= M A R C H 2 0 1 8 =

his is the first Rumbles of the year and also my first as editor, Simon Lewis having retired from the role late last year, after successfully helming it from issue 34 of the Ptolemaic Terrascope back in 2004. I am now fully aware of the incredible amount of work that goes into producing them!

Anyway, I trust this finds everybody well and in fine fettle. Without further ado, Steve Palmer kicks off the year…

The Captain of Sorrow are American indie-rock songsters whose album "Racetrack Babies" opens with the bright and melodious 'Hollow Empty Void,' which with its tune and ooh-ooh backing vocals makes a sprightly opener. 'The Scarlet Pimpernel' is quieter and calmer, with a similarly good tune, as is the speedy 'Buzzword Surfers.' 'Siamese Scars' is a melancholic waltztime wail, 'The Lunar Ticks' opens with doomy bass before heading off into a sinister strut, while 'Melancholic' builds over a descending chord sequence. Album closer 'Skull Coppers' comes over like The Coral in America. Strong songs in the first half of the album, excellent instrumentation and production, and good variety make this an interesting release. Subsequent listens show this to be a great album with lots going for it. (no contact details provided)

Ten short songs make up "Our Time" by ZX Electric, opening with gritty vocals and fingerpicked acoustic guitar on 'Savage.' The mood is taut, even slightly forbidding. 'Our Time' is similarly constructed, but 'Station' is a keyboard solo, before the songs return to emotionally wrought pieces. The focus on this album really is more on the lyrics than the music: 'If you came at me slowly and I fight you off / Terror fire light and touch / There's things we need you must provide.' It's gloomy, yes, but not gloom-ridden.

A concept album about pirates? Erm... well, if you insist. "Skullthuggery 2" by Skullthuggery is a folk-punk epic with dual male/female vocals, where the former sounds like Shane McGowan and the latter sounds a bit like Beth Orton. The sequel to "Skullthuggery," the band confess that they did not mean to make a second album, but the words and music kept coming, as "Captain Kid" writes in the sleeve notes. I say music, but the vocals are half spoken and half sung, in suitably punky style (that's not intended as a slight). Of course, the audience for this is going to be incredibly niche. But variety is the spice of life. (www.destructors.co.uk)

Leicester combo Nylon 9 are also punky in sound, but on their album "Plastics" the rambunctuous factor is dialled up, so that the apparent rough edges are a bonus and don't detract. The snarled female vocals are very effective - hints of Poly Styrene, and I'm not saying that because it’s the only comparison I can think of. Opener "Morse" thrums and clashes, with razor guitar and battling drums. Great stuff! Some of the cuts are really short - less than a minute for 'Grindbilly Blues' and 'Twister,' and these tracks are like sonic debris channelled from 1978. 'Amnesia' and 'Pistols at Lunchtime' make a brilliantly OTT close to the album. Tons of energy makes this a great listen. Punks from first time round will love it.
(no contact details provided)

American electro-niks Fovea on their album "Pencil Me In" make one massive mistake, I'm sad to say, on their opening track - auto-tuned vocals. Do we really need this anymore? The vocals are dual - auto-tuned and female, but alas the former make this cut very difficult to listen to. 'Don't Play' is back to normality; bouncy, kind of half indie half electro. The drum/percussion arrangements are complex and fascinating, and there's a variety of textures, but the lack of tunes is a bit of a problem. There are some good cuts here - 'Cost Of,' the rocking 'Dad Dreams' and 'New Meds' all get the thumbs up from me, but overall this album gets a maybe.

"Pow! That's Killmusic" by Destructors is punk/garage from the same stable as Skullthuggery. The attitude is 11, the shouty factor is 11 and the volume is 11 also. There are no tunes, but you'd expect that from this "going forward while occasionally slipping back" gang. Reference points? Sham 69, The Clash and much more anarchy...

Now here's something wheely interesting - chortle! - an album of electro-wizardry inspired by an obscure, middle-ranking (those aren't my words) cyclist called Pierino Gavazzi. I speak of "Hogofogo" by Neutral Zone, aka Swiss e-producer David Langhard. I was of course expecting a Kraftwerk rip-off, but actually this is more like music inspired by classic era Georgio Moroder. Opener 'Towours Le Meme' keeps the sequencers bubbling and the rezzy synths burbling away. 'Led73' is more akin to mid-period Robert Schroeder, while 'Space Travel' does have a bit of a Dusseldorf vibe. Other moods and flavours include New Order, and Aphex Twin for the scrunchy samples. And the Moroder vibe does resurface a few times. A great album of well constructed electronica.

Tomkat hail from Denton, Texas (home of the sadly defunct Midlake), and on their album "Icarus" they present a wide-screen album of dense and beautifully produced songs, opening with the stratospheric title track, where Katrina Cain's voice really soars. 'Teardrops' features more perfectly dualled vocals and a catchy chorus, while 'Stay' is more of a longue track - hints of jazz chords and a funky bass synth. 'Drowning' comes over all electro, while, later on, 'Human' and 'Phoenix' are both slow and uplifting, especially the latter song - another great chorus. The style of the backing vocals made me think of Judie Tzuke, but this is good and original music with some great production flourishes, although, throughout, the vocals are the focus.

"Taballah II" by Andy Haas (formerly in Martha & The Muffins) is an album of saxophone based electronic/world cuts somewhere between John Surman and Prem Joshua. Inspired by Anthony Braxton and Evan Parker, Haas is a man of processed sax sounds, somewhat in the manner of John Hassell. The music has a strange glamour that you don't notice at first, but which pulls you, trance-like, into the music. Tablas dominate the percussion and there are ring-modulated sounds floating away everywhere. The whole comes across like a fractured Indo-dream, albeit with hints of nightmare. I liked this album for its originality of sound world, for its playing, and for its overall ambience, and although one slight criticism is a lack of variety across the work, it is recommended from me for all world music aficionados.

Meanwhile, in America, one Dave Kerzner puts together a prog opera featuring many famous names that all proggers would know. "Static" is this album, opening with the chunky rhythms and mellotron-led textures of 'Hypocrites' (after a prelude that is - got to have a prelude!). So, what do we have? Good tune, check. Atmosphere, check. Tons of keyboards, check. Off to a good start then. The title track is beautifully Floydesque, well sung in Kerzner's husky voice (just the vaguest hint of David Gilmour there), with subtle guitar and a rolling piano riff. 'Chain Reaction' is also a fine cut, as is 'The Truth Behind,' where the DG factor is dialled pretty high. These days I'm rather suspicious of new prog rock albums because, for all the instrumental dexterity and massed ranks of mellotrons, nobody seems able to write a tune - like Yes, like Genesis, like Renaissance, like Pink Floyd, and all the other bands we fifty-somethings know and love. But Dave Kerzner has put together a fine and melodious album that really shines out. Excellent stuff, which doesn't diminish over time.

"See One Do One Teach One" is the latest from prolific jazz poly-math and saxophonist/clarinetist Martin Archer on the Discus label. Deep Tide Quartet is as its name implies a fourpiece, making improvised music on tenor sax, piano, trumpet and percussion, with some electronics thrown in. From the beginning this quartet felt good vibes about what they were doing, leading to some impassioned music. The highlight for me (rather ironically) is Kim Macari's trumpet, which counterpoints and leads beautifully, most obviously on the entirely improvised 'The Self-Threading Needle.' Some sections are a bit "free jazz" and that's not to everybody's taste, including mine, but as always with Discus releases there is something for everybody, spread out over two disks.
(www.discus-music.co.uk) Steve Palmer

Thanks Steve, marvellous stuff. I am going to start this year’s Rumbles with a couple of Scottish releases.

First up on Armellodie Records we have a new live release from The Hazey Janes  “Hands Around the City CD/ download.  This latest album was recorded at the band’s sold out show, at the Gardyne Theatre, in Dundee. The band have released a few albums so far “Hotel Radio” and ”The Winter That Was” and have played with the likes of Wilco and Belle and Sebastian.  Fans of REM, The Byrds and Big Star will find plenty to like here.

The band, which consist of Andrew Mitchell: guitar, vocals, Alice Marra: keyboards, guitar, glockenspiel, vocals, Matthew Marra: bass guitar, Liam Brennan: drums, vocals, assisted by Riley Briggs: keyboards, guitar, and Jenny Sutherland violin, viola kicks off with “TV/Radio” an infectious rocker, which is quickly followed by the driving, propulsive “Beneath The Summer Sky” this opening salvo show a band on fine form, navigating the twists and turns with consummate ease. Standout tracks for me are the soaring “Losing Sleep”, the lovely violin led “Somewhere Soon”, the beautiful “1956”, sung by Alice. “New York”, a fine mid paced rocker, and the infectious “Early Morning Light” which ends the record on a high note.

The other Scottish album which I have received, also out on Armellodie Records, is the debut album by Ewan Cruickshanks  “A Glasgow Band” this time Vinyl and download.  Ewan hosts a radio show on the Glasgow station Subcity, which is a student station, affiliated with Glasgow University.  He comes across as a carefree kind of guy, but crucially he has an ear for a good melody.  It’s quite a short album, only 34 minutes, but he packs quite a lot in.  Angular hook-laden, guitar pop, is the order of the day.  Straight out of the gate, we have the punkish “Y.N.D”, all single note stabbing guitar and keys, swiftly followed with the glam stomper “C.A.A.G.B”.  “For A Girl”, slows things down a bit before the amusing advice strewn tropical pop of “Michael”.

Elsewhere we have the very short instrumental cod funk of “Take Your Time”.  A lovely duet with Siobhan Wilson “Dreams”, “Superman”, a yearning, tempo changing, pop song, with some great angular twangy guitar.  The humorous and short “Faster Than A Snake”.  “Cosmic Star”, tells of Saturday night in a cocktail bar, this one has some fine brass and even touches of African sounding rhythm guitar.  “The Fly and The Dog”, continues the theme, even incorporating a touch of steel drums.  The record ends with “Treasure Chest”, a classic indie song, which again changes tempo a few times and has some very nice guitar, showing that Ewan is no slouch, the press release tells of his sound as being like Tom Verlaine, a claim I find a little rich.  So two very nice releases, for more information contact (alan@armellodie.com).

Next we move onto a record by Charles Vaughan called “Pylon Reveries”, CD and Digital (www.waysideandwoodland.com).  Released in the middle of last year on the Wayside and Woodland recordings label, a label responsible for a couple of fine releases that I bought last year by Oliver Cherer and Mark Van Hoen.  Well this falls into the category known, I kid you not, as Woodland Hauntology.  Little is known about the mysterious Charles Vaughan who takes his name from a 70’s character in the TV programme ‘Survivors’, and is linked to Epic 45.  Here he has delivered a purely instrumental album. This is his fourth, drawn from various tapes and hard drives he has recorded over a number of years, with some of it made up from a CDr that he left at various substations that he came across on his travels, for anyone to stumble across, it was free all you had to do

Charles became fascinated by pylons from a young age hence the title. Here you will find the hum and crackle of electricity, the pieces all blend into a whole with titles such as “Fallen Pylon on Pagan Burial Ground”, “Chased Through A Field”, “Low Lines Part 1”, ”Drones Above” and “Yesterday’s Future”.  On this record I’m put in mind of Thomas Dinger, Aphex Twin and the subtle electronics of Hans-Joachim Roedelius, it’s both atmospheric and ambient. 

Right, three cassettes have arrived from the Crash Symbols record label, (www.crashsymbols.com)  and upon checking it seems that all three have sold out so there seems little point in me telling you about them, but I will anyway some of these releases are only limited to 100, so it really is no wonder that they sell out very quickly. The first one is from Don Gero  Wizarding”, is the title and it is a kind of repetitive stoner rock/jam made by machines that have ingested far too many E numbers, a bit like being in the middle of some console game on loop, they seem to have heard the debut album by Goat, and just gone with the trance-like rhythms of that record.

Another of these cassettes is the project of Anne Sophie Le Creurer, recording as Saintes  “Melancholia” is the title and she is effectively a one girl band, whose particular sound is some sort of fifties inspired narco dream pop.  It’s very nice, one of the tunes sounds like Teenage Kicks but slowed right down, sung by a heavily reverbed, goth queen.

Lastly and my favourite of the three is a split between Canadian Charles Barabe and Estonia’s Ratkiller.  Charles’s “Avant-Garde Avorton Romantique”, takes as its main theme the early atonalist Anton Webern, plenty of synths and Timpani’s, there is much sampling incorporated within these sound collages, they build and decay into a melange of sound.  He also records for boutique label Orange Milk Records, who have a huge roster of similarly inclined acts.  Ratkiller with “Transrational Suite”, on the other side are pretty ace and my pick of the bunch, recorded entirely on a Yamaha DJX, which confuses me somewhat as I swear I can hear pianos and guitars!  The sounds are quite organic, but out there, the pieces flow together very well, ghostly interludes, marimbas and harps, snippets of film soundtrack, all wrapped up with plenty of synth action, strange but good.

After those fairly crazy tapes we have some ambient instrumental balm delivered by Giulio Aldinucci and Francis M.Gri with “Segmenti” on Krysalisound (www.krysalisound.com).  Here we have a collaboration between Giulio from Vienna and Francis from Geneva. Together they have put together a hypnotic; pulsating collage of ambient and field recordings, made with piano and guitar, but you would be hard pressed to know that.  Recorded in Siena and Milan throughout 2016, it is at once relaxing and soothing, slow builds and fades, nothing jarring. “Faglie”, at 14 plus minutes provides a suitable entry; it’s a soothing cathartic piece. “Remnants”, follows, it hangs in the air, slowly orbiting in stasis. “Magma”, has some very nice deep sonar atmospherics, and also dense rumbles, I thought that this song may have been a lot heavier because of the title, however it isn’t, that job falls to the next track, “Anchor”.  A track that starts with a heavy drone, gradually diminishing in sound as the piece progresses until it finally fades. The final track “Divisi” is a flowing piece of elecroacoustic sound that crackles through the ether, shot through the fog.

It is at this point I can inform you of a thing released last year on the atemwerft record label (www.atemwerft.de)  “Testuary To Lullaba”.  It’s by James Worse, who is also a member of “Hand of Stabs” a band whose last record I reviewed in an earlier edition of Rumbles.  James has created a thing that is not music and it is not really like anything that I have heard before. He uses words to create stories, these words he calls Worsicles, they are barely decipherable as words, in fact you can only really make out a few in each sentence, usually they are ‘like’ or ‘and’, used primarily, to join together these Worsicles into semi coherent verbose sentences.

If you let the thing progress, which might be more difficult than you may think and if one becomes attuned to these surreal, linguistically descriptive Worsicles, then you may develop a liking for them. The best that I can do, to help you imagine what these five stories are like, is to give you a few pointers. He sounds uncannily like the actor Mark Heap; you must take the English eccentrics and the skewed wordsmithery of Dr Stanley Unwin, maybe Vivian Stanshall for florid verbosity, or, perhaps, the plummy tones of Stephen Fry, the nonsensical works of Edward Lear, the characters with great names, that litter the books of Dickens and Tolkien.  He has been described as like ‘Ivor Cutler doing sound poetry’ and indeed ‘sound poetry’ is as good a description as any.  It is a very, very, odd thing indeed.  James has recently collaborated with Nurse With Wound and his Worsicles have been heard on Jarvis Cocker’s Sunday Service on radio 6.  Good luck to him as his thing is truly unique.
Burning Ferns have a new single out that has come to our attention, well  November last year, “Bullet Train” four years after their debut album “See Saw Seen”, which was a bit of a hit Stateside.  It’s a cool rockin’, 12 string inflected pop song that rattles on down the tracks, all tilt a whirl.  The flip song “Fuses Blow” doesn’t blow any fuses, but is a nice harmony-rich, mid-paced song, with a neat little guitar figure.  On 7” CD/DL available from country mile records (www.countrymile.org).

UmmagnaLCD”.  This EP came out last year, with mixes by Robin Guthrie and Dean Garcia.  Four tracks of glacial beauty, and is indeed a glorious thing, worth tracking down. The remixes really work; there are some very nice arrangements which compliment the songs.  The EP is available from Somewhere Records, COLD 008.  Nice to see the Cocteau Twins influencing modern acts, they along with Dean’s band Curve, influenced this terrific EP; which incidentally is still available; it came out last year and is limited to 100 copies from (www.ummagma.bandcamp.com).

Right mad synth action now from Yoshio Machida And Constantin Papegeorgiadis with ”Music from the SYNTHI 100”.  This record is a result of a labour of love by Constantin, who has made it a quest to repair a SYNTHI100, a monster analogue modular synthesizer over 2 meters long without a keyboard, up at the EMS (Electronic Music Studio) in London.  This one is really only for synth nerds and as such is a fairly dry exercise but there are some otherworldly sounds being generated.  Each of the twelve pieces are entitled as either Experiment *01,17,22,04,21, or else they are titled Generation *15,02,04,06,17,08,10. 

Yoshio and Constantin, present us with 12 tracks that experiment and generate sound and show what a beast this synth is and what it is capable of (it’s over 2 metres long, I think I may have already mentioned that). It was only 50% working, when Constantin first went to work on it, drying out contacts, edge connectors etc, so far it has taken two years of work, and still the sequencer doesn’t work!  So a very rare refurbished EMS sequencer was used, the EMS256.  Recorded in 2015 at the IPEM (The Institute for Psychoacoustics and Electronic music), in Gent, Belgium. This recording is well worth trying to track down, if you are a serious synth hound. (www.yoshiomachida.com)  

Laurence Campling Alas, Alack, Alay” a four track EP on Stone Premonitions download on (www.reverbnation.com/laurencecampling)  that has two tracks and then the same two tracks but rendered as instrumentals, do keep up at the back!  Laurence is a documentary filmmaker and video producer.  Born in Norwich, England, he emigrated at the end of the eighties and these days is based in Sacramento, California. In a lengthy career, he has been a Stage Manager for The Residents and also studied guitar craft with Robert Fripp, although this has nothing on it that is remotely like Frippertronics, it being a couple of tunes that are rooted in folksy California singer songwriter territory.

An ambling, loping opener “Alas Alack, Alay”, being purely acoustic.  Second song “On The Saline Valley Road”, takes us out to the wilds of the Californian desert and has a lovely dusty easy going nature, again acoustic and for reference not a million miles from Cornish singer songwriter Nigel Mazlyn Jones.  The other two tracks are longer versions of the preceding songs, sans lyrics.  

Scott William Urquhart has a new CD out “Lenten Dawn Chorus”.  It’s self released with no record label details available, but I’m sure you can contact him via social media or maybe Bandcamp, if you are interested in getting hold of a copy. He is a musician based in Sterling, Scotland and plays with the likes of Daniel Bachman and Jake Xeres Fussell.
This is a collection of solo guitar instrumentals which have plenty of twists and turns to keep you listening, from the opener “Sweet Cecelia Grace”, which fairly rattles along like a train going clickety clack down the railroad tracks, “Springtime Drone” which is reminiscent of that great 12 string guitar player Toulouse Engelhardt.  The cathartic, soothing grace of “Total Peace”. “Time Out of Joint” reminds me of Robbie Basho and “High Anxiety Blues” of John Fahey, so he is in good company. There has been a bit of a resurgence of this soli guitar style over the last few years by guys like Kyle Fossburgh, Rich Osborn, and William Tyler, to this illustrious list we can add Scott’s name.

Another CD that I have found most enjoyable is from Tyneside singer songwriter Derek Simpson, who records as Miserable Les “Gulp”, with all proceeds from the sale of this record going to Prostate Cancer UK.  Contact (dek.simpson@talktalk.net).  He is joined on this album by Charlie Barlow; Drums, Ray Johns; Piano and organ, John P Taylor; bass and keys, Steve Martin; upright bass and Guy Millen; bass.

The record kicks off with “Facebook John” a humorous tale of selfies and yachts, with the song’s protagonist presenting us with his wonderful life to make us all jealous, very funny indeed.  He sounds a bit like Richard Digance or a less fruity Jake Thackray.  “Spider” has some supple upright bass, sparse percussion and appeals greatly.  The curtain twitching ”Cul-De Sac”, is an amusing tale, which introduces us to his wife, who sports a long grey beard, plus assorted perverts and weirdos. “Bubble” has some fine electric guitar throughout and rattles along at a fair pace, reminding me of the band Madness. The subject of this song is the small minded, anti immigrant “I’m all right Jack”  type mentality, one that would seem to be the main body of the EDL.

“Hey Nonny Nonsense”, is a lovely instrumental that shows off Derek’s dextrous acoustic guitar playing, he really is a fine guitar player too, there are shades of Michael Chapman in both the playing and his gentle northern humour.  Other songs that appealed greatly were “Happy Hour”, about getting rat arsed, with your head down the pan, swearing off the demon drink.  “Loop –De –Loop”, which is a humorous rap about buying a loop pedal, ala Ed Sheeran, all buttons and LED’s.  “16 Tons”, the Merle Travis song made famous by Tennessee Ernie Ford, again shows off his fine finger picking skills.  Final track “Blinded”, closes out this very appealing album in style, with a full band sound, replete with organ and electric guitar.

The Italian record label Boring Machines (www.boringmachines.it)  have released a few new records over the last couple of months.  Having bought us the likes of Mamuthones, Expo 70 and Father Murphy, I am always eager to hear what they put out next.  In October of last year they released a three track 12” single entitled WK569Omaggio A Marino Zuccheri”.  Marino was the sound engineer at the famous Milan RAI Electronic Music Studio, this synthesis of musical language is presented by WK569, a group comprising of Federico Tronatti, Ezio Martinazzi and Pier Enrico Villa. 

Also released by them in November of last year, is a solo album by Adriano Zanni entitled “Disappearing”. It is a sublime mix of found sound, a combination of analogue and digital instruments, coupled with field recordings and samples.  An amalgam of acoustic, electronic and natural sounds and as such a fine way to spend 35 minutes.

Another release worth mentioning that was released in Decemberis Dream Weapon Ritual  “The Uncanny Little Sparrows”.  Formed in November of 2006 by the duo of Simon Balestrazzi and Monica Serra, they play free form music, informed by electronic soundscapes, a fine mix of the archaic and modern music.  Both are also members of the cult band T.A.C. (Tomografia Assiale Comuterizata). Released on vinyl LP and accompanied by an 8 page A5 coloured booklet.  The instruments from what I can gather are psaltery, organ, rototoms, sax balloons, vocals, shakers and various electronics creating a fine album, that’s well worth trying to get hold of.

I am still playing a catch up game with a few other things of note worth mentioning that were released toward the end of last year.  Guerssen Records (www.guerssen.com) have released an album by Swedish band Cymbeline,Cymbeline’ This band were active from 1965 until the arse end of 1971 and although they never released anything at the time apart from a sole 45, they did manage to play a few gigs and also recorded some demos which form the basis of this album.  It is a fantastic record, plenty of fuzz guitar, tight playing and arrangements.  I can see a natural progression through to today with bands such as Dungen picking up the mantle from these Scandinavian trailblazers.  Some of the songs are sung in Swedish and some in English and show a clear progression from the jangle pop of 1965, with things gradually getting a lot heavier as the sixties progressed and eventually ending up with a sound similar to the one that Hendrix, Cream etc were achieving, even covering “The Wind Cried Mary” here entitled “Vinden Viskar Mary”.

Highlights are the fuzztastic wah wah stylings of “Mittuppslag”, the dreamy acoustic folky charm of “Flicka”, enlivened by some stunning lead guitar breaks, the weirdly infectious “Stolta Vingar”.  B side of their sole 45 Sixth Image, the Beatleesque “Fifth Image”, complete with Indian drones and a spoken word interlude. The slightly fey “Look at The Stars”.  The sole 45 New York was bought to the band by joining member Ulf Ryberg, who here sounds a bit like the lead singer in Family, however I feel they had better tunes than this, although it does have some searing lead guitar. “Mary Anne” sounds a lot like the Hollies, the aforementioned Hendrix cover is terrific.  The record ends with “Stolta Vingar 11”, a fine Scandinavian folk song with lashings of molten lead guitar.  Again I am amazed that something as good as this can languish unheard until now.

Another label that has put out some really good records recently, is Gard De Nord.  The Cold SpellsThe Cold Spells’ (www.garddenord.com)  is the latest from them, and at the risk of saying that yet another album is indispensible, this is. Four years in the making they have created a folktronica gem.  The press release actually had me when it mentioned Riddley Walker, Robert Wyatt, Shirley Collins, Penda’s Fen, Aldous Huxley and Play for Today, what a disparate set of influences!  But also influences that I too am familiar with. 
The band consists of Tim Ward (songs, vocals and guitars), Michael Farmer (keyboards and vocals) and Catherine Plewa (bass guitar).  The record really works best when listened to as a whole and flows beautifully, the songs interlinked with bleating sheep, frogs, birds and synthesised geese.  Informed by nature, songs such as “Wooden Horse” “The Ghosts of Them What Didn’t Make It” “Thomswood Hill” and epic album closer “Maelstrom” are little gems, nothing being too overworked or false.  It is not a record that tries to be clever, but it is a record that is easy to listen to and one that will bear up to repeated plays; I love it, what a find. I urge you all to get a copy. 

Until next time, happy trails Andrew Young.

Terrascopic Rumbles for March was brought to you by Andrew Young and Steve Palmer. Artwork, layout & direction by Phil McMullen - © Terrascope Online, 2018