Sugarfoot/
Øyvind Holm

Agustin Pereyra Lucena

Jeremy Messersmith

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SUGARFOOT - LIVE AT THE ROUNDHOUSE

ØYVIND HOLM - BLUE IS THE COLOR OF MY SOUL LIGHT
(LPs from Crispin Glover Records)

Few could’ve been more pleased than I when the flag-bearers of country rock from the European continent (Alt-Europeana, anyone?), Norway’s Sugarfoot, secured a support tour with Mike Scott’s Waterboys during the summer of 2025. Their invariably melodic blend of psych-pop, folk-rock and far out west(ern) country brings to mind bands like Cochise in their pomp, and the icing on the cake for me at least is that their lead vocalist / guitarist and primary songwriter is none other than Øyvind Holm, whose career the Terrascope has closely followed ever since 1997’s first Dipsomaniacs release blew us away, out through the Deleted Waveform gatherings era and into his half a dozen solo releases including, most recently, the superb ‘Blue is the Color of my Soul Light’ (also on Crispin Glover Records). I tend to think of Holm’s work as having a similar DNA to Jeff Kelly’s, wherein the songs are treated as musical canvases on which he paints his emotions. This album’s a dark one in some ways, unsurprising perhaps given the Orwellian reality of the world we live in right now “where truths are rewritten and history is distorted”, but there are several glimpses of lightness and joy too: both the opening and closing songs of side B are notable in particular, the bouncy pedal-steel driven ‘Tell Me Babe’ and the sitar-friendly ‘E-Kit Friend’, respectively, and another gem is to be found in ‘Random People’s Cameras’.
     But to return to the live Sugarfoot album. Recorded at the legendary Roundhouse, Chalk Farm, London over the nights of Saturday May 31st and Sunday June 1st 2025, as with the vast majority of live albums it’s really one for the fans rather than serving as an introduction to a band, but it’s beautifully recorded, and it’s interesting to hear how the band stretch songs out instrumentally in a live situation - the closing ‘Waiting for That Mountain to Fall Apart’ / ‘Tiger Rider’ sequence particularly. Both originally appeared on 2016’s ‘Different Stars’ (in the same sequence), one of my favourites of theirs alongside the LP ‘In the Clearing’ (2019) which is represented here by the songs ‘Cotton Candy Clouds’ and, the strongest performance on this album overall, the sublime ‘Changing Times’. ‘Big Sky Country’ (2014), another personal favourite LP, is also well represented, with a fine version of ‘How to Keep Her’. I would’ve liked to have heard a live take of ‘Dolphins Hotel’ from that same album, as it’s one of Sugarfoot’s finest recorded moments of all - there’s always next time though!
     A word too, in closing, in praise of the cover, which is printed on folded card in the style of letterpress, with faded Grot display type. What’s not to like?!

(Phil McMullen)

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AGUSTIN PEREYRA LUCENA – ESE DIA VA A LLEGAR

(LP on Far Out Recordings)

Far Out continues to re-release the back catalogue of Argentine guitarist extraordinaire Agustin Pereyra Lucena with tender loving care. This one, originally released in 1975, and then in 1976 under the title Brasiliana in Europe, is considered by some his best-known work. Lucena always adored the music of his Brazilian idols like Baden Powell, Vinicius de Moraes and Toquinho, though he never earned equal standing to those giants, even if they themselves had undying respect for him.

"Ese Dia…" finds him firmly established and on cruise control. His fourth release, it’s full of breezy bossa nova tunes which can’t help but put you in a good mood. It represented a turning point for him, still relying on some covers like Baden Powell’s 'Maritima,' the chestnut 'The Girl from Ipanema (Chica De Ipanema)' by Antônio Carlos Jobim, and João Donato’s 'Amazonas,' while forging ahead with originals as he was finding his voice.

He was a virtuoso, but on this LP, he seldom flaunts it, preferring to pursue pure melody, rhythm and feeling instead of pyrotechnics. Still, examples of his technical brilliance are on full display on tracks like 'Viento Que Va' and 'Marítima.' He also works in vocals on some of the tracks, including his own confident but understated voice with wonderful background singing by Laura Hatton, Patricia Scheuer and Maria Cosenza. 'Amazonas' is a shining example, with Lucena and Hatton’s bouncy vocals accompanying the bopping track, which could have been the backing to myriad romantic movie scenes in the Seventies.

The rhythm section is airtight, featuring long time collaborators, multi-instrumentalist Guillermo Reuter and drummer Carlos Carli. Lucena generously gives up the spotlight for variously, saxophone, flute and electric piano breaks, all played with aplomb by seasoned pros. Reuter’s 'Guayabas,' for instance, is an extended ensemble instrumental tour de force which sounds like one hell of a fun jam.

The overall result is an upbeat, endorphin-releasing album. You can’t not like this music. Even the moody pieces like the way-too-short classical-sounding palate cleanser 'Ultimo Llamado' with just Lucena on solo guitar are pleasing and full of warmth. Far Out Recordings, keep it up, you’re doing something right!

(Mark Feingold)

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JEREMY MESSERSMITH - 'Fuck This' (Community Choir Edition)

Bandcamp digital single)

I usually don’t write reviews of singles, let alone one that’s only a minute long! But I’d been wondering when the awakening would occur in the music community and voices raised against the actions of a regime so driven by hate, intolerance and violence. Where have the Pete Seegers, Nina Simones and Billy Braggs gone? This song is but a tiny morsel, but oh is it rich.

For those of you who don’t know, Minneapolis has recently been Ground Zero in the U.S. Immigrations and Customs Enforcement’s (ICE) repressive campaign against illegal immigrants and the protesters who decry their violent methods. After the protester Renee Nicole Good was killed by ICE, local Minneapolis musician Jeremy Mesersmith released this song. Now ICE has killed a second protester, Alex Pretti, and the song has even more meaning.

With calm, matter-of-fact vocals by Messersmith while strumming a ukelele, swooping strings by Dan Lawonn, and a choir featuring local voices like “Lucy the Anti-Fascist Kitty” and “Teddy Bear and His Parental Band,” the track sounds like it could’ve been lifted from a Fred Astaire and Ginger Rogers musical from the 1930s. The song’s elegantly affable nature is offset by the biting lyrics, which perfectly express the outrage of a community and a nation that’s had enough.

This is a name-your-price track on Bandcamp. All proceeds are to be distributed to aid organizations. Have a listen, and chip in a few coins if you believe.
 

(Mark Feingold)