Marianne Segal & Circulus

Man & Machine

Go Public

Black Swan Network

Pinhdar

Zapata

Charli XCX

youbet

Catrin Finch

Jeffrey Alexander + The Heavy Lidders

Elliot Sharp

Sarah Davachi

Graham Parker

John Martyn Tribute

Robyn Hitchcock

Lenny Kaye

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Jade's Fly On Strangewings (DLM, 1970) sits comfortably alongside Mellow Candle's Swaddling Songs (Deram, 1972) and both Trees albums (The Garden of Jane Delawney, On The Shore, both CBS, 1970) as amongst of favourite undiscovered, underappreciated psychedelic folk gems of the early '70s. Following Jade's commercial disappointment, the trio disbanded and it would be nearly 20 years before we heard from singer/songwriter/guitarist Marianne Segal again via several solo cassettes and a collection of pre-Jade recordings with bandmate Dave Waite releasaed in 2004 as Paper Flowers (Lightning Tree).

This reissue of Marianne's 2007 solo album featuring members of the prolific "medieval space rock folk outfit" Circulus includes remastered/remixed sound, new artwork and cover, some slight alterations to the tracklisting, and additional music in the form of extended versions of several tracks. 'September Song' starts us off in a jolly minstrel mood with Segal's vibrant vocals accompanied by Mike Porter's Vietnamese and Jew's Harp and Spoons to add to the fun. Similar to Mark Fry's approach with Dreaming With Alice (IT Dischi, 1971) which separated the title track into short vignettes, Segal and company offer four short (under 30 seconds) 'Little Lucy Vignettes' in a medieval mood with flute, lute, and harpsichord dancing around the proverbial Maypole. This reissue drops one of the tracks and reorders the others, but they serve as a nice musical palette cleanser so all is not necessarily lost.

Amy May adds romantic strings to the soaring 'Lapis Wings' with Circulus's Oliver Parfitt and Will Summers adding cherries on top with sentimental, sensitive piano and recorded respectively. 'Circle Round The Sun' has a warm, jazzy soulful vocal from Segal and a psychedelic groove from Circulus in full flight courtesy Michael Tyack's steady bass lines, Sam Kelly's driving drum snaps, and Parfitt's honking clavinet and delicately-tapped Wurlitzer.

'Saints On Tapestry' has a familiar, perhaps too familiar ring of Joni Mitchell's 'Woodstock' about it, but Napalm Death's Bill Steer's weeping guitar solo, engineer Ian Catt's mellotron, Amy May's strings, and uncredited but presumably Parfitt's flute combine for a fine, eerily mournful track.

Porter's harps and Steer's screaming guitars are back on the creepy crawly 'Root People' that has a distinctive Buffy Sainte-Marie groove that I found quite fun and funky. Andy LeVien's remix blends Parfitt's space age synths and Summers's recorder with Tyack's looped acoustic guitar to give it a psychedelic Hawkwind vibe!

There's a funereal trawl through 'Sussex Downs' that brought a few tears to this old curmudgeon but it soon picks up a strident march that had me imagining a crowd of concertgoers raising their flickering lighters and humming along. It's my favourite track on an excellent album that belongs in every Terrascoper's collection, particularly if you missed it first time around.

Segal ends on an uplifting note with 'Dreamers', another body-swaying, lighter-waving moment supplemented with Catt's mellotron and Principal Edwards Magic Theatre guitarist Root Cartwright's tasty guitar solo. "Let's sip some golden honey and sing a few refrains together!"

(Jeff Penczak)

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Man & Machine is the nom de guerre of Tom Roche ably abetted on this 6-track compilation from Roche's vast catalogue of songs recorded over the past 15 years by producer Stuart MacLeod who also contributed keys and guitar, Sam Waller on drums, and Andy Lawrie on additional keyboards. Several tracks have previously appeared on Fruits De Mer compilations, others are exclusive to this release. The title track is particularly eerie, like an astronaut lost in space "so far from home." Haunted by a hint of Bowie's 'Space Oddity' 'Earthman' also has vestiges of Tom Rapp's 'Rocket Man' and the overall vibe of loneliness - a lifeline severed and a life floating endlessly into infinite space.

'Sleepyhead' is appropriately dreamy, a tinge of Timebox's 'Gone Is The Sad Man' navigating backwards guitars and tinkling keys towards a not-so-surprising, yet appropriate coda! Continuing the descriptive titles the gentle instrumental 'Otherworldly' delivers ephemeral, Floydish atmospherics, and 'Lost At Sea' is like an alternate version of 'Earthman', this time our hero is lost in the foreboding emptiness of the ocean, any hope of rescue vanishing with each passing wave.

'Safespace' throws a kitchen sink of electronics and studio effects into the mix for some fun tomfoolery before we come full circle back to 'Earthman (Lost In Space)' which put me in mind of Floyd jamming with Steeley Dan amidst bleeps, bloops, and various headnodding noodlings that leave a dangerous impression on your sanity and sense of place in the world.

Roche has more goodies in the vault which I hope will see the light of the sun some day soon!

(Jeff Penczak)

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From the moment the needle hits the vinyl and 'Muscle Memory' body-swerves into the room, Go Public pull you onto the dancefloor with their Lou Reed-fronting-Gang Of Four syncopated, punky funky rhythms. 'Skeleton Details' may induce more headaches than smiles but it mercifully gets out of its own way in 62 frenetic seconds for the screeching polemic 'Dream Over' which takes the piss out of Crowded House with its scattershot, pummeling rhythm attack like Iggy fronting the Banshees.

'Craps Tempo' give the album its title and sounds like something you might expect from a band comprised of killer klowns from outer space while 'Hat Head Freon Eyes' is indicative of the enigmatic atmosphere on offer - imagine Devo and the Residents collaborating with Captain Beefheart for a songwriting session. It will certainly eradicate any cobwebs enveloping your brain from listening to too many perfect pop Taylor Swift confections!

'Becoming A Stranger' fills the room with syncopated dance grooves emanating from a happy marriage of Happy Mondays and Talking Heads and is my favourite track. 'Home Of The Grave' is as ghoulish as its title suggests and reminded me of some of Julian Cope's outré pronouncements (cf. 'Teardrop Explodes's 'Sleeping Gas'). Singer/songwriter/guitarist Adrian Finch's sax blasts add to the fun.

This is not an easy listening experience and you may come away angrier than when you entered, but that may very will be the intent. After all, Go Public is a band that includes rotos, ashes, sweat, and buckets as part of their musical repertoire. (Although I'm not quite sure where the "restraint" fits in!) The world is not the happiest place to wander these days and Go Public are happy to set you on a different path to wake up and smell the coffee and maybe do something about it! When we think of "traffic" it's usually in terms of something that's in our way, preventing us from where we want to be. Something we want to get out of. Something that's stagnant and frustrating. Go Public are challenging you NOT to be like traffic with an album of hard truths and difficult listens. You Are Traffic reiterates the old adage, "If you're not part of the solution, you're part of the problem."

A friend once told me he had to listen to Captain Beefheart's Trout Mask Replica every once in a while to clear his head from becoming too musically complacent and wallowing in rhythms that spoon feed him a roadmap from point A to point B. I think I'll give him a copy of You Are Traffic!

(Jeff Penczak)

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A companion piece (or bookend if you will) to 1997's experimental collection of fan-contributed dream sequences The Late Music Volume 1 (originally released on our friend Tony Dale's beloved Camera Obscura imprint) and Flydaddy's 1998 battle of the bands-type Olivia Tremor Control vs. Black Swan Network, The Early Music takes a different tact by assembling excerpts from various home tapes Will Cullen Hart recorded at Radium Recordings between his work with Olivia Tremor Control and Circulatory System. Supplemented with bird sounds ('Grains And Sauces'), dreams spoken into the dream loop machine for a 1998 gig ('The Dinner Plate'), tape loops, and "transitions and interludes" from Hart's "Toybox," the album collects the six tracks from a 2000 "Singles Club #10" 7" EP on Happy Happy Birthday To Me Records and appends eight new tracks of equally avant garde experimentation.

Right from the start we're in for what Laurie Anderson referred to as "difficult listening" with 'Grains And Sauces' offering a whirlygig of electronic tape loop-de-loops that rewire your synapses into hallucinogenic spaghetti tangles. The fourteen tracks (segments, if I'm being honest) rarely top two minutes. So bourgeoning DJs and mixmasters can have fun rearranging the tracks in random order to create a new listening experience every time. [With respect to the current sequence compiled by Chris Bishop (Side 1) and Ron Kwasman (Side 2).]

That's not to suggest that this is just a collection of random sound bursts from 30-year old tapes (which it partially is) since there are some "complete" "songs" with vocals and a semblance of a beginning, middle, and end ['Aqua Waters (and a Pear Shaped Thought)' and 'Seven Thousand Luminous Aches And Pains' are vintage OTC in both title and execution]. Other more accessible tracks like 'Horses And Camels' preview the direction Hart would explore with his Circulatory System project.

Still, there's a certain Zappaesque sensibility toying with Residents-ial playfulness that's as charming as it is frustrating - 'Broadcasting Signals' is particularly wacky, 'Reflecting In The Waves' could be mistaken for a Lennon home recording, 'Big Surprise' lives up to its billing by dropping a sitar solo into the mix, and 'Stormiest Skies' has the air of one of Harrison's introspective navel gazers.

An intriguing teaser for the forthcoming, final Olivia Tremor Control album due later this month.

(Jeff Penczak)

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A real curio, this lost artifact from 1971. Once upon a time in the late Sixties and early Seventies there existed a band in the mean inner-city streets of Washington DC named Zapata. Its members were a blend of Black and Latino musicians – two outsider groups in the city at the time who rarely mixed – certainly not in bands. But they did in this one, and brought faith, respectability and class to both communities.

The band forged a sound melding all its lineage and influences – rock, salsa, Afro-Cuban jazz, soul music and soul jazz. Its hallmarks included double-threat lead guitarists, brothers Ernie and Miguel Herrera, sweet flute and saxophone playing by Mosheesh Akbar, and percussion galore from Eduardo Africano on drums, Rudy Morales on timbale, and Tony and Mike Duncanson on congos and bongos. I’ll try not to push the Easy button and compare them too much to Santana, but on some of the six tracks here like “Spring is Here” and “Slow Riser” the influence is unmistakable. The big difference is Zapata’s stellar flute and horn work by Akbar.

The band broke up in 1974 and never made the big time. But oh, did they come close. An extremely popular regional act, they opened for some amazing luminaries such as Herbie Hancock, Miles Davis, the Isley Brothers, Weather Report, Little Feat, Rashaan Roland Kirk, Stanley Turrentine, Redbone, Ramsey Lewis, and Sly and the Family Stone. They once were courted by Atlantic Records, but a deal somehow eluded them. Always they were up against the threats of the usual inner-city demons – deadly drugs, violence, and incarceration. All the members came from gangs and some didn’t survive the scourges of that lifestyle. But they were a beacon of hope in their neighborhood of what could be, peace, music and harmony between factions.

The source of much of my information on the band and The Lost Tape is a wonderful podcast on NPR’s Alt.Latino show. In it, the band’s lone survivor, bassist Pepe Gonzalez, recounts the band’s history and its impacts. The Lost Tape in question was a cassette recorded in 1971 from a rare studio session. The six tracks contain everything from wild rides with scorching guitar freakouts to smoky, wistful, moody late-night melodies.

The tape, and much more tape from live appearances, was thought long lost. The band’s manager, who lived on the same block as most of its members, was caught by his partner having an affair, and she threw all his possessions in the street, including all the band’s tapes. Before members could save them, the tapes were gone that day. Many years later, someone brought this one cassette to Pepe Gonzales’s attention. He said it had deteriorated so much, the sound was initially practically unlistenable. However, working with engineers Don Zientara and TJ Lipple, they were able to at least restore it to the present version.

The sound quality is decidedly lo-fi, akin to an AM transistor or car radio. But the songwriting, musicianship and performances are undeniable. We’re lucky to even get a whiff of what this band sounded like, and for Gonzalez’s recollections of the time and what Zapata meant to the community.

I’ll go out with something Gonzalez read from an inscription his then girlfriend penned for him when he was transitioning from electric bass to learning to play the upright bass. She wrote: “To become a master in any art, you have to first learn and understand the theory, basic truths and answers to your questions. Second, you must apply your new knowledge and practice what you have learned completely and honestly. Finally, you will have experienced a deeper reality never before imagined. You will be a master, one who can live through his art only and who remains wise and powerful in his concept of life and the art. You will have achieved your purpose on this Earth.” That was written by a seventeen-year-old girl and Gonzalez lives by those words to this day.

(Mark Feingold)

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Pinhdar - Comfort In The Silence (Fruits De Mer)

Following their self-released eponymous debut, Italian darkwave duo vocalist Cecilia Miradoli and guitarist Max Tarenzi have released three albums on Fruits De Mer/Friends of the Fish. A fourth (limited edition CDr) was recorded at Fruits De Mer's 19th Dream of Dr. Sardonicus Festival in 2023. Their latest continues to explore the nether regions of trippy gothic hypnotic trance, with Miradoli's vocals soaring over Tarenzi's sparkling, plonking guitar arpeggios reminiscent of Robert Smith's work with The Cure and Siouxsie And The Banshees, particularly on 'Neiko' and 'Into The Mirror.' Veteran bassist Lee Pomeroy (Yes, Carava, ELO, Steve Hackett, et.al.) contributes unobtrusive and complementary throbs and bubbly grooves throughout.

There's an endearing tone to Miradoli's mesmerising vocals on tracks like 'After The Fall' and 'Red' that fondly recall Toyah's emotional histrionics and Diamanda Galás's acrobatic vocal somersaults, while 'Fade' and 'Old Kind' have a pleasing theatrical approach reminiscent of Kate Bush. 'We Float' embraces trip-hop textures and cinematic elegance with a tip of the bonnet to Laurie Anderson's spoken word enhancements and the whole enterprise ends enigmatically with the eerie 'Into The Mirror' that imparts slight hints of Siouxsie in her darkest hours.

(Jeff Penczak)

If you like your pop music spiked with some electronic & raw guitar energy coupled with a mischievous attitude, then have I got a musical bridge for you! Charli’s been delving into some French Existentialism and her slip is showing. Most especially on the album closer No One Lasts Forever with David Cronenberg’s narration and endless looping of his voice intoning, “No one lasts forever, they are dead, they are gone…. The record is punchy and succinct and bleak and I’m liking it. It appeals to that Germanic DNA buried deep in my soul I guess. A solid effort from da brat.

(John Hammel)

Catrin Finch – Notes to Self (Bendigedig) What a beautifully intimate recording. The beautiful Carmen Wiles of Baltimore Maryland doesn’t often jump out of her chair to interrupt, er, comment, when I’m listening /reviewing / previewing a recording, but she burst into the room demanding to know who was making this gorgeous music. Finch has created these stylish melodies, as the title suggests, to herself, but in this case to her thirteen-year old self with lots of backward glancing along the arc of her career. The first track '13' is the one which immediately grabbed Carmen’s attention and mine as well. This album is rife with ravishing melodic content created by Finch with a single acoustic harp. Hey, why not give another shout out to a stand-out track, only this one ending the album. 'Angels.' Wowser.

(John Hammel)

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Alexander is a familiar name round these parts via several Terrastock appearances (the iditarod, Black Forest/Black Sea), his work with Dire Wolves and Jackie-O Motherfucker, contributions to releases by Terrastock performers Kemialliset Ystävät, Fursaxa, and Christine Carter (Charalambides) and as record label owner (Magic Eye Singles, Secret Eye Records, Pome Pome Tones). Oh, and since 2019 he's fronted The Heavy Lidders, a loose amalgam of fellow travelers in the soon-to-be-famous ecstatic joyous psychedelic improv genre of otherworldly out-of-body music experiences.

Which brings us to their latest freak flight with stalwarts Drew Gardner (guitar), Jesse Sheppard (bass), and Scott Verastro (drums) slithering around vocals from the aforementioned Christine Carter and violin virtuosity from Gayle Brogan (aka Pefkin) (frequent collaborator with Terrastock's Kitchen Cynic Alan Davidson), on a brain smashing live CD bonus track recorded on their recent UK tour at the Portland Arms in Cambridge.

We begin our journey with a journey - 'From Loch Raven To Fells Point', two points I've never been, but from the Mushroom-meets-Dead laidback vibe I think I'm gonna start planning next year's holiday. 'Calliope Wailer' is a bit of a sleeper, with Tacuma Bradley's sexy sax supplementing meandering hand drums, vibraphone, and Alexander's searching-for-the-sound guitar pickings. I fell into a Coltrane coma and was hesitant to rejoin the gang for a bit of 'Tightroping' - tripping the light fantastic and wavering between realities via this short sorbet buoyed by Carter's ecstatic, ghostly wordless vocals in preparation for achieving 'Critical Masses' (or, in the immortal words of Woody Allen, "heaviosity.") Wah-wah weirdness ensues, with Sheppard's walking basslines particularly tasty.

The reverie-reviving riotous barnstorming segue from the Crazy Horseplay and phantasmagorian onslaught of 'Reservoir Drop' into another haunting Carter vocal in 'The Summer Song' is a testament to the tight-knit collaborative magic these Heavy Lidders bring to the party.

Finally, CD fanatics can wallow in the 14-minute bonus track 'The Ocean Will Have Us All' which was recorded at their 4 August Portland Arms gig in Cambridge earlier this year and available exclusively on the new CD-only version. Ably abetted by Carter, Brogan, and deputised drummer Sheila Bosco weir, oops, we're back in Mushroom territory for a bit of improvisational tomfoolery encircling that dark star on another long, strange trip.

A perfect way to add to those "frequent flyer" miles you've been hoarding!

(Jeff Penczak)

Hannah Cohen – Earthstar Mountain (Bella Union/Congrats)

A very strong indie singer/songwriter release from Hannah Cohen. A new artist to me and one brought to my attention by our son Ray. Her seemingly simplistic lyrical bent gnaws at one’s sensibilities revealing with prolonged listening a profundity of emotional depth regarding loss, grief, our place in nature, & human connectivity. The production is sparse but highly effective at creating soundscapes that further add in drawing the listener more deeply into Cohen’s artistic vision. I was further struck by her conversational singing style which plays with bar lines with a near genius level of phrasing. Her use of slanted rhyme verse with effective use of inner rhythmic schemes belies the seemingly naïve nature of these tunes. A keeper.

(John Hammel)

Elliott Sharp / Sally Gates / Tashi Dorji – Ere Guitar (Intakt)
Elliott Sharp: Guitar - Sally Gates: Guitar - Tashi Dorji: Guitar

Mr. Sharp is an amazing guitarist/artist. A habitue of the downtown NYC arts scene for decades, he has presented as a virtuoso guitarist, author, performer and visual artist. Nothing he puts his mind & creativity to is worth missing and this abstract outing with fellow guitarists Gates & Dorji is an exception. This can best be described as avant-garde blues via the fractaled mind of Derek Bailey and Sonny Sharrock via free improvisation. Only two tunes are Sharp compositions, Drill Core & Popular Science, To me they sound of the same musical cloth as the full-on improvisations and that is no small feat. At seventy-five E# shows no signs of creatively slowing down and with this mixology of metallic skirling microtonal tornadoes he and his mates lay down a template for much younger artists to follow.

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Sarah Davachi – The Will of Tongues (Late)

Sarah Davachi - on five pipe organs tuned in historical temperaments. Various: The Sung Blood Players, Phaedrus, Depason ensembles. Chamber Choir Ireland

To paraphrase the hotel scene in Midnight Cowboy; “I hope you’ve got a strong musical constitution Joe Buck, you’re gonna need it.” It takes one to dive into the music of Sarah Davachi, but I believe you’ll come out of the water a much better person for it. Drones. And I don’t mean the kind that destroys & maims’ people. I am talking about the kind that offers solace, serenity, awareness, inward contemplation of the meaning of the self and our individual place amidst the cosmic whole. This music can take you there.

This two-disc set leads you by the hand and requires you to sublimate your spirit for about two and a half hours. It employs pipe organs pitched to tunings which would have been familiar in Bach’s time; several different instrumental ensembles and a choir seeded throughout the various compositions are utilized, in music which can either stand alone and/or share loosely connected tissue. These pieces are wonderfully recorded, and I assure you will be appreciated, whether you are employing Pauline Oliveros’s Deep Listening technique(s) or simply allowing itself to meander in the background whilst choring or as background at social gatherings. Sublimity personified.

(John Hammel)

Graham Parker – The Lady Bugs & The Goldtops – Quality Footwear: Live at The Brook  (Big Stir)

The Goldtops: Martin Belmont (guitar), Simon Edwards (bass), Geraint Watkins (keyboards), and Jim Russell (drums); The Lady Bugs: Paige Stubley and Martha Evans (backup singers)

Live performance at The Brook in Southampton, UK three years ago this week (September 30, 2023)! Fifty years on Graham still sounds as lively and energetic as ever. For me one of the big two coming out of England in the late seventies. Costello & Parker. I always thought both were songwriting equals with Parker’s sneer a little less forced and have always wondered why his career didn’t skyrocket more. The Goldtops are a crackerjack simpatico band, and the Lady Bugs vocally support these tunes superlatively. Parker can still exude thunderbolts on stage or knock you sideways with his more introspectively insightful compositions, ('Lost Track of Time'), and this live set exhibits that superbly. There is nice mixture of golden oldies, ('Hotel Chambermaid,' 'Soul Shoes'), with deeper cuts ('Black Lincoln Continental') interspersed with tracks from his 2023 release Last Chance to Learn the Twist to satisfy all fans of one of the finest songwriter/rockers to ever come out of the U.K. Although Graham opts for a more relaxed presentation, there is tension & energy a-bounding.

John Hammel)

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Various Artists - Johnny Boy Would Love This – A Tribute to John Martyn
(Hole in the Rain)

This is an extravagantly mixed bag with mixed results although I do believe everyone’s heart is in the right place. John Martyn was a giant, flawed and beautiful, as a musician, songwriter and human being. One of the great, relatively unknown to the general public, artists in my lifetime. This is not a new record. It is a huge two-disc homage to his extraordinary creative genius released in 2011. I’m just getting to it. It’s great to hear his songs under any circumstances but the best place to do so is Martyn’s own interpretations coupled with his amazing guitar work and looping. Perhaps we could have done with a single release. I’m happy so many diverse artists wished to be part of this project and you won’t be disappointed by the overall results.

Here are a few highlights from my humble perspective. Robert Smith leads the pack with his moodily introspective & ultimately hypnotic take on 'Small Hours'. Beck’s 'Stormbringer' brings a slow roiling tension and edge to bear; Paolo Nutini captures the ethereality of 'One World' well; The Swell Season brings us to the heart of 'I Don’t Want to Know' & for me another highlight is Vashti Bunyan’s scintillating vocal delivery on 'Head and Heart.' Brendan Campbell’s 'Anna' is one of the few tracks to emulate Martyn’s signature guitar looping. Phil Collins brings the record to a close with a warmly heartfelt rendering of 'Tearing and Breaking.' Ultimately, there are no major disappointments on these discs & this is a record which should bring new fans to John Martyn’s oeuvre for any listener.

(John Hammel)

Robyn Hitchcock – The Confuser
(Tiny Ghost)
Robyn Hitchcock – guitar/vocals - Jeremy Fetzer (electric guitar) - Todd Bolden (bass) - Eric Slick (drums)  - Specially imported from the UK: Kimberley Rew (electric guitar)

As always the irrepressibly irresistible Robyn Hitchcock has created an energetic upbeat take on mortality, aging, et. al. A bit more pleasingly jangly than I was anticipating, nevertheless it didn’t take more than a few tunes for me to be nodding along, keeping beat on my tabletop and trying to sing along to songs I had never heard before. And just when you’re not sure you can keep the happiness vibes cranked up to ten, R. H. permeates you with one of his gorgeous ballads, i.e., 'Breathless.' Only he can create lines like, “We’re dancing, we’re dancing with animals we’ve lost”….. and in the same song, “don’t judge me, I can judge myself.” The production is sharp & keen and the playing is suitably apt and pithy. Not a wasted note throughout. One of the best records in years from Robyn or anyone.

(John Hammel)

John Jackson – multi instruments – David Mansfield – multi instruments/string arrs 10 – Lenny Kaye – guitar/vocals.

Yay! There’s still hope for everyone. Determination coupled with a creative imagination are the key to success at any age. Lenny Kaye made up his mind to release his first solo album at age 79 and it has more joie de vive & energy than folks half his age. I mean give this a listen and ask yerself, who at 39 is making music with this much innate propulsive-ness & honesty? Reveling in his garage rock lovin’ roots, and with his CV firmly ensconced in the rock ‘n’ roll heavens, LK doesn’t have to dig too deep for musical favors, and he gets outstanding support from Patti Smith herself ('Solstice'), Tim Carbone, Matthew Shipp ('Let’s Make A Memory'), Jay Dee Daugherty and co-producer Tony Shanahan. Music with themes of reflection on a life outstandingly spent & well lived. This is a beautiful synthesis of post-punk vitality and Americana singer/songwriter intimacy. More please!

(John Hammel)