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January 2020 = |
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Dead Sea Apes |
Nick Haeffner |
Lake Mary and the
Ranch Family Band |
Billy Strings |
Bipolaroid |
Zone 6 |
Fern
Knight |
Lastryko |
Taras Bulba |
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DEAD
SEA APES – NIGHT LANDS (LP/CD
on Cardinal Fuzz Records)
ADAM
STONE & DEAD SEA APES – LIVE IN BELPER (LP/CD
on Perfect Prescriptions Records)
Entering
2020 with a brace of new and very different Dead
Sea Apes releases is a fine way to start the
year and indeed the decade.
Last
year saw a great addition to the Dead Sea Apes
treasure chest with the magnificent ‘The Free
Territory’ release. ‘Night Lands’ takes and
further develops those exploratory and
improvised ideas over
three
long tracks with guest Nik Rayne of The Myrrors
joining in to create what could be called a
Cardinal Fuzz super session I guess? Opening
track ‘No Friends But The Mountains’ is over 21
minutes long but not a minute is wasted and it’s
a wonderful expansive soundworld where swirling
psychedelia and deserted nightscapes come
together in an atmospheric track to fuel the
imagination. Hypnotic post rock infused grooves
and melodies with the ebb and flow of subtle
keyboard colours underpin a wonderful guitar led
adventure that takes in peaks of soaring space
rock with diversions into more subtle and sparse
improvisations that generate melodic touches not
unlike the Grateful Dead and Velvet Underground
but also soulful touches that chime with some of
the more exploratory Americana bands such as
Lambchop or Giant Sand. The title track ‘Night
Lands’ is harsher, more elemental, hard hitting
and dense with a focus on a killer central riff
that rocks hard but with interesting psychedelic
colours that compel you need to listen closely
whilst nodding your head vigorously. The final
track ‘A Slow Heart Beats Hard’ is a mere nine
minutes long. It’s the owner of another killer
riff – slow burning, drenched in a lonely,
twilight atmosphere and providing the heartbeat
for some inventive soloing and melodies that
blend kosmische, progressive and heavy psych
elements to great effect. This is a wonderful
record which once more takes the Dead Sea Apes
sound a little further into new and interesting
territories, continuing a journey that I for one
am very happy to hear the results from each step
forward.
‘Live
in Belper’ features a very different Dead Sea
Apes sound with writer and singer Adam Stone.
It’s a limited run on a new offshoot label of
Cardinal Fuzz and is a 40 minutes long treat
focusing in large part on songs released on the
excellent ‘Warheads’ record released back in
2018 by Cardinal Fuzz. From the word go the
energy and intensity of the performance is clear
with opener ‘Inside of Me’ roaring along in all
its urgent twangsome garage psych glory and here
and indeed throughout the record Adam Stone
roars and drawls out dystopian, satirical and
generally bleak waves of
lyrics in a vocal style that blends Jello
Biafra, John Cooper Clarke and John Lydon to
great effect. After this opening salvo we get
into more experimental and textural territories
where dub, post punk and psych elements come
together and fill the room with an edgy and
compelling sound not unlike Public Image Limited
or The Pop Group in their prime such as on the
wonderful ‘Retreat To Your Bunker’ and
‘Tentacles’. ‘Power To The People’ builds up a
whirlwind of raw howling noise over which Adam
Stone’s voice strains to be heard as a rasping
shout and finally ‘Yes No’ takes a heavy stoner
riff with what is left of Adam Stone’s voice
once more taking the song to the edge of
abandon. For one thrilling Sunday night in an
otherwise sleepy Belper, Derbyshire, a
small café venue (which I think sadly may be no
longer be there) became the Belper Budokan and
thank goodness we have this audio document to
savour the result again and again.
(Francis Comyn)
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NICK
HAEFFNER
- THE
GREAT INDOORS. 2xCD gatefold
card sleeve.
https://hankypankyrecords.bigcartel.com
This album was originally released in 1987 on
the Bam Caruso label and now sees a reissue with
an additional CD of rarities and demos from the
time.
Nick Picked up a guitar aged 16, developing an
interest in music from a very early age, indeed
the album’s title refers to a period in his
preteens, when illness kept him indoors. Having
an older brother with an excellent record
collection opened his ears to such strange
exotic sounds as The Incredible String Band, Roy
Harper, Fairport, John Cage, Cathy Berberian,
along with the more mainstream music of Cohen,
Stones, Beatles etc.
The album is delightful and has been likened to
Sgt Pepper. The opener ‘You Know I Hate Nature’
is a pastoral gem, birdsong and orchestral
touches. ‘The Sneaky Mothers’ sounds a lot like
he was also aware of Forever Changes. ‘The
Master’ has a cool insistent nagging beat, it
tells of an otherworldly alien encounter. How
good a riff is the one that opens the next song
The ‘Earth Movers’, an instrumental decorated
with keyboards by co-producer Brian Marshall.
‘Don’t Be Late’ is a beautiful wistful half
spoken song, a sad lament enriched by a lovely
string quartet, very much influenced by Robert
Kirby’s string arrangements for Nick Drake.
‘Furious Table’ sounds a lot more eighties with
arcing fretless bass and a rhythm, akin to
Talking Heads, a whole heap more electronic in
nature. ‘Breaths’ is a cover version of a song
by Sweet Honey in the Rock which sounds like
Robyn Hitchcock on safari, a nice ecological
song. ‘Back in Time For Tea’, rocks a little
harder, crunchy guitars and a tuba solo. ‘Steel
Grey’ a song inspired by Roeg’s The Man Who Fell
To Earth is a very good song, like a cross
between a John Cage and Nick Drake, sung from
the point of view of an abandoned alien. The
Great Indoors, a bossa nova style instrumental,
closes this out of time album, in fine style.
The
bonus disc sees songs recorded in demo form, a
couple of 12” singles, songs projected for the
follow up Dali Parton, as well as a few
previously unreleased new recordings. I’m not
sure as to why I’ve not been aware of this album
until recently, but I’m glad that we are now
firm friends.
(Andrew
Young)
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LAKE
MARY & THE RANCH FAMILY BAND – SUN DOGS
(LP/Digital on Full
Spectrum Records)
As readers well know, the past couple of years have
seen, if not the Big Bang explosion, then the
runaway expansion that follows, of instrumental
acoustic guitar music. Once primarily the province
of American Primitive followers, the genre has
diversified into many other welcome streams. A
recent part of that evolution has been the layering
of acoustic instrumentals with electric guitars,
slide guitars, effects, and the like.
Enter Lake Mary, the project of guitarist Chaz
Prymek, who records in Missouri, Colorado and other
places where he’s linked up with like-minded
collaborators. The prolific Lake Mary has released
many recordings this past decade, often on
cassette. But in recent times, he’s teamed with the
full band experience, the loose collective The Ranch
Family Band. Latest release Sun Dogs is a sublime,
pastoral album that will leave you wondering “now
what was I so worried about today?” Fans of
Elkhorn, Prana Crafter and William Tyler will find
much to love.
The album traverses many styles within, perhaps no
better encapsulated than the nearly ten-minute title
track “Sun Dogs,” which takes most of them in.
Starting with Prymek’s acoustic/electric flanged
introductory riff, overlayed by ethereal slide
guitar, The Ranch Family Band eventually joins in
with bass and drums, and they make a very joyful
noise indeed. This transitions to a wafting middle
section that seems suspended in air. Another segue
leads to a multiple electric guitar jam with slide
and effects weaving all around for the remainder of
the track. Delightful, absolutely delightful.
Follow-up track “Watermelon” continues to feed your
head and ears more of this magnificent rolling
serenity, finishing with an unexpected, wonderful
flute solo.
Most of Prymek’s compositions are more riff and
melody-based than the ethereal, amorphous,
meandering pieces of some other artists, and of
course, there’s plenty of room under the sun and in
your collections for all of them. Prymek also
includes contemplative solo acoustic pieces such as
the expansive “Murmurations/The End of the Western
Spirit” and closer “Blue Spruce (For Quinn).” But
there’s nothing quite like “Wonder Valley Ramble” to
leave a contented smile on your face, almost as
involuntary muscle movement. What starts as a
jaunty stroll for acoustic guitar and slide takes an
unexpected detour as the song dissolves into a well
of effects and atmospherics.
On Sun Dogs, Lake Mary & The Ranch Band continue
and expand upon the excellent new renaissance of
acoustic guitar music, using the guitar as
foundation and launching point, colored by other
guitars and sounds, not just albums by the
unaccompanied soloist. It’s music that hits all the
pleasure centers of the mind, with fertile paths
aplenty for wandering.
(Mark Feingold)
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BILLY
STRINGS - HOME
(LP/CD/Digital
on Rounder
Records)
Two
words. Psychedelic
bluegrass? Never
thought I’d see those two words or genres in the
same sentence or musical conversation, but
that’s at least part of what awaits you on Billy
Strings’ eagerly anticipated second album Home.
But more on that in a minute.
Flat-picking
acoustic guitar virtuoso Billy Strings is the
hottest thing bluegrass has seen in years, some
say the future of bluegrass itself.
And the folk, country and jam band
communities are sitting up and taking notice of
the young star, too.
The 27-year-old grew up in rural Michigan
and now calls Nashville home.
Well, as much home as you can have when
you play 200 dates a year.
He possesses lightning quick fingers I
could swear have sparks coming out of them when
he plays. He’s
already won several major awards and guested on
stage with the best of the best.
And he’s branched out his onstage playing
style to befit whatever artists he’s playing
with, to include electric blues and rock.
Music
like Strings’ is best appreciated live, and I
encourage you to go see him if you have the
chance. He
and his band are amazing and telepathic in their
interplay, and they usually have some surprises
in store. That
band deserves a great deal of credit – Jarrod
Walker (mandolin), Billy Failing (banjo) and
Royal Masat (bass) earn kudos just for keeping
up with him, but they’re all great players in
their own right.
And I like the fact that his touring band
is his studio band as well. Trying
to capture the lightning in a bottle of his live
performances for a studio recording is always a
tricky endeavor for artists like Strings, but
Home is an accomplished album.
Recently
I saw a YouTube video of Strings onstage during
a sound check at the Grand Ole Opry,
demonstrating for the reporter a bewildering
array of effects pedals and boxes.
I thought, what in the world is going on?
What’s he need these for, he plays
acoustic guitar in a bluegrass band, right?
But apparently, he’s expanded his reach
in the past couple of years.
One listen to Home will explain what he
does with all those pedals.
Strings
doesn’t slouch with lyric writing either.
Much of the album contains fatalistic
reflections of our times and the world around
him; decaying buildings and towns, poverty, the
opioid epidemic, betrayal and fat cat greed
permeate these songs – definitely not what you
would expect on a bluegrass album.
The
first few songs are mostly traditional
bluegrass, albeit with those interesting lyrical
subjects and Strings’ unbelievable playing.
“Must Be Seven” features guest harmony
vocals from the great Molly Tuttle.
And try picking up a guitar and playing
Strings’ part on “Running.”
But
things get really interesting with extended
fourth track “Away from the Mire.”
A deeply personal song about him being
angry at a family member, here’s where those
effects pedals come in.
After starting out normal bluegrass, the
song veers off full-tilt into psychedelic
territory for a lengthy sojourn, and it WORKS.
Follow-on track, title song “Home”
continues the phantasmagorics.
Adding cello, viola and violin, Strings
explores some eastern tonalities, producer and
engineer Glenn Brown (Greensky Bluegrass) adds
Buchla (on a bluegrass album?) and Strings rips
it up with an out-of-this-world lysergic solo.
The guitar he used for the solo, he says,
is one his grandfather made in prison in the
early ‘60s and Billy recently had restored.
Umm, he restored it pretty well.
Back
on Earth, the next track “Watch It Fall” attacks
destructive Wall Street tycoons - “well the old
men said the great big apple is rotten to the
core / With Wall Street skimming from the till
while no one minds the store.”
And next verse he’s onto climate
change-denying politicians “while chunks the
size of Delaware are falling off the poles / Our
heads are buried in the sand, our leaders dug
the hole / Like junkies hooked on fossil fuel
headin’ for withdrawal / how long until there’s
nothing left at all?”
Pretty progressive for bluegrass, eh?
The
song “Highway Hypnosis,” co-written with legend
Ronnie McCoury and his son, is about those long
drives between gigs.
The middle goes psychedelic again while
Strings and band zone out, mesmerized by the
road, with many of the driving sounds cleverly
emulated by the band’s instruments.
“Love Like Me” is just Billy with guest,
the great Jerry Douglas, on dobro.
“Guitar Peace” is Billy’s “Black Mountain
Side/White Summer” type moment, with weird
effects galore.
While
there’s plenty of straightforward bluegrass on
the album for the purists, and it’s all quality
music, I’ve highlighted the tracks where this
young guitar master who’s on fire goes off into
the stratosphere, blasting away the norms of his
genre. Even
the cover art by Sean Williams looks like
something you would more expect from Kikagaku
Moyo than a bluegrass artist.
Go see Billy Strings in concert if you
can at all. He
leaves it all out there onstage.
But in the meantime, take in Home, this
curious, fascinating blend of creative sounds
and technical mastery.
(Mark
Feingold)
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BIPOLAROID
- PAINT
IT BLACKER LP/CD/DL
www.gethip.com
From the swampy Louisiana bayous comes the fifth
LP by Bipolariod, consisting of Ben Glover -
vocals and guitar; DC Harboid - bass and vocals;
Ben Sumner - Keys, guitar and vocals and Nick
Ray - drums.
‘In My Cave’, the first track has a classic
garage style but with added mellotron. ‘Cosmos
to Cosmos’ is a short Barrett inflected trippy
song which is swiftly followed by ‘Roky Mt Hi’
(I see what they did there), a psych slacker
with throbbing bass and crashing tumbling drums,
nice organ and a weird pendulum beat. ‘Back in
the Old Black’, a cynically humorous, catchy
tune, about, well, the new black really. ‘Superb
Owl’ lasts for ten seconds! Before ‘Sacred
Geometry’ arrives, suggesting a kaleidoscopic
oompah fairground band, a few minutes in and the
track abrubtly departs for more weirdness with
backwards guitar and hanging organ.
Side two starts in earnest with ‘5D Printing’ an
organ rich, sixties style rocker, with a playful
rhythm, closing out with mellotron and walking
bass. ‘(I’m Not) Your Puppet’ is a fairly
straightforward song but with some mad keyboards
and throbbing bass. Perhaps the strangest song
on the album is ‘Triple Rainbow’ more backwards
guitar and eerie keyboard flourishes to a
calliope rhythm; it’s also the longest track on
the album. ‘Fake Pretend’ keeps things real and
is a fairly convincing mid paced, psych rock
song which leads us to the final tune on the
record ‘Hummingbird’ a sixties inflected song
that’s lightly orchestrated, crepuscular and
drowsy but also heavily indebted to our Syd,
taking us nicely back to where we started.
(Andrew
Young)
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ZONE
SIX
- KOSMIK KOON
Sulatron Records LP/CD.
(www.sulatron.com
)
A few albums into
their career Zone Six remind us of what a
great band they are. Consisting of Rainer
Neeff: guitar, fx, Komet Lulu: Bass, fx,
voice, Sula Bassana: Drums, synths, organ,
mellotron, electric piano and acoustic guitar.
Recorded from 2016 through 2018 the album is
dedicated to Kosmik Ken the father of UK
festival Kosfest, hence the rather awkward
title.
Things start off all
spacey with “Maschinenseele”, a slow swirl of
notes, guitars sending out tracers to a distant
galaxy, bleeps, probes and metallic klangs, when
the rhythm section joins in it adopts a slow sly
foreboding presence, building until about the
six minute mark when we suddenly experience some
turbulence, the guitar becomes a lot more
insistent, dreamy synths also add texture before
descending into barely controlled fury, gales of
squalling guitar are unleashed which seems to do
the trick as things ever so slowly return to
earth.
“Kosmik Koon” the title
track fairly flys out of the traps with a
hawkwind like bent, chugging in to space,
swirling synths and some blistering guitar,
spraying bruised splintered notes from Rainer’s
guitar all over the shop, this is a beast of a
space rock track, a swirling maelstrom of
driving bass, propelled by drums and sent
heavenwards with synth and guitar.
“Raum”, is a good deal
shorter at barely three minutes and provides a
little respite, it’s a trippy little interlude,
hanging organ, synth and guitar, space prog.
“Still” has a pretty intro, electric piano,
‘tron and synth, more space prog. “Song For
Ritchie” the final and longest song at almost
fourteen minutes is epic, a motorik beat is
overlaid by metallic slide guitar, synths billow
and sustained sharp fractured guitar notes peel
off from Rainer’s fret board, the way that the
rhythm section drive the songs forward on the
album is to be commended and they do a sterling
job here, upping the pace when required. This is
one of the best space rock albums I’ve heard for
a while, try to find a copy.
(Andrew Young)
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FERN
KNIGHT-
SOLSTICE
https://fernknight.bandcamp.com
“Fern Knight” the opening song on Solstice the
fifth album by the band (an album almost ten
years in the making) is an electric madrigal
which features harpsichord, cello and some
excellent nasty electric guitar. The band
consists of Margaret Ayre: Vocals, Harpsichord,
Acoustic Guitar, Cello, Viola da Gamba. Jesse
Sparhawk: Harp, Electric Bass, Electric Guitar.
James Wolf: Violin, 12-string Electric Guitar.
Jim Ayre: Electric Guitar, Percussion and
Peterson Goodwyn: Drums.
Harpsichord is to feature throughout the album
quite prominently and its presence plays a big
part in how the band’s new record Solstice came
about. Margaret had this to say about it “We
babysat a harpsichord for a bit in 2009 for a
friend who taught me viola da gamba (early
instrument, came betwixt the lute and the
violin/string family). I found it a useful
songwriting tool and pretty soon had a bunch of
new Fern Knight songs that became Solstice”.
“Goodbye July” is a touch more courtly in
feel, beautiful harp by Jesse, a wistful
rumination on summers passing and the ushering
in of August, the band stretching out towards
its climax, all the familiar elements I’ve come
to know and love from them, cello, harp, guitar
and violin. “Morning Fox” is next and features
some lovely expressive violin from Jamie. “The
Furthest Point > Sweet August” is a two-part
rumination on the passing seasons, it’s
exquisite and soufflé light. Margaret fills in a
few details “Heavy influences at the time
included Horslips, especially Happy to Meet,
Sorry to Part and Drive the Cold Winter Away and
the album by Andwella's Dream called Love and
Poetry. Also The Well Below the Valley by
Planxty and Alba S/T. I had just read as many
Game of Thrones books as there were written, and
at the time there wasn't a TV series, and I
always make sure to read the book(s) first so I
don't have images of the screen in my mind
whilst reading”.
“Summerrise” is a terrific call and response
instrumental, with tympani’s and barely
controlled dirty fuzz guitar lines smeared all
over it. “Pall of Wolves” shows Margaret has
lost none of her love for melody, and like the
previous song has a lot more guitar on it.
“Snowbound” is a dreamy, beautiful song, ringing
harp, a stately cello line, so great, all the
things I associate with them are present, cello,
harp, violin, guitar, bass, light
drums/percussion and bells, It really is a
wintery Song. It definitely feels like some of
the songs on Solstice are quite summery whilst
others are distinctly wintery in theme. Asked
about this she replied “There seemed to be a
running dichotomy throughout the album's lyrical
content: winter/summer, darkness/light,
life/death. We liked the symmetry as the songs
came together; instead of sides A and B, the A
will be Summer and the B will be Winter for the
vinyl release, fingers crossed that that can
happen one day”. “Imbolc” features the
interesting tones of the viola de gamba, it’s
another winner, it shimmers and floats about,
the melodies are spot on, some wonderfully
cloaked lead guitar enters as it progresses and
bleeds all over it.
Asked about her new found love of the
harpsichord she says “I haven't left the guitar
behind; there are way more guitar songs on the
next one than on Solstice. Someday I hope we can
own a harpsichord, I do miss it! Clearly I was
under its spell when Solstice came to be”.
(Andrew Young)
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LASTRYKO
– TETNO PULSU
(LP/CD
on The
Weird Beard Records)
Lastryko
are an instrumental quartet from the north of
Poland and ‘Tetno Pulsu’ is a six track record
collecting improvised pieces from a studio
session back in 2018. Not being as well up on
Polish music as I perhaps should be I was
intrigued to hear what the sound of psychedelic
northern Poland was all about and consider me
impressed.
Opening
track ‘Jeden’ has an insistent throbbing, post
punk infused rhythm over which a delicate and
sparse guitar melody floats augmented by
occasional sound treatments, very much in the
musical territory inhabited by Calexico and
Giant Sand with a dusty borderlands air of
mystery albeit with a touch of the spacious
Americana styled jazz guitar of Bill Frisell.
Towards the end the sound gets slightly more
meaty but retains the thread of the lovely
guitar melody. ‘Dwa’ is propelled by a strong
motorik rhythm whilst retaining the melodic
guitar themes and references of the opening
track before the fuzz factor is ramped up and
the guitars soar putting me pleasantly in mind
of Chris Forsyth’s recent ‘Dreaming In The
Non-Dream’ that travelled similar roads. ‘Trzy’
takes a more textural approach where an
improvised soundscape of sparse echoing guitar,
rolling drums and atmospheric effects is a
dreamy come down from the drive and energy of
‘Dwa’. ‘Cztery’ has a touch of the cinematic
drama of Goblin in its use of synthesisers and
spacious guitar melody which would equally not
be out of place soundtracking something like a
supernatural mystery to these ears. ‘Piec’ has a
driving snare drum beat with another beautiful
and spacious guitar melody and subtle synth
colours weaving in and out of the beat. To
finish ‘Szesc’ enters more progressive territory
albeit in a gentle and understated way. Complex
guitar and rhythmic interplay with shades of
Discipline era King Crimson are tinged with
desert blues suggestions to create a hypnotic
and rather beautiful piece of music that could
be double its eight minutes length and still
keep the listeners attention.
A
very fine record then which covers a lot of
musical territory whilst maintaining a clear
focus on melodic and inventive guitar playing
that never grandstands and paints a series of
subtle and gorgeous musical pictures. I look
forward to hearing more from Lastryko and until
then I heartily recommend that you listen to
this.
(Francis
Comyn)
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TARAS
BULBA – THREE GATES DUB
(Cassette
on Misophonia
Records/CD on Reverb
Worship Records)
Following
on from the superb debut album ‘One’ on Riot
Season Records, the new year brings us more
listening pleasure from the former Earthling
Society duo of Fred Laird and Jon Blacow in
their new guise as Taras Bulba. It’s a generous
LP length release on limited run cassette and CD
only for now (although it is in my humble
opinion a prime candidate for a slab of best
quality 12” vinyl should the opportunity arise)
consisting of three tracks that are
reconstructions or perhaps better described as
re-imaginings of two tracks from ‘One’.
The
first thing to say about this release is that
reassuringly, Taras Bulba treat dub with care
and intelligence rather than fall into the trap
of pasting bland basslines and random echoes
onto existing songs. As has been the case with
‘One’ and the preceding final release from
Earthling Society there’s a lot of interesting
things going on and they have managed to weave
new textures and ideas into the mix wonderfully
well without making the recording too busy and
cluttered.
‘The
Yo-Yo Dub’ is nearly 14 minutes long, brimming
with ideas and creates what could be described
as a ‘post punk minimal funk’ sound collage
where propelling and precise drums, textural
guitar colours, middle and far eastern
undertones, industrial synthscapes and sampled
vocal snippets come together to create a kind of
On-U Sound, Cabaret Voltaire,
Czukay/Liebezeit/Wobble infused spacey psych dub
mix. ‘No Deal Dub’ is shorter and more overtly
dub reggae influenced with a bouncy bassline,
choppier guitars and a touch of Mad Professor in
its feel. At times a spaghetti western vibe
wafts in the sounds however fleetingly and once
again it all works splendidly.
Finally
‘Goin’ West – A Joyful Dub Odyssey’ which
stretches to over 19 minutes in its
magnificence. Where to start with this? It has a
sweeping widescreen kosmische majesty from its
very beginning where a blissful ambient
landscape is evoked. Serene, pastoral, elegant
and indeed sometimes trance like waves of
layered synth are established and the sound is
slowly expanded to incorporate gentle electronic
rhythms and gorgeous, elegiac guitar soloing
where Michael Rother and Bill Nelson come to
mind. Acoustic drums later replace the synthetic
beats and up the tempo slightly with inventive
fills accompanied by short glitches,
distortions, chimes and bells punctuating but
never disturbing the flow. The finale is epic in
all the very best ways with huge organ drone
effects and choral harmonies ascending in a hazy
swirl of intense sound that swells and almost
explodes before fading to a minimal repeating
keyboard chord sequence.
This
is a fantastic release where imaginations have
run wild and delivered the goods. Each repeat
listen reveals a new touch or nuance and this is
an object lesson in how to reinvent a record in
a substantial, thoughtful and non gimmicky way.
I’ll be giving this a lot of airtime and you
should too – catch it while you can.
(Francis Comyn)
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