= May 2021 =  
 Loner Deluxe
 Samsara Blues Experiment
 D. Rothon
 Kimberley Rew and Lee Cave Berry
 Mark and the Clouds
Phurpa & Queen Elephantine


(Field Recordings | Loner Deluxe | Rusted Rail (bandcamp.com) )

Mainly the work of Rusted Rail boss Keith Wallace, with the help of Cecilia Danell and Brian Kelly, this album is a delightful musical ramble that is inspired by lo-fi rather than being lo-fi, the music changing mood at a whim, always something new to delight the ear as the journey continues.

  Opening with the excellently titled “Track 1 Side1”, you are instantly dragged in by a warm beat and electronics before an acoustic guitar and lovely pop vocals join the welcome, the throwaway yet perfect lyrics adding another layer before things get slightly heavier with a fine guitar solo that cuts through everything, the tune reminding me of The Pigeons blended with Pavement, a touch of Ant Bee thrown in for good measure. Next up, “Off the Grid” is a stoned Sunday afternoon instrumental, a lazy drum/bass groove overlaid with rippling guitar and buzzing electronics, the same atmosphere apparent in “Tin Foil Hat” although vocals and a Hohner Organetta, played by David Colohan, turn the tune into a strange mix of wobbly folk and the Pet Shop Boys.

    I guess this opening salvo is a great introduction to the rest of the album, the music, playful, intriguing and never dull, the use of some well imagined electronic beats  adding energy and purpose to the proceedings especially on the low groove of “Gone Fission”, a track that gets the head nodding with its repetitive ambience or indeed on “Mist Calls” which somehow reminds me of Phil Spector although I am not sure why.

    Elsewhere, “Ex Directory” starts off with the promise of a Black Sabbath inspired riff before morphing into a version of “Down Down” heard in a dream, fabulous stuff and a personal favourite. Sounding like an obscure 4AD band “Space Junk” also hits the spot, a sweet bath filled with electronics, soft vocals and a chiming banjo, just climb right in and relax.

Within the context of this album “Viral Hit” could be seen as an epic song, soaring chords and vocals embellished with banjo and distorted guitar creating a great finale that leads back out to the real world. Saving the best until last, at least in this review “Cancel the Fear” has the the feel of early Beck, lo-fi hip hop beats and droning instruments the perfect background for the lyrical delivery, possibly the strongest song on a collection filled with quality tunes, perfect for lazy afternoons in the garden or, indeed, any other moment.

(Simon Lewis)


(Electric Magic)


German prog/psych/stoner masters Samsara Blues Experiment bring us this terrific fifth album, which unfortunately could be their last, as they’ve announced they’re going on indefinite hiatus.  Pity, that, because they’ve been putting out consistently outstanding music since 2010’s ‘Long Distance Trip.’  Christian Peters (guitar, keyboards, vocals), Hans Elselt (bass, backing vocals), and Thomas Vedder (drums) truly give it their all, and if this is it, they’re surely riding off into the sunset on top.


The album’s six lengthy and curvy tracks over 46 minutes offer up plenty of Christian Peters’ (aka Surya Kris Peters in his solo and other endeavors) heavy, distorted and multi-pedaled guitar over a Mellotron, synths, and more Mellotron, a formula in which, for me, alas all resistance is futile.  I surrender, I surrender.


Opening with the eleven-minute “Second Birth,” SBE lets loose virtually all the arrows in their considerable quiver.  There are long, pastoral, proggy passages, heavy stoner grooves, and, when he feels good and ready several minutes in, a conventional song by Peters.  Elselt on bass and Vedder on drums lean in heavily, and are a mighty force on rhythm.


Their style reminds me slightly of late model Opeth, and Peters’ voice has some similarities to Mikael Åkerfeldt; and also of early 70s Jethro Tull, if Ian Anderson had accidentally left his flute in the taxi cab.  The band is highly appreciated by metal fans, but when Samsara Blues Experiment rocks, it’s more what I’d call hard rock than metal.


The fellas also get their Santana on with another corker, “Southern Sunset,” with Vedder laying down a jungle-like beat on the toms, and Peters raving on organ and guitar.


As perhaps with the band’s situation, towards the album’s end the songs deal with loss and things coming to a hopeless and meaningless end.  Case in point, the eight-minute title track, with Peters singing “All the bits and pieces of a long gone past/lie shattered to my feet while I got nothing in my hands/For all I wished my life would ever be/I only learned the good things weren’t made to last.”  Peters punctuates his dolorous message with a stinging guitar solo.  This is followed by the melancholy “Orchid Annie.”  Peters concludes his lament of the loss of Annie with “Now that the dream is over and I wander all around/I cannot rest my head to see what life is all about/It’s not an endless story, my thoughts are full of doubt/The memories won’t relieve me.”  Between verses, Peters alternates between solos on scorching guitar, organ and synths.


Bonus instrumental track “Jumbo Mumbo Jumbo” is a highly enjoyable ride.  Catalan flavored, with giant Mellotron sound over some phenomenal guitar by Peters, this is the sort of thing that shows you Samsara Blues Experiment’s innate greatness.  This stunner that’s a “bonus track” could be the best on plenty of other records.


It will be heartbreaking if End of Forever is the last offering from Samsara Blues Experiment.  They’re one band who give 100% every time.  Not a single note is wasted, and theirs is a style you can slip into a moment after hitting play and think, ahh yes, this’ll do quite nicely, keep it coming please.


(Mark Feingold)


Claypipe Records www.claypipemusic.com 700 numbered vinyl copies.

Following on from his last release for Claypipe in 2018 Nightscapes, David is back and this time it is with an album which takes its theme as Space and in particular it was inspired by Moving To Mars an exhibition at London’s Design Museum in 2019 and also by David’s fascination with all things outer space, from a young age.

Again it is mainly instrumental, with a couple of vocal contributions from Johanna Warren and Claudia Barton. Consisting of ten tracks, which draw on many influences, including a little prog, electronica, lounge and European soundtracks. The album opens with ‘Apeman, Spaceman’ a string odyssey with drifting ambient steel and tinkling piano notes over a woozy bed of electronica. ‘Cybernetics Serendipity’, follows a fine track with drums and organ and whirring electronica, it sounds very much like Pink Floyd did in the mid seventies, it’s also embellished with what very much sounds like a Stylophone solo. So here’s a good one ‘Eight Million Miles High’ is very cool dropping in a few motifs from the song from which inspired it ‘Eight Miles High’ by The Byrds. This song has some lovely Mellotron wheezing throughout; it’s light, melodic and jazzy with some fine arpeggio electric guitar passages.

‘Aquarius Rising’ starts with organ notes overlaid with some excellent drifting pedal steel guitar notes, which hang like dust motes in the air. As the song progresses it is suffused with wordless vocals. ‘West Of The Moon’, sounds again like a Pink Floyd out-take circa Wish You Were Here. ‘The Stars Below Us’ has a light motorik groove, which acts as a bedrock for all manner of electronic instruments to twinkle over. ‘The Ghosts We Bring’,  is a haunting slice of electronica with a few mournful bursts of trumpet. ‘The Spaces Between’, orbits very slowly, electric guitar notes are dropped softly over a bed of ambient steel guitar, while a faint motorik groove is established. ‘Further From Home’, has a lovely wistful melody played on chromatic harmonica, which makes it sound like Morricone in space. The album ends with the title track ‘Memories From Earth’ a paean to Earth and its deep, wet blue mysteries.  With words written by Claudia Barton who adds suitably unearthly vocals over a bed of electronica, strings and trumpet, with a melody like a more subdued Aqua Marina, it ends with a few bursts of birdsong. This album shows what a versatile musician David is, and as much as I loved Nightscapes, this one for me is the stronger of the two. I can’t wait to hear what he does next. It will of course sell out with pre orders taken in a couple of week’s time.

(Andrew Young)


Available on CD from www.kimberleyrew.com

Purple Kittens is the new album from husband and wife team Kimberley Rew and Lee Cave Berry. The couple have previously released three albums starting in 2018 with ‘Lend Me Your Comb’. This one follows on from ‘Enjoy The Rest Of Your Day’ released in 2019. Kimberley will be familiar to readers of Terrascope through his incendiary fretwork for The Soft Boys and probably never needs to work again after penning the hugely successful song Walking On Sunshine, a song which has enabled Kimberley the freedom to do as he pleases. They are joined by Liam Gray – drums and by Myke Clifford adding some flute to Wrong Song and by Ranjan Vasudevan playing Carnatic guitar on I Can Be Any Woman.

It opens with ‘Penny The Ragman’ the title refers to Kim’s cousin Penny who looked after the uniforms for a side of Morris dancers and was a mainstay of the local Women’s Institute, it also features one of those lovely unhinged electric guitar solos from Kim where he seems to grab a handful of strings and create magi . ‘You Can Rely On Me’ where Kimberley’s very distinctive Cambridge sounding narrative vocals are displayed, it also features some mad tom tom playing, inspired by Santana’s performance at Woodstock. Lee gets to sing her own song ‘I Can Be Any Women’ which name checks some of the great women from history, like Eve and Helen Of Troy, it also features some fine exotic carnatic guitar from Ranjan. Next up is a great cover of the Soft Boys classic ‘Kingdom Of Love’, it works a treat, one of Robyn Hitchcock’s finest from when he seemed to populate all of his songs with sea creatures, it has the memorable lines ‘I would ramble all through time and space, just for a butcher’s at your face, you’re the one I love or so it seems, because you’ve confiscated all my dreams, yeah!’ It also features a great Kim solo where he seemingly mashes together a bunch of random strings and comes up with an ace solo. ‘Too Much Love’ is a song written on the road on the Isle Of Wight, it’s a folky song well placed on the record after the onslaught of Kingdom Of Love.

‘Wrong Song’ is a humorous song with some excellent flute playing from guest Myke Clifford and another majestic solo coaxed from his guitar by Kim ‘Unsatisfactory Cats’ is another song sung and written by Lee, it concerns cats which are well unsatisfactory, refusing to perform when gusts come round or deciding to sleep all day. ‘Black Ribbon’ is inspired by Roger Smith who was a member of Cambridge band Jack, along with Kim and Lee. Roger sadly died of Covid in 2020 and this song was written by his grandsons. ‘Raspberry ripple Ice Cream’ is another of those quirky songs Kimberley writes like ‘Purple And Orange Stripes’, this is Kim’s attempt to write a song in the mould of ‘Tequila’ with an electifrying single chord solo on the electric and a nice bass solo from Lee. ‘Growing Up’ a nice simple folky song with Liam playing a Cajon, it’s about being an old fart in these virtual modern times.  ‘Voyager’ is a song written about Voyager which set out from Earth in 1977. The album ends with ‘Daytime Night Time’ Kim’s attempt to write a song so universal that no one could possibly object to, it starts off with his birth, school days then off to work then finally reflecting on it all and wondering what it’s all about. Kim also gets to play a lovely long guitar solo, straight out of the fifties with shades of Chuck Berry. 

(Andrew Young)   


Gare Du Nord Records CD/DL markandtheclouds.bandcamp.com

Mark & the Clouds are a London based band consisting of Marco Magnani vocals, guitar, harmonica and keyboards plus drummer Shin Okajiima and John O’Sullivan on bass, keyboards, pedal steel and backing vocals. This is their third album after releasing a couple on the Mega Dodo label.

Marco may be familiar to Terrascope readers as being a member of The Crazy world Of Arthur Brown. This record has barely been out of the car stereo since receiving it, I just don’t see the point of playing anything else at the moment as it is very good indeed. For pointers think The Beatles, The Who and other sixties bands like Andwella’s Dream and The Zombies. Catchy 60’s inspired psych inflected pop songs with a few modern touches.

Opener ‘You and me in Space’ sets out their stall early with a great harmony infused, swirling psychedelically inclined rock song. ‘Back In Time’ is an extremely Beatles sounding song or maybe more like Wings, either way Marco is way more McCartney than Lennon. ‘You Wanna Put Me Down’, is a great little pop rocker, some great harmonies and searing electric guitar hooks. ‘Winter Song’ is a folky, progressive song which features some suitably wintery violin played by Rachel Kashi. I love this tune; it’s very English and pastoral in nature, with its refrain of ‘breathing the silver mist in my lungs’. ‘All These Plans’, is another terrific song. At points on the album a few modern groups like The Coral are invoked and this one has brass parps ala ‘Reward’ by The Teardrop Explodes. ‘Free Me Now’, a stormy sea song features some lovely slide guitar and wouldn’t be out of place on an album by say Barclay James Harvest or some such harmony infused progressive band, it also has a couple of nice barely controlled electric guitar solos. I do like this album a lot. ‘No One Makes A Sound’ is more 70’s in feel, like some of those glammy bands like early Sweet; it also has a cool twin guitar section. The vocal harmonies are very strong indeed.

‘The Same Old Dream’ has more classic harmony vocals on which the trio are joined by DJ Marrs Bonfire and Rachel Kashi. ‘Waves’ is an impossibly light confection, the whole world in a grain of sand with hints of Beach Boys particularly the harmonies. ‘Promised Land’ is pretty apt for these current times, a dreaming of an escape to the country, a search for utopia with some fine pedal steel played by John O’Sullivan and more brass interjections. ‘Peace Not Religion’ is so catchy and quite simply brilliant. A truly great pop rock song, which I dare you not to sing along to after hearing a couple of times. ‘Miles And Miles Away’, channels classic Who, ‘Heavy Drops Of Rain’ sees more parping brass and has a truly great sixties sound. ‘In The Big Crowd’ is a little more acoustic in nature and features some twelve string guitar. This excellent record closes out with ‘Somebody Else’ a Surferdelic, psych rocker, which again is stacked chock full of terrific harmony vocals, over which Marco gets to play some Mosrite licks ala Peter Gunn. File under joyful and life affirming.

(Andrew Young)  

BELD – BEHEADING THE HECKLER (Cassette on Misophonia Records)

PHURPA & QUEEN ELEPHANTINE – ITA ZOR (Cassette on Misophonia Records)

The ever eclectic Misophonia label has been busy once again with its varied array of old school cassette releases. As the label says itself there are no genres or boundaries to restrict its output so stick around and something you like will come along soon. Well here’s two things I like very much.

The pre-history of Ottawa’s The Band Whose Name Is A Symbol (TBWNIAS) includes many musical adventures which cave paintings and folklore don’t really tell us enough about so this cassette release is an important addition to the story of a cornerstone of the Ottowa psychedelic rock scene. Beld are an important part of the family tree, deserving recognition in their own right for their sound adventures as well as being a key moment in the journey towards TBWNIAS. John Westhaver, Dave Reford, Carol Lane and Doug Watson comprise a four piece that played improvised, experimental cosmic jams for a two year period in the late 1990s. Although there are moments when the rhythm becomes more driving and the guitars crank up, it’s a sound less heavy than TBWNIAS focusing more on electronic colours, drones, percussive textures and light and shade but you can clearly hear elements of the musical DNA of TBWNIAS coming together in a vivid and engaging way. The music on ‘Beheading The Heckler’ dates from a 1997 session at John Westhaver’s record emporium and all round musical shrine Birdman Sound in Ottawa.  There are apparently hundreds of hours of improvised music by Beld recorded during their two year existence and what we have here is a very tasty appetiser for what might hopefully be a deeper archaeological dig in due course. It’s a rough and often raw voyage of discovery where frazzled and distorted kosmische soundworlds, experimental post punk infused electronics and driving motorik inspired space rock come together in improvised wanderings that capture many moods and atmospheres from off kilter waltzes in space to hazy noir meditations and journeys to forbidden planets. There are some really inventive and indeed occasionally gorgeous moments to be heard and Beld clearly had their own way with a jam and how to make you sit up, or quite often sit back and listen.

I first encountered Moscow based Phurpa at the Huddersfield Contemporary Music Festival in a freezing cold church in November - they played for over two hours with their set slated to be much shorter than that. It was a night of hypnotic, intense and otherworldly sounds centred on their astonishing throat singing techniques which generate cavernous guttural chants and drones based on ancient Tibetan shamanic Bon music rituals. Anyone who was there will remember it as an incredible transfixing performance in addition to the discomfort of church seats for two hours and possibly the late bus or train home that they missed due to hanging on to see the end. On ‘Ita Zor’ Phurpa collaborate with Queen Elephantine, a group originally from Hong Kong and now based in Philadelphia.  Phurpa as expected create cavernous waves of devotional vocal drones over 50 minutes like an acapella Sunn O))) which somehow manages to be an almost crushingly intense and yet deeply meditative ritualistic experience at once. Queen Elephantine use their experimental and improvisational skills wisely by not seeking to challenge the scale and depth of the Phurpa sound but instead to gently wrap it in a blanket of often minimal clanking, chiming and skittering percussion, subtle and moody electronic textures and various flute, conch shell and horn colourings that accentuate devotional moods and intensify the otherworldly ancient atmosphere. Occasionally faint rhythms appear and fade away but it’s generally a loose array of improvised sounds interacting with the unstoppable weight of the vocal drone. It’s an incredibly dramatic, hypnotic and absolutely addictive sound that marries intense ritual with freely improvised sound elements wonderfully well and could just be the strangest thing you’ll listen to this year but you’ll be so glad you did.

(Francis Comyn)