super vocals, with plenty of West Coast style harmony vocals also. It exudes the confidence of a band who know exactly what they're doing and are having enormous fun doing it. Flutes and keyboards, then a floating guitar, open the title track, with the accent high on organ drones and a continuing flute accompaniment, which really ups the '60s quotient - lovely cut, this. 'Starfish Smiles' is slower and more abstract, with lots of keyboard washes and deeply reverberated guitar parts, while 'Almost Exactly Beautiful' is more of a stomper, with tom-heavy drums and a solid bass groove; again the organ lifts this quirky track. 'Psychedelic Circles' opens with a bit of studio chatter before a modulated vocal that reminded me of some of Anton Barbeau's work, all underpinned by acoustic guitars and the rest of the band. This cut is like an underground chant - don't dismiss those crucial bands! 'Pink And Orange' continues the lyrical theme of colours with more rainbow child references, then it's into the harpsichord and wah-guitars of 'Walking On Eggshells,' which is kind of a tripped-out folk song with suitably thought-provoking lyrics. 'Butterfly Ride' references English gardens - terrific vocals all round here from men and lady - with very nice soft/loud instrumentation, again with great Hammond organ swirls. 'A Curate's Egg' is another softer, acoustic-led track, with fabulous harmony vocals from all concerned, and some swooping slide guitar: a particularly fine track to end with, I think, and quite possibly the highlight of the whole work.

This album will delight the many fans of The Honey Pot, while any others who like retro flavoured work will admire and enjoy the care and attention put into it. (Steve Palmer)

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JACK ELLISTER - TUNE UP YOUR MINISTERS AND START TRANSMISSION FROM POOL HOLES TO CLASS O HYPERGIANTS
(www.fruitsdemerrecords.com)

Jack Ellister has gained much critical acclaim in recent times for his solo work, though he began as a member of Dutch prog-psych group Yordan Orchestra, whose gigs enthused all with groovy sounds and much more...

Now turning up on Fruits de Mer Records, his new album "Tune Up Your Ministers And Start Transmission From Pool Holes To Class O Hypergiants" is heavy, psychedelic, yet also fey and acoustic on occasion, with the opening cut 'The Man With The Biochopper' the former and 'The Sun Sends Me Hails, Victory, Power, Peace And Shelter' a kind of synth-infused freaky folk, with much by way of weird effects above the thrumming acoustic guitars and jangling tambourine. There are hints of early David Bowie when Ellister pushes his voice, though much less so when he's singing more softly. 'Saddle Up The House' continues the themes so far set out, with harmony vocals on occasion, and alot of synth swirls and chords. A sax break cuts up the vocals in freeform style, while, when the chorus comes in, it's almost anthemic: "saddle up the horse..." 'Calm Adapter' opens with a Psychick Warriors Ov Gaia-style synth oscillating menacingly, before exceedingly trippy dual vocals hove into view; this cut sounds more like a drug-suffused chant than anything else, echoing through the years from about 1972. 'Great Esmeralda' opens like a long-lost Gong track, before another heavy vocal and band thrum blasts out: jazzy and trippy in equal measure. 'Wishmachine' floats ultra-trippy effects over a loping drums/bass part, with Ellister's much delay-effected vocals winding this way and that over the whole; alas, not a terribly lengthy song. 'Old South' opens with fingerpicked acoustic guitar before vocals with a hint of Barrett and Bowie arrive - this cut is much less frenetic and distorted than the others, and acts as a nice interlude. 'Curator' piles up the gothic menace with doom-laden synth effects and vocals, bouncing around the stereo spectrum in all directions, while album closer 'A Hunter Needs A Gun' is a more pure, even ghostly affair, with close-miked vocals and weird effects hanging like sonic curtains in the background - excellent production, accentuating the strangeness without drowning it - and when the full band comes in the track achieves a kind of eerie Floydian grandeur. This one also remined me of Mercury Rev in arrangement and intensity.

Overall: superbly zonked out sonic journeys for all! Certainly one for the legions of Fruits de Mer fans who like a bit of trippy heaviosity to begin, or indeed to end the day... (Steve Palmer)

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MICHAEL PADILLA - ATMOSPHERES    
(http://www.fruitsdemerrecords.com/)

Subtitled “ambient works volume one”, this gorgeous record does exactly what it says on the tin, containing four elegant slices of ambience that are surely influenced by Eno and his discreet music, the soundscapes drifting and calming whilst displaying enough variation in sounds to keep them interesting.

  Opening with “Northern Lights”, the album hits its stride immediately, long floating chords and notes combining to create a delicate cloud of music that has depth and purpose, avoiding the New Age tag with ease. Moving on, “Crossing East” changes the sounds with what sounds like a flute taking the lead, the music remaining slow and stately as it rolls by.

   Created with a sampler and a loop pedal throughout, the music on the album was created spontaneously, each piece having its own character with “Ecstagony” beginning with a low drone before being flooded with strings (or the synth equivalent), possibly my favourite track that makes full use of its fifteen minutes allowing you to bathe in its beauty.

    Finally the brief “The Waiting”, eases you out feeling relaxed, cleansed and ready to face the world again.

   Pressed as a beautiful picture disc, the package also contains a CD that has five tracks on it, the four mentioned above and a bonus track making this an essential item for ambient lovers everywhere. (Simon Lewis)

PRANA CRAFTER - RUPTURE OF PLANES
(CD from http://www.dwacres.com/)

Walking a finely balanced path between two distinct musical styles, this gorgeous album manages to sound, at times, like the most haunting songs of Iron and Wine, song writing with intensity and spirituality, whilst in other moments produces waves of softly resonating psychedelia that shimmer like a heat haze deep within the soul.
    With a voice somewhere between Sam beam and Old Lost John, opening track “Forest at First Light” is an arresting ballad that leads you softly in, the song enhanced with washes of psychedelic guitar that sparkle around the melody, whilst on  “diamond Cutter of the Jagged Mountain” a drifting organ combines with the mellow guitar to create a delightful swathe of lysergic noise that harkens back to those sixties West-Coast vibes. That vibe is also present and correct on the jangly sweetness of the title track, the beauty magnified again on the stunning “Tara, Do You Remember The Way” a song that stopped me in my tracks the first time I heard it, a truly gorgeous song that curls  like wisps of smoke across the room.
    Featuring some heavenly guitar work and a very chilled atmosphere, “Dharma Dripping Lotus” could easily take you into another world reminding me of some of Daevid Allen's more meditational moments, the atmosphere becoming more trippy on “Birth of Blooming Thunder”, the guitar focused and edgier.
   Basically the work of William Sol, this wonderful collection is for those moments of quiet contemplation, to be enjoyed by candle light and shared with those you love, the album seemingly summed up by the space laden guitar wanderings of “Prana Crafter's abode” and the final track “Mudra of the Mountain Throned” a distorted hazy guitar creating a magic carpet on which to lay your head as you drift into the forest of your dreams. (Simon Lewis)

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PRANA CRAFTER - RUPTURE OF PLANES
(CD from http://www.dwacres.com/)

Walking a finely balanced path between two distinct musical styles, this gorgeous album manages to sound, at times, like the most haunting songs of Iron and Wine, song writing with intensity and spirituality, whilst in other moments produces waves of softly resonating psychedelia that shimmer like a heat haze deep within the soul.

   With a voice somewhere between Sam beam and Old Lost John, opening track “Forest at First Light” is an arresting ballad that leads you softly in, the song enhanced with washes of psychedelic guitar that sparkle around the melody, whilst on  “diamond Cutter of the Jagged Mountain” a drifting organ combines with the mellow guitar to create a delightful swathe of lysergic noise that harkens back to those sixties West-Coast vibes. That vibe is also present and correct on the jangly sweetness of the title track, the beauty magnified again on the stunning “Tara, Do You Remember The Way” a song that stopped me in my tracks the first time I heard it, a truly gorgeous song that curls  like wisps of smoke across the room.

   Featuring some heavenly guitar work and a very chilled atmosphere, “Dharma Dripping Lotus” could easily take you into another world reminding me of some of Daevid Allen's more meditational moments, the atmosphere becoming more trippy on “Birth of Blooming Thunder”, the guitar focused and edgier.

  Basically the work of William Sol, this wonderful collection is for those moments of quiet contemplation, to be enjoyed by candle light and shared with those you love, the album seemingly summed up by the space laden guitar wanderings of “Prana Crafter's abode” and the final track “Mudra of the Mountain Throned” a distorted hazy guitar creating a magic carpet on which to lay your head as you drift into the forest of your dreams. (Simon Lewis)