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January 2022 = |
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Weirdshire Comp |
Duncan Park
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Peter Broderick
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Hobbit House
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Vinny Peculiar
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Pekka
Laine
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Home |
VARIOUS
ARTISTS - WEIRDSHIRE AT BABAR CAFE
(CD/DL
from Weirdshire
at Babar | Various Artists | sproatly smith
(bandcamp.com))
The
Herefordshire-based Weirdshire ‘folk’ collective
is a kindred spirit of ours as regards shared
ethos and good taste. No wonder, then, that this
collection of tracks, donated by acts that have
appeared under its banner at Hereford’s Babar
Cafe, succeeds in ticking a number of boxes.
For
starters, many of the artists have been known to
grace the occasional (and indeed odd) Terrascope
performance space and whose oeuvres have been
enthusiastically received at the gates of
Terrascope Towers. Secondly, if like me you are
looking for something to do during the
Winteregnum then in the absence of liner notes a
bit of research as to the provenance of those
tracks with which I was unfamiliar (just over
half) has proved to be a welcome distraction.
Then of course there was the eleventh hour
decision to give this a CD release, sparing the
need for fraternal fisticuffs at the (currently
virtual) Terrascope Debating Society between the
Digital Wing of the party and the
To-Have-And-To-Hold fundamentalists, concerning
the question of ‘what constitutes a release?’
The
biggest plus factor, however, is the
incontestably high quality of the contributions.
There is so much to celebrate here, commencing
with United
Bible Studies’ majestic drones and
plaintive vocal and which provide such a solid,
attention grabbing foundation. If there is a
lovelier 1:40 than Emily
Jones’ ‘Light Appearing’ then I’ve yet to
hear it. In fact it’s high time we heard some
new material from Emily. You see, there’s no
pleasing some. Almost as gratifying is the
mesmerisingly playful ‘Other People’ by Arch
Garrison, which places Crosby, Stills and
Nash in almost late medieval setting. A gentle,
agrarian mood embodies much of the collection,
typified by Burnt
Paw’s thoroughly engaging ‘Lindisfarne
Song’ and Alex
Monk’s dreamy delight, ‘Tintagel In
Spring’. Meanwhile, Haress
(adopted Salopians Dave Hand and Liz Still)
impress with their specially recorded midsummer
meandering, ‘Dancer’s Green’, punctuated with
field recordings of a local Morris team (of
which Shropshire has abundance it must be said.
Blame poor TV reception).
Tradition
is well represented, too. ‘Death Of Queen Jane’,
a Child Ballad in all likelihood chronicling the
death of Jane Seymour , third wife of the
serially spliced King Henry VIII, is splendidly
interpreted by Burd
Ellen, themselves named after one of James
Child’s collected ballads (number 28, pop
pickers). There’s also a sparse yet atmospheric
‘Searching For Lambs’ by local duo Alula
Down (an integral part of the Weirdshire
collective), taken from the delightful Summer
instalment in their series of Postcards
From Godley Moor. Occasionally,
though, we veer well and truly from the old
straight track and down some twisting and
tangled paths less trodden. Howie
Reeves’ ‘Come To The Surface’ (from 2019’s
Cracks,
if memory serves) plunks and klunks like a
marginally less astringent Richard Dawson, but
most outlandish and atypical is Leonore
Boulanger’s ‘Bruyant Qu’Brilliant’.
Comprised of bewildering collages of avant garde
weirdness that takes Broadcast, Eartheater and
Deradoorian and stuffs each one to the gills
with a Gallic sense of the absurd it makes Trout
Mask Replica sound like James Last. Maybe
this is what Kesey (should have) meant when he
spoke about going beyond acid. Wondering
what this must have sounded like in a live
environment sure gives rise to some delicious
contemplation.
Add
to the mix a deliciously spooky Bell
Lungs some trademark inventiveness from Sproatly
Smith and reassuringly top-drawer
offerings by the likes of Nick
Jonah Davis and
Pamela Wyn Shannon and you can sense how
this collection has such an irresistible appeal
for your reviewer. Oh and if you’re on this
compilation and you’ve not been named then it’s
due to lack of space, and definitely no shortage
of love. Weirdshire
at Babar Cafe is not a live document but
is definitely the next best thing. And yes it’s
a release, and a blessed release to boot. So if
you’d like to support a worthwhile artistic
cause during these strangest of time then head
to Sproatly’s bandcamp page and go get Weird.
Regrets? Trust me, there won’t even be a few.
(Ian
Fraser)
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DUNCAN
PARK – INVOKING THE FLOOD
(CD/Digital
on Ramble Records)
South
African guitarist Duncan Park brings us this
rich, mostly instrumental EP, which shows our
rivers’ power of both beauty and force.
Park, performing everything, combines
field recordings from his native land with his
guitar playing and effects, which, like a river,
can be a lazy trip downstream or an intense
series of rapids.
And by the record’s title, he lets us
know humanity’s capacity, whether by spiritual
means or actual deeds, to bring about nature’s
response, either wrathful or healing.
He fills in the soundfield with chimes,
kalimbas, pedals and other electronics for a
widescreen performance.
On
brief opener “Rivers are a Place of Power,” his
electric guitar plays to a drone amidst chimes
in the wind, while waters rush by us.
It’s a solemn, spiritual introduction to
both his guitar work and the nature themes of
the record.
Next
track, the nearly nine-minute “The Alluring
Pool” is the work’s longest piece.
Park layers acoustic and electric guitars
(both forward and backward), a synth wash,
singing bowls, and a penny whistle, to create an
oasis. It’s
a lovely ambient track, with pretty melodies.
But is the “alluring” that of a gentle,
peaceful grotto, or a siren entrapping us into a
false sense of security and danger that awaits?
That the pretty melodies are played to a
somewhat coarse backing leaves one guessing.
This
is followed by two tracks, “Riverbank” and “The
Winding Stream,” which are even more accessible
than “The Alluring Pool.”
On “Riverbank,” with a descending melody
that reminds me of some of our other wonderful
acoustic players such as Hayden Pedigo, Park
uses harmonics and more rushing water to create
a sense of peace.
However, his alternating between
vibrating, fat, lower notes and the lovely upper
register melody, conveys a sense that never will
the river take you completely securely to
paradise, though you might get close.
“The Winding Stream” plays Park’s
acoustic guitar against a string machine or
synth, and, as the title suggests, winds its way
along without care or interruption.
Closer
“Over the River” is the only track with vocals,
and Park makes us aware that all is not quite
perfect with the river.
With lines like “Over the River/I’ve been
scared,” “…I could not heal” and “…were you
forgiven?” there’s a palpable tension afoot.
There’s an Afro-sensibility from the
interplay between the guitar and kalimba.
Rivers may be scenic, but they’re not
crystal clear like a tropical ocean reef or
mountain stream; Park shows us you can cast your
sins into the rushing waters, but be careful not
to get swept away.
(Mark
Feingold)
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PETER
BRODERICK – THE WIND THAT SHAKES THE BRAMBLE
(LP/Digital
on Erased
Tapes
Records)
After
American-born composer and multi-instrumentalist
Peter Broderick relocated to Ireland, he was,
like many before him, moved to create art by the
beauty and culture of the Emerald Isle.
He’s a bit of a world traveler, having
also spent several years living and working in
Denmark and Berlin between stints in his native
Oregon. This
record was born from the sessions that produced
his 2020 ‘Blackberry’ album.
The
first side contains some brief songs, the
highlight of which is a cover of Shel
Silverstein’s “A Year Without Summer.”
In full-on Scott Walker mode, the richly
orchestrated work is a perfect reflection of the
times, though I suppose you could now make that
“Two Years…” Broderick’s
baritone and Silverstein’s words poignantly
envelop and beautifully describe everything that
has been upside down these past couple of years.
There’s also a lush two-part rework of
the ‘Blackberry’ album’s “What Happened to Your
Heart,” courtesy of Bing & Ruth.
Broderick likes being whimsical on his
releases, which comes through on Side 1 as well.
And wherest he goeth, his spirit-fruit
the blackberry is never far away from his words
and music.
But
the real reason to buy this collection is the
stunning, 22-minute instrumental title track.
Though the track is wordless, the title
is adapted from the mid-1800s tragic ballad ‘The
Wind That Shakes the Barley,’ by Limerick poet
Robert Dwyer Joyce.
The melancholy ambient piece is permeated
by extended sparkling organ/synths, perfectly
capturing the feel of that wind blowing through
the vines and shrubs.
It’ll stop you in your tracks.
The twinkling effect is grounded by
gentle violin, organ, synth and guitar motifs,
and attendant effects.
It is both autumnal and wintry in its
conjuring of imagery in your mind.
That it goes on for so long only serves
to draw you in deeper and deeper, transfixed in
meditation. Like
the timeless scenery that inspired it - that
place isn’t going anywhere - and you won’t want
to either while listening to the hypnotic piece.
Broderick isn’t really a psychedelic
artist, but the track “The Wind That Shakes the
Bramble” is about as psychedelic as anything
I’ve heard in the past year, as far as pulling
you in to an imaginative, peaceful, trippy
experience.
With
the inclusion, nay showcasing, of its formidable
title track, The Wind That Shakes the Bramble
pulls off the rare feat for me, of the album of
supposed extras from the previous record’s
sessions, that actually exceeds that album.
(Mark
Feingold)
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THE
HOBBIT HOUSE COLLECTIVE –
DOUBLE 7”
(www.fruitsdemerrecords.com
)
Fourteen
years ago Fruits De Mer released their first
single, a cover version of ‘Theme One’ by Schizo
Fun Addict, it came about because label owners
Keith and Andy had the idea of releasing classic
songs on 7” but, due to licensing issues decided
that modern bands covering said songs was a damn
sight easier than trying to license the
originals.
Going
back to this original remit, we find more
classic songs given a makeover by the West
Country Fruits De Mer house Band The Honey Pot.
Starting with Crystal Jacqueline who has the
audacity to cover the classic, acoustic Led Zep
song ‘The Battle Of Evermore’, originally from
the Runes album and sung majestically by folk
goddess Sandy Denny and whilst comparisons are
inevitable, she makes a good fist of it. I
must admit to surprise in the choice of song, I
believe it may well be the first cover of this
genuine bona fide classic which I have heard.
Along for the ride is Curved Air Violinist
Darryl Way who adds some cool, extended electric
violin passages as the song progresses.
This
song is swiftly followed by another Led Zep song
from a few years earlier this time it is ‘Ramble
On’, by The Honey Pot, who feature the same
vocalist and pretty much the same musicians bar
Darryl. It’s
a fine version which stays pretty true to the
original, which is more than can be said for the
next song featured which is by Icarus Peel’s
Acid Reign. This
is a sort of cover of ‘The Chain’ by Fleetwood
Mac, Icarus takes the theme and runs with it,
burying the song in a blizzard of riffs and
bizarrely adding jaw harp, as I say it is barely
recognisable, purely instrumental, but very
enjoyable none the less.
The
final song on the EP is by The Locker Room
Cowboys with ‘Wolfgang Does The Nurburgring’, a
take no prisoners original instrumental by
Icarus Peel. Over a solid bed of percussion and
swelling organ flourishes, Icarus gets to play
some fine searing, electric lead guitar
passages. Mention must be made too of the great
artwork adorning the sleeve. It is released in a
couple of week’s time at the end of January with
a few pre order copies for sale on the Fruit De
Mer website.
(Andrew
Young)
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VINNY
PECULIAR – ARTISTS ONLY
(www.vinnypeculiar.bandcamp.com
)
The
prolific Alan Wilkes aka Vinny Peculiar is back
with a new album. It takes as its theme famous
artists like David Hockney, Rothko and Francis
Bacon et al. For
this album most of the instruments are played by
Alan, with a few added backing vocals by Leah
Walch and drums on a few of the tracks by Joe
Singh. Vinny
is a quirky, literate English singer songwriter,
who writes intelligent, arch pop songs in the
tradition of say Jarvis or Lawrence, but also of
older singer songwriters like Ray Davies.
‘A
Bigger Splash’, celebrates the life of David
Hockney and name checks Neil and Joni and the
Laurel Canyon scene. Alan compares his existence
on Planet Earth with David’s Californian
lifestyle with blue skies and swimming pools.
‘Rothko’ follows this with chugging guitars and
a sly wit, in which he gets to grips with the
constant stream of trendy visitors ebbing and
flowing to art galleries, it’s a glammy treat
with some tremendous rhyming couplets. The
slower acoustic ‘Pathetic Lament’, cleanses the
palate before ‘Heavy Metal’, gatecrashes the
idyll. Here
Alan gets to name check the hoary 70’s, of
British Leyland and Judge Dread, of smoker’s
coughs and heavy metal heartbreak in
Wolverhampton.
You’ve
got to love a title like ‘Jack The Dripper’, a
short acoustic song, which is swiftly followed
by ‘Francis Bacon’, here Alan gets to take a
gander around the London of The Groucho Club, of
Soho, hangs with Damien Hirst and Jeffrey
Bernard before Bacon’s final years in Spain.
‘Man And His Shadow’, is classic Vinny, a great
centrepiece to the album, a lockdown song
ostensibly about isolation; it features some
nice tinkling piano, pretty backing vocals, yet
deals with interrogation and electric chairs.
‘Grayson’ is pure fun, in which the pottery
wheel is likened to the wheel of fortune, art
versus money. I actually didn’t know too much
about Grayson Perry until I watched his
television series which I found to be hugely
enjoyable and he came across as a great humanist
with an easy way with people, displaying a high
degree of empathy with the common man and a
great laugh.
‘Fifteen
Minutes’, deals with that old Warhol cliché of
being famous for a quarter of an hour, a fine
song which deals with revisionism and duplicity,
reproduction is king and Andy knows best, while
Nico’s harmonium drones into oblivion. The album
ends with ‘Perfect Song’, it deals with doubt
and insecurity, of life imitating art, of Alan
trying to write the perfect song. This is a
hugely enjoyable album which I highly recommend.
(Andrew
Young)
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PEKKA
LAINE – THE ENCHANTED
GUITAR OF PEKKA LAINE
(LP/CD/Digital
on Svart
Records)
Here’s
a very entertaining retro-style instrumental
album by Helsinki, Finland-based guitarist Pekka
Laine. I
actually bit on the 60s sound, cover art and
even the old school-style title of the LP, and
thought this was a reissued, decades-old
original, or at least a career-spanning
retrospective, but nope!
It’s contemporary, and it’s Laine’s debut
LP! (Please
do not reply and try to sell me any dubious real
estate or fortunes from a Nigerian prince – I’m
not that much of a pushover).
Laine – better known in Finland as a
journalist and maker of radio and television
documentaries - combines a lot of influences:
Surf music, Spaghetti Western
soundtracks, library music, The Shadows, Joe
Meek, the funkiness of Dennis Coffey, and more.
The results are excellent, finger
snapping fun.
His
period accuracy is keen.
On “Lullaby” he even captures that
dripping, plinking reverb sound from The
Chantays’ ‘Pipeline.’
You know the one.
But
it’s not all just nostalgic kitsch.
“Lonely Beach” and “Midnight at the
Lakeside” combine studio effects to create
images full of mood and atmosphere, depicting,
er, a lonely beach and a nighttime scene by a
lake (brilliant, I know).
Laine may have deliberately masked the
title “L’enfer Des Cannibales” in French because
it’s a cover of the theme song from the
notorious 1980 gore-fest ‘Cannibal Holocaust’ by
the great Italian film composer Riz Ortolani.
I must admit, though, it is a lovely
tune. Meanwhile,
“The Silent Star” is a joyful little rocker.
The
song that puts things all together, in my
opinion, is “The First Autumn Day.”
Laine layers several guitars, including
both his retro-surf sound, and a more modern
distorted guitar taking turns to create a hip,
funky track. This
leads into the final three tracks, “Solitaire,”
“Meadow,” and “Enchanted.”
Each is a brief, quick-hitting mood
piece. Closer
“Enchanted” reminds me of the instrumental
version of ‘This Boy’ from the ‘A Hard Day’s
Night’ film during Ringo’s lonesome reverie.
One
could easily overlook (but we won’t) the fact
that what makes the record possible and gives it
so much class is Pekka Laine’s knack for writing
catchy melodies across the board.
There’s not an unmemorable tune in the
bunch. He
brings them to life consistently with such a
likeable sound with his “enchanted guitar”
you’ll fall under the spell.
(Mark
Feingold)
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