= Spring 2 0 2 3 =

elcome to this first Rumbles of 2023. A lot of the recent releases sent in for review have been recorded under strange conditions, namely the recent pandemic, where things had to be done differently. People found themselves in different places and routines were disrupted. It feels like we are now getting back to some semblance of normality; however a lot of the records currently coming to fruition reflect these strange circumstances. If you have sent anything in hoping for a review, thank you and thanks for your patience; I can’t say this hasn’t been a challenging six months since the last set of Rumbles. So without further ado we welcome Mr Simon Lewis who has been getting to grips with a few of them. Over to you, Simon....

Probably not what Dancing Mice had planned but the first thing I notice as I play “Bread and Stone”, the opening track from  “ Book of Two Factors” is how much the vocals sound like Alan Davidson (Kitchen Cynics), a pleasant surprise, and not that surprising when I discover the band hail from Edinburgh.  Anyway, the tune is a uptempo, pop tune that has plenty of life and some fine lyrics, the energy continued on “The '68”, a song that reminds me of REM in some strange way. Slowing things down “The Kindest Cut” is a wistful song with rippling guitar and a nostalgic gaze, whilst “Where Is Jackson Lamb” has a reggae feel with some excellent wah guitar touches, the band keeping things interesting whilst maintaining a musical identity. Over 12 tracks, the album keeps up the quality, lots of guitar jangle and a bright production which lets the songs shine, a small gem.  (bandcamp.com) 

Mixing prog, indie, jazz/funk and touches of metal could be a recipe for disaster but Echo Gecco manage to make it work meaning that their “self Titled” album is an intriguing listen that swirls all over the place and takes a few listens to really appreciate. Opening with “The Walk”, the band hook you right in, funky guitar, sudden changes and tight musicianship catching your ear and making you smile.  On “Sit Down ( I Don't Wanna)” the guitar shines out, dynamic changes bringing the song to life as does a soaring solo whilst on “Shapes” the band produce a mellower vibe, at least until the noise level is raised towards the end. Raising the noise stakes even further “No Help Tonight” has a frantic pace and plenty of distorted guitar making you have a bit of a groove around the kitchen (well I did anyway). Quite possibly an album you need to be in the mood for, but they certainly hit the spot when you are. I m hoping they are even better live as they are playing the Nozstock festival in Herefordshire in July, a festival I always attend.   (bandcamp.com)  

Familiar to Terrascope readers, Colour Haze have been creating space, stoner, psychedelic music for many years and are now onto “Sacred”, their 14th album and another fine collection of heady tunes with plenty of dynamics and some excellent riffage. Beginning with a haze of cymbals and some gentle, west-coast guitar, “Turquoise” takes your hand and leads you softly up to the stars, the tune remaining light and airy until the last couple of minutes when the guitar is finally released in full this energy taken up several notches as “Goldmine” crashes in, a meaty riff getting that head nodding with joy. With rippling synths and an edgy, relentless guitar “Ideologigi” is a fabulous tune that demonstrates all that is good about the band whilst “See he Fools” opens in a glorious drift of colour made sound before revealing itself to be an excellent slice of lysergic space rock that is easy to get lost in, the album closing with the equally fine “In All You See” a frantic pace set by the rythym section, the guitars stomping above them, most excellent.  (bandcamp.com)

Sounding like a lost UK folk band with a CSNY obsession there is much to admire in “”Sunset Over the Water”, the new album from Paul M Cox. Hailing from Northampton, UK, the music has a timeless feel, one of those albums you find in a dusty shop and take home knowing nothing about it dropping the needle on “Silver and Gold” and being happily delighted by the sweet and wonderful sounds that spring to life. This happiness will only increase as the pairing of  “Take Hold My Hand” and  “Sunset Over the Water” allows you to lie back and dream, the former a wonderfully evocative piece of music that flows like a dream whilst the latter is filled with wonderful playing and a dense rich sound that beckons you in and gives you  great big musical hug. Elsewhere, “Blackbird” demonstrates some excellent guitar technique as well as being a great song, and “Caroline's Dreams” closes the album in fine style, being a whimsical yet satisfying tale, a psych pop lyric wrapped in a folk pop tune, rather enchanting. Ok, so I didn't find it in a dusty shop but it did make me happy.


 Hazy and shimmering, the sound world of guitarist Rob Byrd is a mesmerising blend of ambience and texture on his latest release “”What The Ocean Is Like At Night” , the instrumental tunes created in real – time, no overdubs or loops are used, although there are plenty of effects in the “digital sound environments” created by Byrd. Using the sea at night as its inspiration, each of the 10 pieces follow a similar sound path creating a delightful journey that soothes and calms the mind. Within the album it is difficult to choose individual tracks, but “Drifting Below” and “Eventide” seemed to hit the spot for me, an album I will be returning to when in need of a meditational sound bath.  (bandcamp.com)

 Taking real – time recording in a completely different direction is “Willfully Ceased to Exist” a split CD featuring Ankylosaraus / Joe+N and released on Carbon Records. Kicking things off with “More of an Awareness Than a Practice”  Ankylosaraus (T.Penn from the Human Adult Band) takes a bass, an amp and a couple of pedals to create a deep and fuzzed-up wall of sound that squirms and writhes into your cortex, a meditation that reveals the beauty within disorder, best played very loud, as is the following tune “Ceased to Exist”, a fourteen minute behemoth that messes with your perception, the droning call of mythical demons wishing to share their secrets and their loneliness through all eternity.

Featuring more than one instrument but utilising the one-take/improv  method of  recording, Joe+N also gets down and dirty on “”Terms Of Measurement”, Phased guitar and drums, diving down into a sludge-driven swamp and following the ghost of Hawkwind before imploding into a cloud of guitar noise, the drums lost in the murky waters. Towards the end the guitar takes on a lighter tone(ish), traces of sunlight playing over the landscape as it slowly fades from memory. With droning violin, Tibetan bowls and strummed acoustic, “The Deepest” reads, on paper at least, as if it might be quite mellow and calming, not so as it reveals itself as a squall of whining noise, the bowls rattling as if trying to escape the chaos, the relentless pounding seeming to last much longer that its allotted five minutes. Intense and strangely beautiful.  Carbon Records (bandcamp.com)

Breathing life into some wonderful Psych Pop tunes, the strangely named  Burghers Orquestre display an ear for a good tune and plenty of energy on their self titled, debut album. Ushering us in with the moody riff of  “Something About You” the band hit the right note with a shimmering organ, great guitar tones and a fine arrangement, the tune sticking in your brain as it should. Keeping the memento going, “Lost in Time” is a jaunty number that gets your feet moving whilst further in, “Don't Wake The Monster” gets a little more Psychedelic in its approach as it creeps from the speakers. Another great moment is found with “Cult Me In” the band dipping their toes in a bit of moody Exotica, the tune enhanced with trumpet and percussion before thing get back to the Psych again with “Private Wasteland” possibly the album's highlight as it stomps and marches through your mind, organ and guitar working together in swirling splendour.  (bandcamp.com)

For those of you who fancy a mellow, West-Coast, Neil Young vibe may i suggest One Adam One, aka Adam Reichman whose recent 5 track collection “ Where Do I Begin” is a very lovely thing, the title track gracefully ushering us in, a relaxed vocal delivery  flowing beautifully over the melodic backing allowing us to close our eyes and drift away. Equally good, but with a slightly darker lyrical theme, “Living Between The Lines” is ll about how we make the best of it, maybe ignoring the desperation under the surface, the music sounding like a gentle summer breeze sweetening the story. With a jaunty swagger and a relaxed groove “Cold Murmurs” builds slowly into an epic tune with plenty of  overlaid keyboard giving it depth and clarity, the collection brought to a close with “Platte River” a perfect example of songwriting craft, great lyrics, melodic charm, gentle hooks and warm production that brings everything together beautifully. Maybe not the most ground breaking selection but just about perfect for cruising down the highway in the sunshine your bet girl by your side, or maybe just to make you feel better as you are stuck on the M25 in the rain.  (One Adam One).

 Formed in 1973, OHO have been sporadically recording since, line–ups changing right up to their most recent release “Ahora!”, a collection of three long tracks,that form one longer piece, the music a varied prog, experimental sound that takes a little while to tune the ears into but is (mainly) worth the journey. Actually the most troublesome part is the narration at the beginning of the cunningly named “Part 1”, it goes on too long and sounds like cosmic bollocks, once it has ended though, the music begins to flow, guitars, violin, keyboards and vocals all striving to lead the music down interesting avenues creating plenty of tension and dynamics. Sadly the narration does return briefly although it is brief and leads us into a beautiful and melancholic violin led section that slowly changes as guitars and brass collide, creating some interesting harmonies and textures. Over 36 minutes the album holds the intention, the musicianship is excellent, and there is plenty to keep the ears entertained, I can heartily recommend this to fans of Progressive music, personally I could live without the narration but that is a personal thing, go find out for yourself. (oho)

Displaying a strong late sixties pop influence and reminding me of The Hollies meeting The Moody Blues, “Sounds In English” is a rather excellent album created by Richard Ohrn using a variety of instruments including a fine sounding Sonor drumkit that was made in the sixties. Opening track “Seal Your Move” says it all really, jangling guitar, melody-a-plenty, sweet harmonies, what sounds like a dancing flute, but may be a keyboard, and an infectious groove that just makes you feel better.

Moving on, “5th Month Announcement” has a definite Moodies vibe and lovely twinkling guitar, whilst “Time's Not Running Out” has a crackling energy hidden in its melodic coating.

A definite favourite of mine is, “Someone To Forgive You”, a moody tune with a quietly lysergic feel and loads of jangle sounding like a lost sixties classic. As with the rest of the album, the tune is greatly enhanced by the warm production and the wonderful vocals that bring each tune to life. Talking of jangle, “Take This Bottle” crosses the water to sound like The Byrds, the lyrics a wry smile to love and relationships, the tune making you want to dance in the sunshine before “Every Shade” slows everything down, the Sonor kit giving the song punch and dynamics. With a country- rock feel, “Could Have Loved You More”, is brightened by the addition of Brass in the chorus section, the whole album beautifully landed by “Spanish Moon”, a pizzicato string section providing the interest as the song rolls along under a cloud of melancholy and sweetness. This is a rather fabulous album and gets better each time I hear it, highly recommended. https://bigstirrecords.bandcamp.com/album/take-this-bottle  

Sounding like a late-night smoker’s delight, BIGCAT hit the sweet spot with “Atlas” a mixture of Dub, drones, field recordings, samples and electronics that swirls around the room creating clouds of wonderful confusion, sounding like the experimental side of the ON-U soundsysyem. Over 12 tracks the music takes you on a journey from the opening ambient musings of “Karya parts 1 + 2” right through to the closing tribal pulse of “Alpha Lyman Forest”, a stoned slice of exotica that acts as a closing ceremony. In between “We Only Need Wait For The Wind” hums with electronic percussion and drones, whilst “Voodoo Sisters” stutters and crackles with cut-up samples underpinned with more deep drones. The more you dig the deeper it gets, just sit back and forget the world. Released on cassette and download.  (bandcamp.com)

Originally available on a now sold out cassette “An Alchemical Gathering” is a split album featuring Michael Plater and Enclosed & Silent Order. Beginning with a hypnotic guitar , Michael Plater lures us in as “The Alchemist” weaves some magic, his deep and rich voice perfectly enhanced by droning violin, bagpipe and minimal ritual percussion. As the song progresses the spell takes hold, the music enveloping you beautifully. Treading a similar musical path, “A Sailor's Song” has a sinister undertone, a ship caught on the rocks, Sirens singing, the drones mimicking the incoming storm, the strummed guitar pulling us in. To complete his contribution, Michael completes the perfect hat-trick as “An Alchemical Gathering” dives deeper still, a heart-beat drum guiding us through the drones,the sound of an organ creating ambience and magic.

Offering one long track, Enclosed & Silent Order takes us deep under ground with “Gethsemane” a piece recorded live using, Synths, Bass and Violin. Harsh and filled with low tones, the music envelopes the room, the synths adding points of light and energy to the sonic rumble, the textures so dense it is difficult to differentiate each instrument from the whole, the track rising to almost unbearable tension as it moves forward until slowly dissipating into nothing. I do like a split release and this one is filled with quality. (bandcamp.com).

Thanks for those wonderful reviews Simon, and for going above and beyond the call of duty.

A pretty cool tape has arrived; a compilation cassette of the three EP’s released by Opel, The CompleteWicker Hymns”, one of which was issued on 12” and the other two being available online to download. I really like this tape, which should really receive a full release either on vinyl or CD, tapes are still very niche and this deserves to be heard by more than the handful of people it will reach. It is classic acid-folk, I have found that a lot of what passes for acid – folk has very little in the way of acid, but this certainly does. The usual tropes are firmly in place with haunting vocals by Claire Colley,which along with the lead guitar of Warren Wilson liberally poured over vast swathes of the music, these two really elevate it. There are also some fine organ playing, which when combined with the lead guitar, makes me think of early Country Joe and the Fish. It also falls firmly into the pagan, folk -horror field, snatches of ghostly mellotron and laughter percolate through at times. If you like bands like Trees and Fresh Maggots, then you may think that you have died and gone to heaven. It is available soon via the Future Wizards Bandcamp, site although it is actually released on the ‘Doomshire Tapes’ label. www.futurewizards.bandcamp.com/yum.

“Rubber Chicken B Sides”, by Rob Clarke and the Wooltones is out on Memory Lane Records. This collects some of the recent songs by Rob onto a CD EP. With both feet firmly in the sixties bag, specializing in Beatle’esque songs, we are treated to fine renditions of ‘Last Train To Clarkesville’, a terrific ‘Love and Haight’ a ramshackle Brown Paper Bag and the more straightforward ‘Better Times’ you can find it here at  www.robclarkeandthewooltones.bandcamp.com.

Ex NorwegianSpook Du Jour” This album came out about a year ago and for some reason it got missed. It is a fine album of 90’s style indie rock with hints of sixties music especially the kind made by The Velvet Underground. From the catchy glam- rock of “For Your Conveniences” to the playful strains of closing track “Center Mario” they quietly impress, I also like the harmony pop and adventurousness of songs like “Paging Lisa”. You can find it at www.thinklikeakey.com

It wouldn’t be Rumbles without a few releases from the ever dependable Sound In Silence record label and true to form a couple have recently arrived.  First up is the returning solo project of Michael Cottone, The Green KingdomVoyager”. This is third album on the label and this one takes as its theme the Voyager spacecraft and is recommended for all lovers of the kind of ambient sounds achieved by artists such as Helios, July Skies and Harold Budd. With a palette of electric and acoustic guitars, synths and electric piano Michael does a great job in creating melodic soundscapes, which prove to be highly relaxing and at the same time immersive. Also out on the label is Gavin Miller and Sophie Green’s project Marta MistEyes Like Pools”. Gavin is also known as worriedaboutsatan and Sophie spent time in the band Her Name Is Calla. This is their third album and over the course of half an hour we are treated to songs dripping with ambient atmosphere. Instruments include violins and guitars but also have drones and glitches with synths and field recordings. It is firmly in the post rock genre and would appeal to fans of bands like Godspeed You! Black Emperor and Eluvium. They are both available from www.soundinsilencerecords.bandcamp.com

Nat BrookesCormorant”. This is an album of instrumental folk music, often with sweeping dramatic passages. The original tunes on the album compliment the traditional ones, and form an exploration of traditional dance music from the British Isles with various reels, jigs and hornpipes. Opener ‘Mushroom Vent/ Cormorant’, gently impresses and is very traditional in feel, it sounds for all the world like an unknown Irish air. For the record Nat is joined by Deb Chalmers who plays violin and viola, Sam Partridge playing Flute with Tom Evans playing guitar and bass and it was produced by Josh Clark who says of it “ The sound of the record is more ‘live’ than many live records I have been involved in”. Nat’s instrument of choice is the accordion and the instrument is the basis for most of the songs on the album, Nat also plays piano on some of the tracks. Nat will be touring in the spring of this year and the album is available at www.natbrookesmusic.co.uk. 

Seamus O’Muineachain Isthmus” Seamus is a musician from the far west of Ireland; he is an ambient composer and multi instrumentalist whose latest release positively reeks of the sea and of the wild Atlantic.  It is a gentle, immersive record which has a calming, soothing quality. Seamus plays piano, synth, percussion and adds field recordings and is joined on half the tracks by Akito Goto playing cello. The songs are purely instrumental in nature and reflect the topography and the rugged wild windswept coastline of his native County Mayo. Isthmus is his sixth full length release and is a treat for these troubled times, a gentle, unhurried set of songs which demand to be taken as a whole and when done so prove to be a balm for the soul. It is available at www.seamusomuineachain.bandcamp.com 

Jalayan Floating Islands” This album arrived last year without a press release or any information about it and it took a while for me to find out anything about the band. It is firmly in the instrumental space rock/progressive rock genre and after checking appears to be by a bunch of Italian musicians, who have come together to create an album influenced by the ancient primitive people; although it sounds more like standard space rock to me. Keyboards and electric guitars are the main instruments of choice for the melody’s and the rhythm section of drum and bass is very tight, helping the guys navigate through some fairly labyrinthine, progressive rock tracks which are always about one step away from full blown space rock. Album opener ‘Tilman’, sounds like a meeting between Gentle Giant and Porcupine Tree, this is followed by the metallic rock of ‘Nemesis’. The songs all have plenty of twists and turns and prove to be somewhat of a roller coaster ride; some of it works and some of it is a bit overblown. Available from www.jalayan.bandcamp.com

Lore City have a quality 7” out called Under Way, it follows on from two previous full length releases Participation Mystique high quality dream pop and Alchemical Task which is slightly more focused and this new single finds them on fine form, Animate is a slow builder full of atmospherics, a sepia electro ride and the b side Very Body is even more dense with a shimmering quality, with a hazy quality, shot through the fog. www.lorecity.com

The Neverland Branch Davidians S/T have a new album out on Heavy Medication Records. The band are lead by charismatic front man Tex Mosley a former member of Pure Hell. He has joined forces with guitarist and singer Will Bentley plus drummer Max Hagan who together make up the excellently monikered The Neverland Ranch Davidians. It’s a sleazy rock n roll trip to the heart of LA, songs such as ‘Rat Patrol’, ‘Aqua Velveteen’, ‘Fat Back’ and ‘Hen House’, take no prisoners, it’s high octane stuff and worth checking out. www.heavymedication.com

Tim Grimm The Little In Between is out this spring on Cavalier Recordings. The Indiana born singer storyteller has a world weary kind of rambling style and is some 14 albums into a long career, his delivery is reminiscent of say John Prine or Bob Dylan, the subject matter is varied and the choice of instrumentation used to frame these tales, errs towards the less is more approach, a few guests which sees cello played by Alice Allen and telecaster maestro Sergio Webb adding electric and steel guitars, with the drums and bass played by Mark Clark and Justin Bransford respectively. Highlights are the tumbleweed drifting, high lonesome tones of ‘Lonesome All The Time’, not unlike Guy Clark. ‘Twenty Years Of Shadows’, a great road song and for me the highlight of the album.  Of particular note is ‘The Breath Of Burnin’, a delicate pastoral song with a fine, yearning quality. The album ends with a wistful ‘Bigger Than The Sky’. www.timgrimm.com

Lynn Miles  TumbleWeedyWorld is also due out this spring, Lynn is a Canadian singer song writer, the posseser of a fantastic voice which she uses to fine effect throughout this excellent album. It starts with the impossibly beautiful ‘Night Owl’, an opposites attract kind of song, acoustic in nature with fine mandolin by Joey White. Her band is James Stephens playing violin, Stuart Rutherford playing  Dobro, Joey Stephens handles acoustic guitar and mandolin and Michael Ball on stand up bass, a few guests also contribute, other highlights are the creeping jazz of ‘Moody’, ‘Cold Cold Moon’ and the jaunty bluegrass of ‘All Bitter Never Sweet’. www.lynnmiles.com

The Bluest Sky  S/T  This be the solo project of one Chuck Melchin he of the Bean Pickers Union. Aiming for something a little more upbeat than the Bean Pickers Union traditional fare, Chuck has recorded an album of original songs and it’s a pretty fine record. From the twangy brightness of opener ‘Belly to the Bar’, straight into the kind of song that wouldn’t be too out of place an an album by Steve Forbet, just to give you an indication of the kind of style. Indeed it is a fairly varied album on the whole. ‘New Berlin’, an album highlight has some fine pedal steel and electric guitar, ‘I Am James’ is more of a heartland rocker, a yearning ‘Drive Through Confessional’, another well observed song, a fine mid paced ‘Bunkhouse’, with added Hammond B3. It ends with a fine and rousing ‘Bulletproof Man’. https://www.facebook.com/BluestSkyBand/

Angus McOg  Cirrus  Following on from Beginners comes this new album. Recorded at Sonic Temple Studio, in Parma.  Angus is the alter ego of Italian musician Antonio Tavoni. It is another gem in the ever expanding catalogue of Gare Du Nord. The sound of the album is very good, recorded live. The instrumentation includes synths, harmonium and trumpets amongst the guitars and pianos, the bass is by Luca Di Mira, who also co-writes one and drums are played by Luca Torreggiani.  ‘Cirrus’ sets out his stall, with a piano led song highlighted by a string section adding drama. ‘Lou’ is a shimmering early highlight, all spangly guitars and electric piano. At times it’s all a little over dramatic as on ‘Currents’. ‘Sirens’ is an album highlight, I’m reminded here of John Howard, a lovely piano led song. ‘Communist Party Party’, is a quite bizarre song, a glam rocker, with a churchy organ towards its climax. The record ends with ‘Say My Name’, a haunting piano led reverie, with ethereal vocals. www.angusmcog.com

Also out on Gare Du Nord is the new album by Boa Morte  The Total Space. Boa Morte for this new album have incorporated a few more drones and atmospherics, with Juno 106, Deepmind 12 and TC Plethora X5 encroaching and informing the songs to fine effect. This is the bands fourth full length record; the last one Before There was Air was released in 2019. Their first release was on Teenage Fanclub’s Francis MacDonald’s small record label, he took an early fancy to them.

The songs are all given room to develop and it flows well. Album opener In ‘Diagonal Light’ is both unsettling and expansive and draws you in to their world. It has been very well produced by Daniel Presley at Black Mountain Studios in County Louth. There are added instruments from a few guests who contribute viola, violin, trumpet and vocals. Highlights include ‘Dark Is’, ‘Under Stars’ and ‘A Cloud of Stars’, but really the record deserves to heard in its entirety, it is an immersive, sombre, atmospheric album, which draws you slowly in to their world. www.garedunordrecords.com file under slowcore.

Chris Church Radio Transient  This new album from Chris follows hot on the heels from his last one Darling Please, he is also some fourteen albums into his career and certainly knows his way around a studio. It’s a power pop smorgasbord, with a tailor made hit single in ‘Going ‘Til We Go’. There are plenty more where that came from too with ‘One More Chance To Get Over You’, ‘Flip’, which is simply pure pop perfection, ‘Far Too Late’ and the Duran Duran moves of ‘Already In It’. Chris is from North Carolina and has a soft rock heart, citing both Lindsey Buckingham and Hall & Oates work. This is a very strong album; chock full of clever pop songs, with hooks to die for. The guitars sound particularly fabulous (think Rickenbaker’s) and the whole thing is as polished as can be.  www.bigstirrecords.bandcamp.com

Burnt Paw Levitation Songs Andy has a new tape out which is accompanied by a 16 page booklet of drawings, which he has entitled Star Portals. He is primarily a finger picking guitar player who for this album played finger style electric guitar. This album has been recorded by Scott Mclean and is in memory of his close friend Paul Green who Andy cites as being the brother responsible for introduing him to so much weird music over the years and who sadly lost his life in 2021. He has a cracked, deep voice and on these elemental songs his guitar playing shines out. It deserves to be heard as a single piece of music, with the seven songs all following on from each other. Highlights include Feast Of Shadow and Reawakening. It’s a fine album, limited to 40 copies, available from https://burntpaw.bandcamp.com/album/levitation-songs.

Canadian songstress Meredith Moon has a new album out called Constellations on the True North record label. Meredith plays banjo, guitar, podorrythmie and glockenspiel accompanied by the fiddle playing of Tony Allen with double bass by both Alex Merchand and Rachel Melas and drums by Will Fisher. It was recorded and mixed by Andrew Collins. The songs are all originals bar a couple of traditionals. On first hearing I am reminded the early drawl of Lucinda Williams, she is very much in the independent Americana field, with songs of her fondly remembered childhood such as Brokenwing Bird and That Town. It’s very much in the Appalachian style, oh and Gordon Lightfoot is her dad, but really this lady does not need to rely on such things as she is a strong, independent country artist in her own right. Find it here at www.meredithmoon.com

A new album out on Golden Hum records sees Constant Follower team up with American primitive style acoustic finger picking whizz Scott William Urquhart Even Days Dissolve. Scottish group Constant Follower and Scott have put together an absolute belter of an album, which takes as inspiration the words and poetry of the grand old man of Scottish poetry Norman MaCaig and frames them with music. These often atmospheric, moving songs of quiet beauty are introduced by the rather lovely album opener ‘Waves Crashing Here’. On ‘Watching The Black River Run’. Fellow Scottish musician Mark Tranmer of GNAC adds piano and Tom Hutchison adds electric guitar. Collaboration is the order of the day, and on songs like ‘Wildlife Cameraman’ and ‘Song For A Willow Tree’, works very well indeed. Highlights for me are the slow winding ‘Watching The Black River Run’, the mystery of ‘Space Between Stars’, and the deeply atmospheric title track ‘Even Days Dissolve’ where guitar notes hang like dust motes in the air. You can find it here https://constantfollower.bandcamp.com/album/even-days-dissolve

Well that’s about it for now - happy trails until the next time.

 Terrascopic Rumbles for Spring 2023 was brought to you by Andrew Young and Simon Lewis.

 Artwork, layout & direction by Phil McMullen - © Terrascope Online, 2023