= August 2022 =  
Empty House
London Odense Ensemble
Michael Tanner
Oyvind Holm
Mick Crossley & Paul Roland
Nathan Hall
Dr. Space
Mark Lofgren



EMPTY HOUSE – BLUE BAMBOO (Cassette on Cruel Nature Recordings)

Fred Laird has been as ever keeping busy with Taras Bulba and a range of other solo and collaborative activities embracing a range of musical and philosophical influences. Empty House is a solo project showcasing Fred’s multi instrumental prowess to create meditative experiments in sound or more precisely sound painting which better describes the musical canvas created. ‘Blue Bamboo’ is the second Empty House release following on from last year’s ‘Mushin’ and superficially it takes a similar path where elements of Kosmische, haunting folk melodies, ceremonial and ritual music across cultural boundaries are skilfully navigated and harvested to create a captivating ambient soundscape and immersive listening experience rich in imagery and atmosphere. It consists of four improvised pieces played on an array of electronic and acoustic instruments which form a kind of loose ambient suite. It comes with a cassette only bonus track, well, just because Fred likes all of you.

We begin with Night Fires’ where warm, gently pulsating Raga-like drones, delicate and shimmering percussion, wisps of minimal desert blues guitar and snatches of what could be ancient Arabic melodies create a dreamy heat haze, cooled by touches of Harold Budd-esque piano colours. It’s an intoxicating opener and conjures up evocative cinematic desert sunsets or perhaps a fine accompaniment to leafing through the travel writings of Paul Bowles amongst other things. ‘Good News People’ follows and is much more Kosmische oriented with Popol Vuh coming immediately to mind and again that Eno or Budd-like stately and minimal use of simple piano melody with vocal samples. Celestial choral swells and washes underpinned with field recordings add a touch of 2001 and Ligeti informed atmospherics which occasionally stray into darker more dissonant places. The title track takes the celestial cosmic choral mystery a little bit further adding a sparse spacey surf guitar twang with a deconstructed Dick Dale twist and more prominent percussive punctuations with a touch of almost free form Celtic melody jostling with darker humming drones and rumbling undertones.  ‘Serenity’ amplifies the field recordings to create a contemplative, looping, pastoral Kosmiche where echoes of Jon Hassell’s fourth world fusion or Robert Fripp’s music for quiet moments and Celtic and far eastern melodic sensibilities come together to create a piece akin to a tranquil yet vibrant walk in a woodland or meadow at dawn or dusk and it concludes a gorgeous run of music.

The bonus track ‘Extinction Mantra’ is different in character and lengthy at more than 16 minutes. It builds from a folk inspired melody with electronic undertones into a gently upbeat foot tapper. Kraftwerk like electronic melodies are given a mellow makeover and a Chemical Brothers style rhythm gently but firmly propels the melody into a gradually more complex layering of pulses, drones and electronica. Manuel Gottsching does this very well and so does Fred Laird.

This is another excellent release from Fred Laird as Empty House, embracing the sound world of ‘Mushin’ and taking it subtly but satisfyingly forward to another level. It’s an improvised soundscape that could pleasantly accompany an hour of being busy doing nothing but I urge you to create some headspace, immerse yourself and listen closely as there’s a lot of small detail in this music that deserves your attention and will reward your time very well. There aren’t many copies of this cassette so don’t delay if you want one.

(Francis Comyn)


(LP/CD/Digital on Mexican Summer Records)


Sessa, aka Sergio Sayeg, the young star from Sao Paulo, Brazil, brings us his not-difficult second album Estrela Acesa, and it’s a corker.  If his 2019 debut Grandeza was a hodgepodge with minimalist tendencies, here he expands his palette with lush arrangements and production.  He keeps an eye on the brilliant practitioners of samba, bossa nova and tropicalia’s heyday, with the other eye on the here and now.  His music is floating and gauzy, sensual and dreamy.


Everything on Estrela Acesa (which translates from Portuguese to Burning Star) sounds romantic, even when some of the lyrics are actually about breakups and frustration.  At the core of all the tracks are Sessa’s nylon guitar, Marcelo Cabral’s bass, and producer Biel Basile’s drums and percussion.  He has a talented team to conjure impressionistic paintings in filling in the soundscapes.  Soft strings, flutes, more percussion, and female background vocals are applied with the utmost in taste, sophistication and restraint for just the right balance.


A fine example of his art is on “Sereia Sentimental” (Sentimental Mermaid).  Sessa’s featherlight vocals and light strumming are accompanied by lovely strings in a very 60s-70s style arrangement, and the soft, sensitive background vocals by Ciça Góes, Ina, Paloma Mecozzi, and Lau Ra.  Those singers are all over the album, and lend a great deal of warmth to Sessa’s images of lazy, sparkling seas and sand.


The jaw-droppingly gorgeous semi-instrumental Helena starts out perhaps evoking composer Erik Satie’s Gymnopédies, but drifts off gently with the swells of those dreamy strings (really must give a shout-out here to the album’s arrangers, Simon Hanes and Alex Chumak – Chumak arranged Helena).  I say semi-instrumental because the background singers purr along tenderly.  The track is like swaying slowly in a hammock in the hot sun on a tropical beach.


“Dor Fodida,” likewise, is so relaxing, even an alluring psychedelic, opium-laced haze in its mellowness, that you’d never guess it translates to “fucking pain.”  Breakup song “Que Lado Você Dorme?” (On What Side Do You Sleep?) is enhanced by two enchanting interludes switching to waltz time, with the background singers meandering away, and sounding like they’re as far off in the distance as they can be but still be audible.  The song finishes in a beautiful instrumental touch with Sessa’s guitar and the strings.  On the closer and title track, Sessa sounds somewhat playful, not taking himself or the world too seriously.


Sessa makes it all look easy with this album.  Whether imagined as a late-night superchill among murky lights or a sun dappled daydream in the haze, both descriptions work.  The music is rhythmic and timeless.  The production and top performances by his contributors are superb.  If this is what he’s capable of on his second album, the lad’s going far.


(Mark Feingold)


(LP/CD/Digital on El Paraiso Records)


With certain brilliant artists, whether they be film directors, authors or musicians many of us reach a point that when that artist releases their latest work, you just don’t ask questions and you check it out.  Usually, you’ll be handsomely rewarded by the experience, as in this record.  It comes from the collaboration between Denmark’s El Paraiso Records stalwarts Jonas Munk (guitar and studio wizardry) and Jakob Skøtt (drums, art design) of Causa Sui; Martin Rude (bass with Sun River and sometimes Causa Sui); with London jazz scene standouts Tamar Osborn (baritone sax, flute); and Al MacSween (keyboards and synths).


The Odense folks love to do collaborations, their past work sometimes including the London players – see Rude Skøtt Osborn Trio, Ellis/Munk Ensemble, and Chicago Odense Ensemble.  The world is a better place for them, but this one raises the bar higher, and is another career peak – for all of them.


It’s a delicious gumbo of spiritual jazz à la Alice Coltrane and Pharoah Sanders, psychedelic rock, with dashes of prog and Herbie Hancock/Chick Corea/Mahavishnu Orchestra jazz fusion.  Why wait? – the album kicks off with the immense highlight, the combined seventeen-minute-plus “Jaiyede Suite, Parts 1 and 2.”  This massive piece swings and sways in a head-spinning trip, with all five musicians going for broke.  Munk’s guitar wah-wahs away, while Osborn lays down some swampy bottom with the baritone sax on Part 1, swapping it for flute in Part 2.  MacSween’s electric piano work has some Lalo Schifrin qualities, and he, too alternates with groovy synths.  All the while, Rude and Skøtt anchor the proceedings on a rhythmic groove and somehow keep everything from skipping off the atmosphere out of the solar system.  It’s an unforgettable piece.


“Sojourner” is ushered in by MacSween’s swirling synths and Osborn’s flutes, while Munk adds guitar colors and Skøtt plays almost exclusively on the toms and cymbals.  It’s more affirming and positive than the startling voodoo of its predecessor.  It’s still a psychedelic headphone trip, albeit one played out in the sunshine, rather than the Jaiyede Suite’s stark moonlight.


Side Two is the more experimental side, dominated by the fifteen-minute “Enter Momentum.”  Osborn and MacSween initially trade stabs on flute and keyboards, respectively.  Osborn later switches to the baritone sax (and later back to flute again).  The Odense guys get their turn next, and the two international factions alternate between soloing and supporting.  Again, Skøtt’s drumming is exemplary throughout the extended free-floating jamming.  Closer “Celestial Navigation” features a mass of squiggly analogue synths heading off in different directions into the cosmos, while the other players do their bits, notably Jonas Munk guiding the way at one point on guitar.


We can only hope there’s a Jaiyede Sessions Volume 2 coming.  Volume 1 launches you clean into the heart of a flowing, vibrating, pulsing spiritual Space Is The Place land played by peerless masters.  It’s another gem from El Paraiso, one of their finest yet.

(Mark Feingold)


(cassette from Objects Forever )


I rather fear this little gem is sold out at source, but there's a download available (which I've provided a link to, above) so those of you who, unlike yours truly, don't have your heads stubbornly stuck in the analogue sand and are quite happy wallowing around in the digital sea can at least hear it, even if you are missing the beautiful printed card sleeve or indeed anything that you can feel, touch, hold, smell or see. The good news is however that Michael Tanner is a perfectly adept spirit guide, channeling those very feelings and emotions through his music.

It's only fair to say at the outset that the Terrascope has a very long-standing affinity with Mr Tanner; his various projects and side-lines (Plinth, Thalassing, Cloisters) have graced many of our pages and stages, and his performances with friends and artists as revered as United Bible Studies, Sharron Kraus and Alison Cotton are the stuff of legend. So you're hardly going to expect an unbiased review here. Trust me though, this one really is rather special.

Vespers / The Blackening are the latest, and allegedly final, two mini-albums by Michael Tanner performing as Michael Tanner. 'Vespers' was recorded in 2020 but has only just surfaced, while 'The Blackening' has previously only been available digitally (and therefore, I would argue, is previously unreleased. I'd probably lose the argument against the sheer weight of the evidence, but like I said above, I'm a stubborn old bugger) Objects Forever is to be applauded for releasing the two on cassette.

“I made these recordings for Vespers due to the sheer inanity of lockdown - they arrived fully formed and unexpected, like all good improvisational pieces should be I guess. It’s a worn cliche, but they genuinely weren’t meant to be heard by the outside world. In fact, I sat on it a year so as to not get swept up in the deluge of lockdown albums that were already popping up left right and centre. As with any album I put out, if I still want to listen to it after a year then the chances are other people will too.

“Bar the church organ opening, the album was recorded entirely on a slab atop a family vault in the graveyard at the end of my street. Always at dusk, when the birds in the trees overhead were at their most animated. I’m not a big one for ‘studio trickery’ but this was my first experience with ping-pong delay - borne from the fact that I just really missed playing music with other people, and the call and response nature of it had a somewhat similar sensation; making a sound into the void and it having it bounce back at you, making you then react, think on your feet.

“You can hear twigs snapping below as I had to shift, mid-recording, as ants bit my ankles. It’s a snapshot of a few days in Spring: no agony, very little tweaking and probably the most honest thing I’ve recorded".

I have to say, it's the birdsong and ambience that really elevates these recordings into the realms of the extraordinary for me, rendering the music somehow spiritually entwined with nature itself. There's a deftness to Michael's playing that seems lifted by the animation of the birds, as if they are willing the hurdy gurdy, zither, autoharp and other acoustic instruments to join in with their conversation. Alison Cotton's viola on 'Vespers Part 2' (overdubbed, I think) also adds a glorious tonal texture.

Turning the cassette over, Michael observes: “The Blackening is a piece of music recorded between 2014 and 2016 in the UK and Italy, mostly as a duo with Alison Cotton. Overdubs were added by my friend and constant inspiration Lino Capra Vaccina in 2016.” It's extraordinarily gentle music, lapping the shore like the sea, receding and advancing and - and no doubt, eventually covering my head as it lies there, buried in the sand.

I do hope this is a pause rather than a farewell for Michael Tanner, who describes them as "my final albums for the foreseeable future" (leaving me wondering, in my usual pedantic way, if we can't at least hope for a second Thalassing album even if there's to be no more Tanners) but, whatever the case, it's a gorgeous collection.



(LP/CD/DL from HOME | My Site (oyvindholm.com) )

Well known to readers [and utterly revered by your editor!] through his work with/as Dipsomaniacs, Deleted Waveform Gatherings, Sugarfoot and Pink Moon, amongst others, his latest release finds Oyvind Holm working under his own name and creating a majestic and intricate collection of songs based around the loose theme of separating fact from fiction, reality from lies.

  Opening with a chugging riff and growling saxophone, “Ghost Dance” is a classic Psych Pop tune, the lyrics taking the tune into darker more paranoid realms with the saxophone work echoing that feeling. With some beautiful rolling bass at its heart, “The Stranger” sparkles with delight,sweet melodies enhanced by excellent vocals from both Oyvind and Kirsti  Huke, the song a personal favourite from the collection.

   Moving on, “ilove” has a cloak of stuttering, shimmering sounds that enhance the tune as they move around the room drawing the listener in beautifully.

  Throughout this majestic album, there is a very thoughtful production that brings the best from each song, the quality of the music matched by the precisely written lyrics, the attention to detail obvious throughout, creating a rich and satisfying journey that gets better every time.

     Whilst I could go in to more detail about individual tunes, it is the album s a whole that works so well, the continuity and quality of the music harmonising across twelve tracks in timeless fashion creating a future lost classic.

   If the quality of the tunes was not reason enough to buy the album, the artwork and packaging is equally fabulous with a die cut sleeve, inserts, lyrics and a three track 7” single, both pieces of vinyl pressed on gorgeous translucent coloured vinyl, the music on the single maintaining the standards set by the album.

   An album destined for my end of year list; go get one.

 (Simon Lewis)




(Dark Companion CDs  www.darkcompanion.com )

Paul Roland will be well known to readers of Terrascope having had quite a few positive reviews over the years. For those that don’t know, Paul is an English singer songwriter whose music is often dark and gothic in nature. Crepuscular songs populated by strange characters and their stories. The first of these releases Through The Spectral Gate sees Paul once again team up with Mick Crossley (who will be better known still, having released records on Woronzow as the Flyte Reaction) for a pretty fab psychedelic romp. In fact this one is mostly written by Mick, who also produced and engineered the record, and I think it’s a bit of a modern day classic.

 It opens with a spacey ‘Open The Spectral Gate’ which has Hawkwind meets King Crimson vibe, this is echoed on the more acoustic first part of the second track ‘Come Into My Mind & The Flickering Light’, with its misty mellotron, the track then goes into a great wig out. We are back in firm Paul territory on ‘Echo Forest (He Knows My Name)’ where we meet a wise wizard, the organ laying down some suitably gothic atmosphere. We then encounter ‘Silver Surfer Parts 1 and 2’, these are the kind of songs which Paul does so well, full of wonder at the man in the silver suit. The music is restrained, with arabesque motifs suggested; it also has a lengthy space rock passage towards its climax. ‘Witches Brew Part 1 and 2’, features has some fine electric violin playing by Geoffrey Richardson of Caravan; it’s a bubbling cauldron of delight. ‘Mantra’ sits well on the record, a trippy dense tune which demonstrates what a fine guitarist Mick is. Drowsy sitar drones announce ‘Third Eye & Blessings’, a sardonic tale of mystics and guru’s. This features some wonderful keyboard and guitar playing. ‘Never Flown So High Before’, is grade A space rock. We head out east for ‘The Cave Song & Carlos’, which veers into Floydian territory. The record ends with the lengthy atmospheric ‘Crystal & Silent Star’.

Paul’s music is well suited to a dark musical ballet, which is the case for Nosferatu (Or The Strange Case Of Jonathan Harker  A gothic ballet in three acts. Paul was encouraged by his record label Dark Companions to record this Grimm fairy tale fantasy for orchestra, attempting and succeeding to record some magical, orchestrated songs. The songs are performed by Paul Roland and the Cigarbox Orchestra and are broken up with narration, linking the songs and lending cohesion to the project. It succeeds because it can be listened to as an album but would also benefit from being watched in a theatre, with real ballet dancers enacting the songs. It was composed over an intense three month period. It is a not a rock record, closer to classical really. I enjoyed it immensely, from the haunting ‘Mina’s Theme’, the cracked angst of ‘Renfield’s Delerium’ to the dramatic ‘Nosferatu’s Theme’. It differs from other renditions of Nosferatu, because it’s from the view of the victim, Jonathan Harker.

Also due to be reissued next month by PRAS is his 2020 album Lair Of The White Worm. An album which passed many of us by, including his long time fans, so it’s nice that it is to receive a reissue. It is based on the legend of The Lampton Worm. Echoes of Robyn Hitchcock abound on this concept album, be careful what you fish for.

The legend sees a fisherman catch a strange, lamprey type eel with nine holes in its head which he duly divests himself of by throwing it away down a well, but it mutates into something terrifying and strange tales emerge of disappearing livestock. 

The music is suitably gothic and baroque; it rocks and has some searing passages of lead guitar but it also has some gentle pastoral moments. Male and female voices combine to deliver these haunting songs. Paul is one of our most imaginative songwriters who has never quite received the exposure that I feel he deserves, I for one would love to hear stuff like this played on the radio. He remains under the radar, his fans can’t get enough of him, which fortunately, being quite a prolific musician, they can satiate their needs. Fluty flutes, misty mellotrons, lashings of electronics, organs, guitars and clever percussion are the order of the day, the vocals have been very well arranged throughout and the songs have a freshness and energy about them. The songs are linked by Interludes with recurring themes and melodies. ‘Moon Child’, ‘Leda & The Swan’, ‘Bewitched’, ‘In Memory Of A Time Traveller’ and ‘Madman’s Lullaby’ are current favourites.

(Andrew Young)   


(The Hip Replacement CD

www.nathanhallandthesinisterlocals.bandcamp.com )

A new album by Welsh wizard Nathan Hall is always welcome around here and his new self released record is due out very soon. Nathan was the main singer and songwriter in The Soft Hearted Scientists and this is his 6th album with his Sinister Locals.

The opening track ‘California Time Machine’ is a gently humorous tale of life in Laurel Canyon in 1967 from the point of view of a transported Welshman. Arthur Lee and Jim McGuinn and David Crosby, Jim Morrison and Peter Tork and Joni Mitchell goes the refrain. A nice squelchy organ spews all over it.  The following song ‘Apples On The Motorway’, slows things down a bit before the melodic ‘Castles In My Head’, with its flanged guitars and acoustic strummery. Nathan plays electric and acoustic guitars, organ, Fender Rhodes, synths, pianos, effects, electronics, drones, percussion and sings, the sinister local he is joined by here once again is Michael Bailey on Bass. Hash Pipes and flying unicorns inform the next song ‘Sand Dune Song’, a sort of breezy, bossa nova/mamba affair. How could you not love a tune with the title of ‘Green Goblin Blues’? It turns out to be a psychedelic delight. ‘Song For Janet Margolin’, is a whimsical, pastoral elegy.

‘House On The Hill’, is a worrisome waltz, about portent and escape. The title track ‘Golden Fleece’, has a gentle curl of sitar, before a jaunty romp about Jason and his Argonauts appears, it’s also about playing the guitar and being left in peace, a lovely Wurlitzer sounding lounge organ wheezes away as it progresses. ‘I Won’t Take You For Granted’, is a cool instrumental, with plenty of squelching synth. ‘Go Ape’, appears to be about joyriding a Ferris wheel in Cardiff and features a spoken word section.

‘A Long Time To wait’, is a song about joy deferred, sounding like a certain Californian surfing band with cabin fever, a gently lilting, haiku like song.  . ‘New Eyes’, parks itself firmly in fab four territory, and dispenses some sound advice before the excellent ‘The Jellyfish’ appears, all Fender Rhodes, flanged guitar, bleeps and squiggles. The album ends with ‘Fire Escape Friends’, the longest song on the album at 4.40, it’s ostensibly a song about blocking out the insanity of the world. A fine way to spend an hour, great stuff Nathan.

(Andrew Young)


(DL/CD from bandcamp )

Scott Heller aka Dr Space plays with several bands including Oresund Space Collective, and Black Moon Circle as well as adding guest on many other projects. However this alias is a place for his solo work, this time joined on bass by William Kopecky (Kopecky, Yeti Rain) and Hasse Horrigmoe (Tangle Edge), not on the same tracks,  the musicians creating a collection of ambient, spacey soundscapes that twinkle and rumble in a delightful way.

   With a creeping drone and flashes of synths, “Crying Fireflies” sets the scene beautifully allowing the listener to drift off into other realms, a rumbling bass ading depth to the recording, whilst a lack of traditional melodies and very few sequences means the music is formless and free flowing whilst maintaining the listeners interest due the the variety of sounds within the track.

    Bringing sequencers into play, “3rd Ear to the 4th Dimension” has a throbbing electronic pulse at its heart, this pulse augmented by Bass Guitar making difficult to distinguish the source of the low end whilst synths creak and groan above. However it is created the tracks moves forward with purpose reminding me of classic seventies electronics from the famed German scene. Following on, “Raindrops on my Cortex” begins with an electronic thunderstorm before morphing into an intense cosmic train ride, just sit back in your seat and enjoy the scenery for seven glorious minutes, hash cookies are optional.

     By now the listener should be feeling mellow and comfortable as “Homer Sets Sail” allows you to drift away into a sea of tranquil electronics before the finely named “Roasted Dust Muffin” takes you to another galaxy, an intense and droning slice of sound giving way to a more ambient deep space section, time to pop out for that moon walk you've been planning to take, although be sure to be back in the capsule before the last, intense 90 seconds.

    Finally, if you buy the download, “Cats In The Pudding” pulses wonderfully underneath a sweet melodic electric bass solo before turning into a weird psychedelic trance tune complete with bass beat and rhythmic sequences, bringing a different texture to the album, think late seventies Tangerine Dream meeting Eat Static, getting you dancing back to Earth with a smile.

    Interestingly the CD has two bonus tracks, with “Bleak Future, Bright Day” spinning  you in circles before bleeping and twinkling around your brain, whilst “Exploding Floors to Open Doors”  is a relaxed droning piece led by some delightful Bass work, a shimmering heat haze of electronic bliss and a perfect way to end the CD version.

    With excellent Bass dynamics throughout, this album sounds excellent, great care taken with its production, meaning the music is vibrant and seems to fill the room it plays in, a thoroughly enjoyable journey from start to finish.

(Simon Lewis)


( EP from bandcamp )

Peiriant are an experimental duo consisting of Rose and Dan Linn-Pearl, the music centred around the tensions created by Electric Guitar and Violin, the sounds of the two instruments weaving together to create some beautiful moments a well as harsher passages of sound.

  “River Songs”, their latest work, is a four track EP that takes the River Wye as its inspiration with opening track “(Max) on the Water” setting the tone with an aching violin line and rippling guitar, the music flowing gently on with a wistful, autumnal feel, As the pieces continues the guitar begins to drone underneath creating tension then releasing it again, the music remaining fluid and full of life for seven delightful minutes.

    With harsh guitar sounds ushering it in, “Chwyrnu” is a jolt to the senses some thing that is soon soothed by some looped and melodic guitar lines , the noise fading into the background , the violin adding sweet textures to the music, the song finding a rhythm and balance that works beautifully before we are finally left with the sound of silence.

    With a definite nod to Minimalism, “Dron” has a repetitive, looping violin line and rumbling guitar at its heart over which other sounds are improvised, the track a dense slice of sound that has vitality and passion and a timeless quality easy to get lost in.

   To close the EP, “Hydref” sees the return of the aching violin, a beautiful and nostalgic tune that slows down time as the sun sets over the river signalling the end of something special, memories slowly fading into the twilight. Definitely the highlight of a great collection that will stand the test of time.

     Also available is the self-titled album, recorded before the EP, the collection showcasing a band finding their sound, with some fully improvised moments such as the scritch scratching of “Gwifren”, the spoken word of “The Same” and several pieces where one instrument is more prominent than the other. It is definitely worth hearing but the EP is where Rose and Dan perfect their sound and present it to the world.

    Just for clarity I have to say that I have known both Dan and Rose for many years and recently had the pleasure of seeing them live, they were excellent bringing their music to life on stage to a small but enthusiastic audience. In case you were wondering Peiriant is Welsh for Machine, an interesting name as the music is very organic in texture, at least to my ears.

(Simon Lewis)


(Available via Bandcamp )

Third solo album from Luck Of Eden Hall bassist and a nominal sequel to 2000’s Black Moon Book, Lofgren moves away from the mostly acoustic, pastoral vibes of the previous album, adding piano and electric guitars to give the album a more vibrant, livelier atmosphere. The recordings don’t suffer from the typical constraints of home studio productions, with double-tracked vocals, synth flourishes, overdubbed guitars, and sedate drums rounding out Lofgren’s intimate tales of love, isolation, and hope for a brighter future. This is not a collection of  bedsit recordings whipped up on some computer software and proffered on CD-Rs at the back of a club gig. This has a real professional feel, from the gentle, Beatlesque aura hovering about ‘Rhapsody Confused’, to the snappy, 80’s-styled synth pop groove of ‘We Don’t Leave The Yard’, the happiest tale of self-isolation you’re likely to hear during these frustrating, self-imposed lockdown days.

     Tracks like the effervescent ‘Saint Albatross’ have a giddy arrangement like a children’s symphony marching around a fairground calliope (kazoos are prominent) and spring happy thoughts of fellow pop punster Anton Barbeau to the foreground and ‘Proceed Home’ isn’t afraid to drop in a familiar Giorgio Moroder-styled synth run to beckon all comers to the nearest dance floor. ‘New Ice Age Between Us’ sidles along a mournful piano melody and all-too-familiar feelings of isolation in these days of loneliness and standoffish fear of contact: “Strangers pass, we drop our heads/New ice age between us.” The theme continues on ‘Plastic Castles’: “Strangers pass us like storms/and leave us standing alone.”

     ‘The Static Age’ brings out the acoustic guitar (with some dreamy synth flourishes) and a distinctly Lennonesque vocal inflection (cf. ‘Across The Universe’) for a minstrelsy stroll through Grantchester Meadows on a sunny afternoon with Lofgren donning his psychedelic Pied Piper persona to wrap up an enthusiastic set of hopeful songs tempered with caution. An essential addition to all Luck of Eden Hall fans’ record collections as well as fans of thought-provoking pop tunes with a message that ultimately suggests “this, too, will pass.”

(Jeff Penczak)