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May 2020 = |
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the 18th Day of May |
Alison Cotton |
Ricardo
Richaid |
DUIR |
Datura4 |
Dreihasenbild |
Bell Lungs |
Sleepyard |
Orchestra of
Constant Distress |
Perhaps |
The
Fellowship of Hallucinatory Voyagers |
Dire
Wolves Just Exactly Perfect Sisters Band |
The
Noise Birds |
Ben
Lukas Boysen |
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THE
EIGHTEENTH DAY OF
MAY – S/T
LP from Cardinal Fuzz and Feeding Tube Records
https://cful.bandcamp.com/)
The “Wyrd Folk” revival of the early noughties flourished in the wake of
three notable movements of the 90s having been
vacuum packed and commodified (grunge and dance)
or else sucked dry and stubbed out like some
unedifying fag butt on the pavement outside some
Camden boozer (the increasingly risible
Britpop). What do you do for inspiration when
all around you flounders? Why, you look to your
past, real or imagined.
Rather than revert to straightjacket blueprint of Merrie England and
Laura Ashley smocks, though, this particular
folk revival was a curiously Anglo-American
phenomenon (see Espers, Devandra Banhart among
others). This was reflected in the membership of
The Eighteenth Day of May and a style blending
the often Elysian mournfulness of traditional
English music with the jauntiness of American
country and jangling psychedelic pop, here
featured on this sumptuous reissue of their only
album plus generous extra bits. There’s always a
risk with this hands across the water approach
that it lands with an almighty SPLASH somewhere
west of Rockall. Rest assured that it makes it
sweetly and safely to journey’s end.
It’s likely that most people reading this will at some time have come
across ‘The Highest Tree’, a go-to track for any
self-respecting compilation of the genre or even
the era and featuring the hallmark skipping
rhythm which permeates much of the rest of their
brief but impressive canon. It’s light, it’s
breezy and, familiarity notwithstanding is the
most immediately infectious track here – the
ideal single then. Perhaps the best example of
the meld of first wave psychedelic folk and
Americana, though, is ‘Sir Casey Jones’ which
somehow manages to sound like the Monkees and
Soundtrack To Our Lives in lively jamming mode.
Don’t just take my word for it when I say that
it works a treat. Go ahead and try some.
Bert Jansch composition ‘Oh Deed I Do’ is quieter, more introspective,
and which allows breathing space for Brice’s
seductive and at this juncture rather more
tentative mewling. The playful ‘Hide and Seek’,
featuring Olson’s lead vocal, is rooted in 60s
sunshine pop but with a contemporary yet still
organic grind of the aural spice mill. Like much
here it is simple yet busy, with so much packed
into three minutes or so without sounding overly
cluttered. In fact there isn’t an ounce of fat
or an inch of waste even on the longer
narratives such as the rendition of ‘Lady
Margaret’. Gun to head moment? ‘Cold Early
Morning’ just gets the reviewer’s nod (which may
or may not be the title of one of those VIZ best
of compilations) as most enduring of what is a
bonnie bunch of roses indeed, a sublime band
effort. ‘The Waterman’s Song To His Daughter’
deserves mention too, a lilting waltz to pick
bluebells by and a most palatable antidote to
all the nastiness that’s being carried in the
air at the moment, leastways far nicer than
contemplating intravenous doses of Dettol.
While that deals with the original release, a number of extra tracks
feature, some of which were destined for a
never-to-be second album. On this evidence it
would have been a corker, a recognisable but
more commercial progression to their sound and
benefitting from more expansive playing notably
from Alison Cotton and a more confident sounding
Allison Brice. ‘Quiet Joys’ is a case in point
and nudges in the direction of where Brice would
be headed with Lake Ruth’s debut whereas the
Richard Thompson jangle in the guitar is
palpable and quite thrilling, and all the while
Cotton’s viola sweeping and swooning
magnificently. ‘Would Be King’ would in fact
have made a fine, Ben Phillipson-voiced would-be
single and provides one of those “what if”
moments as in what might have happened had Iain
Matthews prevailed in the battle for the musical
soul of Fairport Convention. The extras also
include a lusty version of Buffy St Marie’s
Cod’ine’, with Phillipson again taking the vocal
lead, while sweeping the field and nudging us
over the line is their take on the traditional
‘Flowers Of The Forest’, close to the Fairport
rendition on their last great album Full
House, the Thompson/Swarbrick slow reel
intact and a credit to the craft
No mere re-treads, The Eighteenth Day of May were an exciting culmination
of what happens when everyone throws their
favourite records into a pile and from which the
very best bits are distilled and more
contemporary flavours introduced. Maybe it was a
case of a burgeoning and luxuriant plant
competing for space and ultimately outgrowing
its pot but The Eighteenth Day of May were not
destined for longevity. What is truly amazing
but in retrospect perhaps not too surprising, is
the quality of what each constituent part has
been able to accomplish since. The Left
Outsides, Trimdon Grange Explosion, The Hanging
Stars and Lake Ruth is as strong a legacy as
anyone can realistically hope to bequeath from
just one album release in the now far away heady
first years of the millennium. Remember you
heard it here first, folks, or if you didn’t
then do yourselves a big favour and rewind time.
That goes for the rest of you.
The
Eighteenth Day of May self-titled
retrospective is released on 18th
May 2020 – can you see what they did there? As
is usual these days, pre-orders have been
taken for the past couple of weeks so be quick
if you intend ordering from Cardinal Fuzz or
Feeding Tube.
Ian
Fraser
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ALISON
COTTON – ZENER 8
(Cassette from Sensory Leakage https://sensoryleakage.bandcamp.com)
Last year Terrascope was pleased to host one of Alison Cotton’s first
solo performances on the occasion of Woolf II.
That was back when we could all still get
together with some social intimacy. Since then
her solo career has blossomed thanks to a couple
of stunning releases, All Is Quiet At The Ancient Theatre (2018 on tape and 2019 on vinyl)
and The
Girl I Left Behind Me (2019) and an
increasingly prominent live profile.
One such appearance was captured here, and again we are pleased to reveal
a Terrascope association, for the person placing
the recording contraption in front of Alison and
no doubt coaxing her to enunciate clearly into
the microphone was none other than one of our
highly trained 00 special agents (shaky when
stirred), Francis Comyn.- Licensed to Quill.
Now Sensory Leakage have released this recording of Alison’s matinee gig
at The Golden Lion, Todmorden (which of late has
become something akin to psych central).
Comprising in part selections from her recorded
solo outings, it leads with the Muriel Spark
inspired ‘The House Of The Famous Poet’ a
stunning and spiritually elevating hymnal for
those of us who find comfort in such things
outside of organised religion (it should work
equally well for the rest of you) and notable
for its doleful yet majestic viola and
resonating wordless vocal. Despite Alison’s
tuneful and this time lyrical intonation, ‘The
Bells Of St Agnes’ is darkly unrelenting in a
style which resembles an inconsolably depressed
first cousin of ‘Young Girl Cut Down In Her
Prime’. In a live environment it seems even more
dank and musty and a must for us miserablists.
Beats per minute there are none and in fact are
surplus to any requirement. Thankfully there is
no respite to be had in ‘The Last Sense To Leave
Us’, Cotton’s tribute to Pauline Oliveros and
which, like ‘St Agnes’, is taken from the All
Is Quiet album. It’s another solemn and
captivating performance.
And so it goes. Two further tracks, ‘The Hills Are Hollow’ and the
lengthy ‘Shirt Of Lace’ (both new to your
reviewer) offer no glimmer of hope to anyone or
anything and by now you wouldn’t want it any
other way. It all has a profoundly meditative
quality and conjures a gloriously uplifting
atmosphere in which to lose yourself for a half
an hour or so and which seems both fleeting and
eternal.
Alison Cotton was due to play a short tour in April of this year,
including some Scottish dates with the
singularly talented Bell Lungs, which would have
been a mouth-watering treat for anyone able to
get to those. Alas it was not to be thanks to
the intervention of the uber-lurgy. Let us hope
that normal service will be resumed before we
all end up losing the will, at which point even
those of us who live somewhat off the beaten
track should make the point of beating a path,
treat ourselves to a hotel and give it up to
what will surely be a unique experience.
Ian
Fraser.
The
first run of 50 cassette copies of Zener 8
sold out in less time than it took to say
“Glastonbury Festival”. Mercifully a second
run is imminent. See the bandcamp page or
follow Alison on social media for further
installments.
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RICARDO
RICHAID
– TRAVESSEIRO FELIZ
(LP,
CD, Digital on Far
Out
Recordings)
Rio
De Janeiro-based newcomer, multi-instrumentalist
Ricardo Richaid brings us a debut album bursting
with musical ideas and unmistakably Brazilian.
Travesseiro Feliz - which means Happy
Pillow – seamlessly combines psychedelic, rock,
jazz, Tropicália and folk sounds into a compact,
singular triumph.
Richaid expertly weaves Brazilian
influences from past and present into his own
dynamic vision.
You can hear the influences of greats
Arthur Verocai, Gilberto Gil, Milton Nascimento,
Os Mutantes, as well as new stars like Boogarins
from Brazil’s rich sonic firmament.
Richaid
cut his teeth as an engineer and producer in Rio
recording studios, and that technical expertise
serves him well on Travesseiro Feliz, as he
handled most of the recording duties in a studio
he built himself.
Working with a vast swath of talented
musicians in the studio world came in handy as
well, as he utilizes a galaxy of Rio’s top
players to bring his fever dreams to life.
The
album is loaded with interesting polyrhythms,
complex time signatures, strumming bossa nova
acoustic guitars and technicolor rock
explosions. The
jazzy opening acoustic strums of leadoff track
“Maracas Enterprise/Frio da Manhã” lean into a
lively psychedelic world of dreamy vocals, fiery
horns, bubbly synths and wah-wah playing guitars
coming and going from all directions.
The track goes almost full-stop before
re-tooling for the mellow, lysergic “Frio da
Manhã” section.
It’s a stunning intro to Mr Richaid’s
considerable talents and compositional skills.
“Largado
Nu” is an uber-catchy gem with a start-stop rock
tempo and jazzy underpinnings, a samba
get-your-feet-moving feel, with cool flute
drifting in and out and analogue synth
flourishes. It’s
instantly likeable – and then you want to hear
it again. “Só
na Darkzera,” featuring Marco Suzano on an array
of instruments and vocals by Cheyenne, is dark,
sophisticated Latin folk-jazz with an eerie
sense of atmosphere.
“O
Velho Cai” is the album’s high point.
Featuring complex interweaving vocals,
distinctive fretless bass by Claudio Ribeiro,
acoustic and electric guitars, flutes, saxes,
and string synths flying all around you, and
tempos and time signatures that never seem to
stand still, the song is a veritable ultimate
psychedelic sampler for all things possible in
music when you have a mind and skills as fertile
as Ricardo Richaid.
Travesseiro
Feliz is indeed a Happy Pillow, and an enticing
debut from Ricardo Richaid.
It’s only around 30 minutes long, but he
accomplishes more in those 30 minutes than
plenty of artists do in albums twice its length.
Packing in so much in the way of style,
musicianship, frenetic rhythm, pacing and
imaginative songcraft, Richaid makes a stunning
entrance with a little help from his friends.
(Mark
Feingold)
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DUIR
- THE STOUT GUARDIAN OF THE DOOR
(CD
from
Duir1.bandcamp.com )
The
debut
album released in 2007 from DUIR sees a
reimagining, remastered and cleaned up by
COMPUTER coalwood.
Their
2019
album ‘Sodden Dogs And Blind, Winged Horses’,
released early last year was one of my favourite
albums of the year, I certainly had never heard
them before it was sent in, and after a little
research I saw that it was their second album
which sent me on a search for the long sold out
debut.
Consisting
of
TEMPLAR Brighton, COMPUTER coalwood and Welbourn
TECH with KEVLAR bales, DOGGEN foster and
ANTROHNY hodgkinson, adding drums, guitar and
synths respectively.
The
album
centres on the topography and monuments of their
native Lincolnshire. It certainly doesn’t
disappoint and I can see a clear trajectory from
this to Sodden Dogs. The lyrics are narrated by
welbourn TECH and form a journey from the high
Hill O’Harrow to the Humber’s Edge.
The
journey
begins with the narrated ‘Stout Guardians Of The
Door’, highlighted by a synth, reverse piano and
Doggen’s lead guitar, before the short synth
interlude of ‘An Singularity’, ‘Airman Ross at
the Crone’s Well’, is based on T E Lawrence who
was registered as Airman Ross. This song is a
tale of him racing above Ermine Street in his
metal aircraft. ‘In The Shadow Of Dunstable
Pillar’, is a short guitar piece, which is
followed by the lengthier ‘Punk Rock at
Brauncewell’, written in 1977 on the day Elvis
Presley died, some nice lead guitar and synths
inform the song. Another short acoustic guitar
interlude ‘Short Meg’ leads into ‘Linden - The
People of the Pool’, a slide guitar spoken word
tale with walking bass.
‘Washing
Molly
Grime’, is a whole lot more progressive in its
nature and length, with plenty of crepuscular
mellotron and backward guitar. It tells of the
tradition of Molly Grime, every Good Friday, at
Glentham, Lincolnshire, a strange custom took
place known as ‘Washing Molly Grime’. Seven poor
spinsters from the parish would fetch water from
a spring called Newell Well and carry it in
procession for two miles back to the village.
They would then wash a figure on a tombstone
inside Glentham Church, known locally as Molly
Grime. This strange custom is now a popular
nursery rhyme ~ ‘Seven old maids, one upon a
time, came of Good Friday, to wash Molly Grime,
the water for washing, was fetched from Newell,
and who Molly was I never heard tell. Seven old
maids, got when they came, seven new shillings,
in charity’s name, God bless the water, God
bless the rhyme, And God bless the old maids,
who washed Molly Grime’.
‘Tuffa’,
is
about a dragon stone and a petrified stream, to
a tune of acoustic guitar, cello and narration.
This leads into ‘The Field’, a dense song
dedicated to T C Lethbridge rendered on synth,
guitar, bass, drums and loops. ‘Where Two Rivers
Meet’, another synth rich, psycho geographic
piece which sets things up nicely for the
lengthy ‘Humber’, taken at a slow piece, it
gently unfurls into another progressive song
which balances nature and electronics to fine
effect. The album ends with a reprise of the
title track ‘The Stout Guardian at the Door’.
(Andrew
Young)
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DATURA4
- WEST COAST HIGHWAY
COSMIC
(LP
from
Alive Records www.aliverecords.com
)
Following
on
from last year’s excellent Blessed Is The Boogie
comes West Coast Highway Cosmic adding new
member Bob Patient on keyboards with Howie
Smallman playing some blistering harmonica on
four tracks.
The
band
are fronted by Australian Dom Mariani a man with
quite a long list of former and current bands
like DM3 and The Stems. With this album, like
its predecessor, the band claims the territory
of 70’s boogie, citing Creedence Clearwater
Revival and The Beatles as heroes. So, much
choogling, interesting arrangements and melodic
rock driven songs, lending itself well to an
open road with the car stereo turned up loud.
Opening
with
the straightforward album title song ‘West Coast
Highway Cosmic’, it’s straight in to the epic
Wolfman Woogie a harp infested blues boogie with
plenty of drifting organ and lead guitar,
probably my favourite track. ‘Mother Medusa’,
follows continuing the 70’s flavour, nice
harmonies and a cool rocking rhythm section. ‘A
Darker Shade Of Brown’ has a melody that I just
can’t place but needless to say the song shows
the band off to fine effect, highlighting their
excellent musicianship, a dirty boogie.
‘You’re
The
Only One’, slows things down a bit, it’s a
little more acoustic in nature, acoustic slide
guitar with some terrific harp fills. ‘Rule My
World’ is a whole lot blusier with touches of
glam rock along with a blistering electric
guitar solo, it rocks like a bastard. ‘Give’,
has lashings of organ and twin guitar action,
another melody I can’t place, it’s another
winner, driven along by an eager rhythm section.
‘You
Be
The Fool’, ushers in more dirty boogie, full of
attitude, a psyched up stomper with some killer
blues harp. ‘Get Out’ follows and has an ironic
song title, seeing the world’s currently on
lockdown, this one channels Creedence with Jerry
Lee style piano stabs, it’s also taken at a fair
old pace too, plenty of vocal tics and slide
guitar. The album ends with ‘Evil People’, it
starts out slow, plenty of organ, dirty fuzzy
treated lead guitar with a couple of excellent
solos seemingly carelessly tossed off.
(Andrew
Young)
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DREIHASENBILD
- VISITATION / RETURN
(45
from www.dreihasenbild.com)
Stefan
Keydel’s Dreihasenbild explores the resonance of
bowed violin against a synthesised backdrop of
electronics, in this case using found vocals to
underpin each composition: the softly lilting
sadness of a 1917 recording of a Scottish miner
on ‘Visitation’ (one is reminded immediately of
Pearl’s Before Swine’s ‘Trumpeter Landfrey’: the
cover art by Albrecht Durer somehow echoes Tom
Rapp’s use of Pieter Brueghel the Elder’s art on
‘Balaclava’ as well) and, most successfully of
all, an excerpt from ‘The Swedish Rhapsody’
lifted (with permission) from the marvellous
Conet Project, which regular readers will no
doubt be aware is something of an addiction of
mine. It’s an appropriate choice perhaps given
that the primary tool employed by Dreihasenbild
is the Swedish-made Teenage Engineering OP-1
synth, but whether coincidence or not, the
resulting sounds conjured up seem to come from a
mysterious half-space where the boundaries
between electronic and acoustic sound become
blurred. I love this and can’t wait to hear more
of the same. (Phil McMullen)
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BELL
LUNGS – ALLSORTS OF ODDFELLOWS
(DL from https://bell-lungs.bandcamp.com/)
Less an official release than a matter of putting something out there
during these unprecedented times, this latest
offering from unsurpassed multi-instrumentalist
(what you hear is rarely what you think it is)
Bell Lungs is more conceptual and experimental
than last year’s exemplary EP Wolves Behind Us.
Less song based it may be but thankfully it’s no
less thrilling and intriguing (or in parts
lovely)
Consisting of soundtracks and commissioned pieces recorded over the past
year or so, the exquisite ‘The Death of Mrs
Baird of Cambersdoon’, with its harmonium drone
and fluttering violin and ‘Find and Seek’ are a
couple of spoken word numbers delivered in the
artist’s most agreeable Ayrshire accent. The
latter takes its lyrical cue from a mash-up of
text from Ian Rankin novels in a nod to
the proliferation of crime fiction in
second-hand shops of the kind in which this
was performed during last year’s Edinburg
Festival, and which melts into an
oh-so beautifully melodic and gently executed
passage of guitar more redolent of Laurel Canyon
than Auld Reekie. The eerie and skittering
‘Frost Pocket’ is another composition designed
to accompany text at the same 2019 Edinburgh
Festival.
The soundtracks are to a pair of short silent films by Oskar Fischingau,
the frenetic and dissonant ‘Motion Painting’ and
the becalming ‘Composition in Blue’ performed
live in that-there London shortly before the
lockdown. In turns frantic unsettling and
beguiling, both work well enough without the
visual stimulus. ‘Music For Jellyfish’ meanwhile
channels that quivering and slightly queasy
Boards of Canada sound and, together with the
similarly disposed ‘Petiole Fragment’ are taken
from a couple of limited edition cassette
compilations
Marking time this may be but if we are treading water then rest assured
that these are deep and mysterious currents in
which to luxuriate.
(Ian
Fraser)
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SLEEPYARD
–
HEAD VALUES
(Bandcamp)
Norwegian
band Sleepyard’s latest album Head Values comes
out this 26 May.
You will be hard-pressed to find a more
peaceful, relaxing, beautiful record in these
difficult times.
Sleepyard has been around since 1994 and
is Oliver and Svein Kersbergen.
On Head Values, they get help from the
incredibly talented multi-instrumentalist Katje
Janisch and Gaute Storsve on guitar.
Length-wise, the album’s in that
in-between zone between an EP and a short album.
Let me put it this way: I’ve
heard plenty of albums that are too long, but
most in this 30-35 minute range seem all the
better for their brevity and conciseness, and
Head Values proves the point again.
It’s like a pleasant, vivid dream that’s
over before you know it.
Gentle
reader, you have been forewarned.
Once you drop the needle on Head Values,
you won’t want to pause or stop till it’s over,
such is the power of its ethereal beauty.
And by its end, you will be so blissed
out, you’ll have been transported to another
place. You
won’t need a hot tub, you won’t need a drink,
you won’t need a walk in the woods or along the
beach, though I suppose any of those things
would help. Nothing
will be able to ruin your day, nothing my
friend.
Starting
with “Peace Voyage,” (see what I mean?), the
lovely melody is boosted by gifted guest Katje
Janisch’s flute, violin and dreamy vocals.
The song is a whiff of ambrosia to draw
you in to Sleepyard’s world.
On Head Values, the Kersbergens
seamlessly blend pianos, guitars, stringed
instruments, real or sampled harmoniums and
accordions, with synths and electro-atmospherics
for a heady, intoxicating brew.
Some songs are brief impressionistic
thought-pieces, not really beginning or ending.
Most
of Head Values is instrumental, but another
notable exception is the delightful “Falling in
Love.” Featuring
The Free Design’s Sandy Dedrick, the song’s been
in the works for a couple of years, and is
achingly beautiful, just like falling in love
itself. Don’t
expect The Free Design’s bouncy jazzy sound.
But you will get another hallmark,
Sandy’s unmistakable voice, with layered
overdubbed vocals floating on billowy clouds.
The
rest of the album continues the calming journey.
Sometimes spacy, sometimes down to earth,
sometimes eerie, it’s always gentle.
The pretty piano and Mellotron-based
“Theme From Slow Earth” actually reminds me a
lot of the beginning of Supertramp’s “Fool’s
Overture” (but is better).
The
brief end coda “Holy Day (Revisited)” is another
synth-based impressionistic piece, and it and
the album fade to sounds of the ocean’s surf, a
sonic incarnation of the LP cover art presenting
the sea from a great height.
Head
Values is Sleepyard’s tonic to our modern
stresses. Its
dreamy chapters allow the listener to step back,
take a deep breath and soak it all in.
Well worth your time.
(Mark
Feingold)
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ORCHESTRA
OF CONSTANT DISTRESS – LIVE AT ROADBURN 2019 (LP
on Riot
Season Records)
Orchestra
of Constant Distress bring together the cream of
Swedish noise and psychedelic rock comprising
members of the equally sleep disrupting Skull
Defekts, Union Carbide Productions and
Brainbombs.
From
the word go this is an incendiary set from the
Roadburn Festival in 2019 which I’m sure is
seared into the memory and indeed eardrums of
all who experienced it at the time. An
introductory wall of growling feedback and
fizzing, grinding electricity sets the scene and
serves up a sonic sorbet that cleans the pallet
before proceeding to grab the listener by the
throat as it leads into ‘Very Much’ , a raw and
distorted slab of metallic chaos held together,
and only just, by a hammering rhythm.
‘Discomfort’ is precisely that but in a good
way. It contains another crunching riff and
rhythm underpinning a blast of avant noise and
warped electronics that draws on early Swans and
My Bloody Valentine’s more primal moments as
well as pure noise artists such as Merzbow.
‘Fear Might Harm Others’ has an insistent and
repetitive rhythm and riff feel akin to Swans
that hammers down on your senses relentlessly
establishing an almost hypnotic noisy minimalism
over which bursts of squalling guitars and
electronics wrestle with each other.
‘Left’ starts off with a throbbing bass
and electronic soup that has interesting shades
of Public Image Ltd from the Metal Box period
and indeed it develops further into a kind of
post punk funk undertone for a track that,
whilst noisy, is less claustrophobic and allows
space for more textural sounds and indeed
breathing space. ‘Unreleased’ again varies the
rhythm where drums and electronics play in
strict unison and add a different texture and
tone over which short and scorching bursts of
freeform electronics randomly appear. Finally
‘Just A Little’ has a deep and doom laden
metallic riff rich with tension and atmosphere
which is the star attraction of the track and
draws this astonishing set to its pummelling
conclusion for a happy but drained crowd and
indeed listener.
I
thoroughly enjoyed this record which manages to
be raw and relentless but at the same time
transfers well to home listening with some
interesting rhythmic touches and instrumental
ideas that might not have been obvious to the
shell shocked, partially deafened and sonically
flattened festival goers. If you like your
psychedelic rock loud and with an avant noise
and post punk twist this could be the record for
you.
(Francis Comyn)
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PERHAPS
– 7.0 (LP
on Riot Season Records)
Underground
pyschedelic
space rocking collective Perhaps hail from
Boston and this is their third outing for Riot
Season. They’ve assembled a fine cast for this
record including guest appearances from members
of Acid Mothers Temple, Hibushibire and
Earthless in the guitar department so before
hearing a note, the weather forecast is good for
a torrential storm of guitar with some heavy
bursts of mayhem.
It’s
essentially a long jam in two parts (‘Don’t Call
It Anything Parts 1 & 2’) and the whole
kitchen sink is thrown in from the start to
glorious effect. There’s a funky and consistent
undercurrent to the drums that stops the
ecstatic riot of noise from guitars and all
manner of instruments and electronic noises from
descending into a messy and formless chaos and
helps to steer a bright and energetic
improvisation forward that despite its length of
over 40 minutes never gets boring. There is
indeed melody in the general disorder of sound
that swells, chimes and often roars throughout
its length. Subtle changes here and there drop
into the mix where different instrumental
interplay and electronic textures and sounds
emerge to break up the relentless guitar soloing
that heads ever skywards in great ecstatic curls
and frenzies of notes. It’s like a massively
funked up and energised Grateful Dead jam
session where psychedelic funk, space rock,
ragas, free jazz, acid blues, Kosmische and even
baggy Madchester come together in what could be
a car crash but turns out to be a free form joy.
You can’t help but get drawn into the excitement
of the session which is at times almost trance
like and always addictive. With each listen you
get a different angle or hitherto hidden moment
of instrumental joy jumping out at you for your
listening pleasure.
There
are only 300 copies of this record and they’ll
likely go quickly so my simple advice is don’t
delay, seek out and acquire. It’s guaranteed to
put a smile on your face and spring in your
step. Don’t call it anything but essential.
(Francis Comyn)
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THE
FELLOWSHIP OF HALLUCINATORY
VOYAGERS – INFINITELY FINITE (LP/CD
on FRG Records)
Coronavirus
lockdown
in West Wales continues to be a fruitful and
productive time for Pete Bingham and his
Sendelica collective. Recent Sendelica related
releases by the Lost Stoned Pandas and The
Isolated Psychedelicists have been very fine
indeed and now it’s the turn of another of
Pete’s collaborative projects, The Fellowship of
Hallucinatory Voyagers, to present their
isolation homework.
This
is the fourth ‘Voyagers’ release if you include
a live album and this time around it is a duo of
Pete Bingham on various electronics, field
recordings and samples with a narrated vocal
from Nicola Mortimer. We also have some
assistance from the mysterious Wonder with the
‘Hallelujah Vocal’.
This
is quite a departure from previous recordings as
it takes the form of a long form ambient
soundscape without guitar. Meditative and
kosmische infused electronic textures provides a
beautiful, delicate and blissful background
allowing for environmental sounds, primarily the
sound of waves and an eerie whale song like
effect to gently wash over it. It’s a lonely but
never desolate, mysterious and very beautiful
sound where the environmental ambience is given
prominence over the electronic loops and
textures (an occasional lone small chiming bell
is rung and that is the loudest ‘instrument’
used) – a very skilful and welcome balance of
sound that creates a real calm and otherworldly
atmosphere but at the same time perfectly
captures the sound of a lonely walk along the
beach.
For
the second part of the piece a sole and soulful
echoing gospel voice enters the mix as though
singing alone to the sea and waiting for the sea
to respond. It’s quite a gorgeous idea and works
beautifully. A treated narration, mysterious,
disembodied and part poetic incantation and part
storytelling follows with the sound of the sea
and subtle electronics continuing to provide a
serene backdrop before fading to the simple
pleasures of listening to the lonesome
loveliness of lapping waves accompanied by faint
wisps of electronic effects, singing bowls and
bells to conclude.
This
is a very beautiful musical creation that is
hypnotic, evocative and does indeed transport
the listener to a calm, relaxed and if you want
it, a lonely and contemplative space. It is mood
music in the very best sense of the term. I
believe the handsome and handmade laithe cut
edition has disappeared quickly but it is still
available as a download and I can highly
recommend this for your inner calm and
well-being. Isolation at its most positive.
(Francis Comyn)
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DIRE
WOLVES JUST EXACTLY
PERFECT SISTERS BAND – FLOW AND HEADY (LP
on
Cardinal
Fuzz Records and Feeding
Tube Records)
Dire
Wolves are trading here under their alternative
moniker of Dire Wolves Just Exactly Perfect
Sisters Band and it’s a record of their
adventures in Europe during their 2019 tour. The
record itself includes the set played at the
wonderfully named ‘Festival of Endless
Gratitude’ in Copenhagen (where I imagine it is
hard to stop the band taking a bow and the
audience clapping and cheering?) but there is a
generous helping of additional music on the
accompanying download which includes music from
shows in Bremen and Vienna. Special guests for
these dates include Nik Rayne of The Myrrors on
guitar and clarinet and the wonderful Bell Lungs
who plays violin and provides vocals and bird
calls. It’s an impressive line-up and bodes well
for the music, as does the wordplay in the title
where fans of The Turtles and Frank Zappa are
allowed to have a smirk or even a chuckle.
The
band describe themselves as playing ‘cosmic free
rock’ and that’s a pretty good starting point
for this set. The record starts with ‘By The
Fireside’ which stretches to more than 19
minutes and covers a lot of ground. Things start
with a slow burning riff and loose but gently
funky rhythm with guitar licks from Jeffrey
Alexander and Nik Raynes that explore and
explode, building up a swirl of sounds which
bounce, clash and snake around each other with
the intense violin shrieks, bird calls and
almost operatic improvised vocals of Bell Lungs
adding an extra dimension and wonderful colour,
variety and texture.
Bell Lungs vocals are indeed at times
extraordinary and on a par with the guitars in
drawing your attention as a listener – they
bring to mind the range and daring of Yoko Ono,
Diamanda Galas and Patty Waters amongst others.
It’s a great, often loose and definitely
experimental psychedelic soup that changes pace
and character but never loses direction or
interest The guitars eventually fade and the
music takes on an almost mystical, ceremonial
feel with vocals, small percussion and a more
shimmering musical quality that provide a lead
into ‘Let
the Dog See The Rabbit’, starring a lovely folk
style violin and throbbing bass line before the
guitars take off into more familiar spacey
guitar driven psych rock territory with crashing
cymbals and wordless chanting and sometime
shrieking vocals occasionally breaking through
to good effect. It’s a raw recording where the
guitars distort but that takes nothing away from
the intense and often violent beauty of the
guitar soloing. The final track ‘Dr Esperanto’
has a more insistent, Krautrock infused beat and
feel where guitars burn, churn and duel
energetically and the violin provides airy and
melodic improvisations that float above with
vocal wails and cries.
This
is a great recording of an inspired grouping of
musicians where, although often a guitar driven
sound is as dominant as might be expected, it
provides a great and imaginative showcase for
violin and vocal improvisations as part of a
rich and diverse sound that uses its musical
palette very well indeed. It’s a very enjoyable
recording and I recommend your attention most
sincerely folks.
(Francis
Comyn)
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THE
NOISE BIRDS – THE DARK SEA
HIDES A BRIGHT LIGHT (LP
on Riot
Season Records)
The
Noise Birds are a collaborative project between
Suishou No Fune from Japan and Numinous Eye from
the USA. This is their first widely available
release under the name – a previous
collaboration back in 2007 received a limited
release on the Brazilian Essence Music label as
‘Black Flowers of the Forest In The Cosmos’.
This new 2018 session was also seemingly filmed
as part of a documentary about Suishou No Fune.
What
we have are three long tracks resulting from a
wholly improvised session featuring the four
musicians, collectively three guitarists and a
drummer. There is strong and obvious chemistry
between the musicians clearly on display in
these pieces in the degree of anticipation and
interplay that comes across – there are no
rambling moments and each piece although lengthy
is thoughtful, well balanced and always
interesting.
The
first piece is called ‘When The Light Showers
Down It Gives Us A Sign’, an evocative title (as
is each title on the record) and it starts with
a shimmering, early morning calm where
skittering jazzy drums and spacious, textural
effects and rippling guitar melodies establish
an awakening sound world that slowly begins to
rouse itself through lofty guitar soloing and an
increasingly frantic percussive undercurrent. It’s
a beautiful piece of music with space, lovely
guitar and imaginative percussion that applies
post rock style dynamic shifts very well indeed.
‘Beyond The Ocean, Flying In The Sky’ has a
fuzzy grandeur in its slow and stately feedback
drenched deep and powerful riffing and the often
elegant yet sometimes violent and squally guitar
work that whips up a storm on top. We get
blissful spacey soloing imbued with a touch of
progressive flourish and bouts of scrabbly
experimentalism and noise that pin you to the
wall with your ears wide open - it’s an immense
and exhilerating sound. Towards the end the
rhythm becomes more conventional but that only
serves to encourage the guitar storm to whip up
by another notch to the finish. Finally and at a
shade over twenty minutes we get the frankly
astonishing ‘A Dance Loved By A Lost Friend’
which as might be imagined has a generally
reflective feel but is by no means is maudlin.
Strummed guitars and slightly off kilter
melodies start the piece in melancholic mode but
that soon changes as it slowly gathers pace and
power. The drums build a relentless momentum and
the guitars shift into higher and higher space
rock gears with soaring solos gliding over a
dense undergrowth of squealing and growling
guitars which becomes a claustrophobic and dense
swamp filled with feedback, fuzz and frenzy as
it moves inexorably towards its end.
It’s a show stopping finale.
This
is a wonderful record which takes metallic,
psychedelic, free jazz and improvisation
elements and creates superb original music to
lose yourself in. It rewards repeat listening as
there are a lot of wonderful subtle elements in
the sound but the sheer power and widescreen
drama of the music would
also be amazing to see and hear live where the
interplay between these fine musicians who
clearly enjoy playing with each other would only
add I’m sure to the enjoyment for an audience.
In the absence of that I will seek out the
aforementioned documentary for my thrills. In
listening to this record I was reminded of bands
like Mountain Movers, Headroom and Bardo Pond
who understand the art of the extended free form
musical excursion and how to use melody,
dynamics and noise for maximum listening joy.
That’s quite a compliment from me so go
ahead and have a listen too.
(Francis Comyn)
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BEN
LUKAS BOYSEN - MIRAGE
LP/CD/DL
on (Erased
Tapes
Records)
Berlin-based
composer, producer
and sound designer Ben Lukas Boysen bring us his
third solo album under his own
name, the all-instrumental Mirage.
He
has also recorded nine albums dating back to
2003 under the name Hecq, plus additional
works as an in-demand soundtrack composer.
Mirage is an eclectic collection that
expertly interweaves electronica
and acoustic instruments (chiefly piano) in a
wealth of styles and changes
which keep you, the listener, guessing what’ll
happen next.
If
that all sounds a bit stiff,
that’s the fault of your scribe, not Boysen,
because as Colin Clive famously said
of his creation The Bride of Frankenstein, also
blending the organic with the
electronic, “She’s alive!
Alive!” The
bubbling arpeggiated synthesizer on
opening track “Empyrean” fans out to add more
electronic rhythms and beats layered
over the top of a spacious synth and organ minor
key melody. One
gets the feeling of something very much
alive spreading and flowing, whether they be
black storm clouds or a primordial
ooze of goo teeming with life bubbling beneath
the surface.
With
“Kenotaph,” we start with
something very distant from “Empyrean,” an
acoustic piano, soon joined by an
uncredited drummer.
We are clearly back
on solid ground, on Earth.
Or are
we? Because
there are really two pianos,
one digital, one acoustic, recorded in different
countries. A
synth soon joins the melody line.
Boysen says his mission statement was
that
all things on the record not be what they seem:
“A lot of the elements and instruments
you hear on the album are either
not what you think they are, or exactly what you
think they are but behave
differently or they’re elements you definitely
know, but they are hidden,
processed, or morphed into something else.
With (previous albums) Spells and Gravity
I was trying to hide the
machines. On
Mirage I’m trying to hide
the human.”
“Medela”
broadcasts a dark
electronic malevolence amid clicks and static.
It’s not until well past four minutes of
menace that the clouds part
revealing the melodic signs of hope that are
Berlin-based cellist and composer
Anne Müller and Australian saxophone player and
composer Daniel Thorne’s
contributions. Those
lights have varying
degrees of success before the darkness kicks
again, although the track ends
with a ray of hope wafting through airiness and
electronic spaciousness.
The
Tangerine Dream-like “Venia”
blends classical influences with technology,
sort of like imagining a Bach
organ and choral piece completely overwhelmed
and overtaken by undulating
synths and electronic gears turning and
multiplying, the two influences locked
in a cosmic wrestling match in the sky.
Like the unsettling “Medela” before it,
“Venia” eventually makes peace
with itself, its long denouement a calming piece
of space synth.
The
pretty “Clarion” wisely
grounds us again starting out with Boysen’s
piano playing a lovely melody, soon
wrapped around by Müller’s cello, before giving
way to almost frantic House
drums. The
interplay between the two was
suggested by Erased Tapes founder Robert Raths
by fusing two separate Boysen
compositions, one built around the piano melody
and the other around the drum
bit, sort of like the birthing of “A Day in the
Life.” “Clarion,”
like so much on Mirage, jumps back
and forth between the organic and the digital,
acoustic instruments and synths.
With finale, “Love,” Boysen calls on his
soundtrack skills because this is all widescreen
popcorn music. Boysen’s
staccato piano and synth act as advance
scouts for grand, powerful cinematic sweeps for
electronic orchestra and
voices. Like
all of Mirage, the song
sways back and forth between loud and quiet,
easing its way for a calm landing.
Mirage
is a stunning work by Ben
Lukas Boysen, one which, through its layering
rewards the listener more with
each new listen.
The cover art is an
excellent artistic conversation starter too,
suggesting to me a weeping man
made of melting milk chocolate; the video for
“Clarion” expands on the
cover. I
have one minor qualm (and this
with much of electronica, not just this record):
Boysen relies just a wee bit too much on
driving,
pulsating electronic beats, which after a while
can attack rather than feed the
brain, instead of allowing the music to breathe
on its own. But
your mileage may vary. Every piece on
Mirage is compositionally unique and stands on
its own. I highly recommend it.
(Mark
Feingold)
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